Category Archives: Current Events

MUSIC MONDAY Christian Rock Pioneer Larry Norman’s Songs Part 13

Christian Rock Pioneer Larry Norman’s Songs Part 13

I posted a lot in the past about my favorite Christian musicians such as Keith Green (I enjoyed reading Green’s monthly publications too), and 2nd Chapter of Acts and others. Today I wanted to talk about one of Larry Norman’s songs. David Rogers introduced me to Larry Norman’s music in the 1970’s and his album IN ANOTHER LAND came out in 1976 and sold an enormous amount of copies for a Christian record back then.

 

1. Only Visiting This Planet – Larry Norman

ONLY VISITING THIS PLANET

Larry Norman

Prophet…scoundrel…poet…thief…comedian…clown…rock star…fallen star…

A living, breathing contradiction in terms, Larry Norman passed away on February 24th, 2008 at the age of 60. I attended the funeral, arriving late and “listening” to it from outside the doors of a Church near Salem, Or.

*          *          *

DC Talk – I Wish We’d All Been Ready [Live]

But that influence ultimately started with “Only Visiting This Planet.”  Recorded for MGM’s Verve label, the album would become the most influential Christian album of all time. It served as a lesson in how a Christian can write songs on every possible topic with true humanity all the while expressing the undeniable Biblical truths a Christian possesses. There are songs about lost love, sex, free love, politics, media, culture and theology.

George Martin produced the album that was recorded in London at his AIR studios in 1972. It would be, by far, the best produced Christian album for its time and still remains a quality production. Norman’s voice is at its very best, both his singing and lyrical voice.

The album starts with a song of lost love, “I’ve Got to Learn to Live Without You.” I have always believed that it was Norman’s attempt at a Top 40 pop song. The honesty and longing in Norman’s voice makes the song utterly believable. These are theme and thoughts shared by nearly all who have experienced a love gone wrong.Musically it contains a very beautiful string arrangement and a subtle similarity to what The Beatles finished their career with.

Today I thought I saw you walking down the street
With someone else, I turned my head and faced the wall.
I started crying and my heart fell to my feet
But when I looked again it wasn’t you at all.

Why’d you go, baby? I guess you know,
I’ve got to learn to live without you

“The Outlaw” follows and would become one of the two or three most famous Larry Norman songs even though it would not receive Christian radio airplay until several years later. The story of Jesus as portrayed by an outlaw working on the outside of the established religious community also would speak to Norman’s own situation. With limited acoustic guitar accompaniment and some keyboards, this song is all about Norman’s voice and words.

some say He was an outlaw that He roamed across the land
with a band of unschooled ruffians and a few old fishermen
no one knew just where He came from or exactly what He’d done
but they said it must be something bad that kept Him on the run

Larry Norman The Outlaw

While at a sales conference for The Benson company the sales force was being introduced to music from an upcoming Dana Key (DeGarmo and Key) solo project. One song was going to be a reworking of a DeGarmo and Key song. I commented that having Key re-record a song he had already sung wouldn’t “sound new” to fans and would possibly cause the listener to wonder why Key would need to do a solo album if he was just going to redo previously recorded songs.

Actually I said, “What’s going on a the record company? You guys running out of songs?” But what I really meant was the above. Either way Key went back into the studio and recorded a cover of Norman’s “The Outlaw” and it ended up being the biggest hit from that album.

For some reason, I never got a thank you letter.

“Why Don’t You Look Into Jesus” would be a song that would continue to shock listeners for generations to follow. The blunt discussion included would not even be accepted well today with a more “enlightened” audience. Labeled vulgar, this ong is the primary reason many stores would never carry the album, even decades later.Driven by an amazing blues vibe the song remains one of Norman’s finest and on par with the best of Bob Dylan lyrically.

Sipping whiskey from a paper cup,
You drown your sorrows till you can’t get up,
Take a look at what you’ve done to yourself,
Why don’t you put the bottle back on she shelf,
Yellow fingers from your cigarettes,
Your hands are shaking while your body sweats,
Why don’t you look into Jesus, He’s got the answer.
Gonorrhea on Valentines Day,
And you’re still looking for the perfect lay,
You think rock and roll will set you free,
You’ll be deaf before your thirty three,
Shooting junk till your half insane,
Broken needle in your purple vein,

Why don’t you look into Jesus, he’s got the answer.

Larry Norman – Why Don’t You Look Into Jesus

 

1978 Prolife Pamphlet from Keith Green’s ministry has saved the lives of many babies!!!!

Francis Schaeffer Whatever Happened to the Human Race (Episode 1) ABORTION _____________________________________ 1978 Prolife Pamphlet from Keith Green’s ministry has saved the lives of many babies!!!! Francis Schaeffer “BASIS FOR HUMAN DIGNITY” Whatever…HTTHR Dr. Francis schaeffer – The flow of Materialism(from Part 4 of Whatever happened to human race?) Dr. Francis Schaeffer – The Biblical […]

Tribute to Keith Green who died 32 years ago today!!!

This is a tribute to Keith Green who died 32 years ago today!!! On July 28, 1983 I was sitting by the radio when CBS radio news came on and gave the shocking news that Keith Green had been killed by an airplane crash in Texas with two of his children. 7 months later I […]

“Music Monday” My favorite Christian music artist of all time is Keith Green.

My favorite Christian music artist of all time is Keith Green. Sunday, May 5, 2013 You Are Celled To Go – Keith Green Keith Green – (talks about) Jesus Commands Us To Go! (live) Uploaded on May 26, 2008 Keith Green talks about “Jesus Commands Us To Go!” live at Jesus West Coast ’82 You can find […]

MUSIC MONDAY:Keith Green Story, and the song that sums up his life (Part 10)

To me this song below sums up Keith Green’s life best. 2nd Chapter of Acts – Make My Life A Prayer to You Make my life a prayer to You I want to do what You want me to No empty words and no white lies No token prayers, no compromise I want to shine […]

MUSIC MONDAY:Keith Green Story (Part 9)

Keith Green – Easter Song (live) Uploaded by monum on May 25, 2008 Keith Green performing “Easter Song” live from The Daisy Club — LA (1982) ____________________________ Keith Green was a great song writer and performer.  Here is his story below: The Lord had taken Keith from concerts of 20 or less — to stadiums […]

MUSIC MONDAY:Keith Green Story, includes my favorite song (Part 8)

Keith Green – Asleep In The Light Uploaded by keithyhuntington on Jul 23, 2006 keith green performing Asleep In The Light at Jesus West Coast 1982 __________________________ Keith Green was a great song writer and performer and the video clip above includes my favorite Keith Green song. Here is his story below: “I repent of […]

Keith Green’s article “Grumbling and Complaining–So You Wanna Go Back to Egypt?” (Part 4)

Keith Green – So You Wanna Go Back To Egypt (live) Uploaded by monum on May 25, 2008 Keith Green performing “So You Wanna Go Back To Egypt” live at West Coast 1980 ____________ This song really shows Keith’s humor, but it really has great message. Keith also had a great newsletter that went out […]

Keith Green’s article “Grumbling and Complaining–So You Wanna Go Back to Egypt?” (Part 3)

Keith Green – So You Wanna Go Back To Egypt (live) Uploaded by monum on May 25, 2008 Keith Green performing “So You Wanna Go Back To Egypt” live at West Coast 1980 ____________ This song really shows Keith’s humor, but it really has great message. Keith also had a great newsletter that went out […]

MUSIC MONDAY:Keith Green Story (Part 7)

Keith Green – Your Love Broke Through Here is something I got off the internet and this website has lots of Keith’s great songs: Keith Green: His Music, Ministry, and Legacy My mom hung up the phone and broke into tears. She had just heard the news of Keith Green’s death. I was only ten […]

Keith Green’s article “Grumbling and Complaining–So You Wanna Go Back to Egypt?” (Part 2)

Keith Green – So You Wanna Go Back To Egypt (live) Uploaded by monum on May 25, 2008 Keith Green performing “So You Wanna Go Back To Egypt” live at West Coast 1980 ____________ This song really shows Keith’s humor, but it really has great message. Keith also had a great newsletter that went out […]

GOD’S NOT DEAD 2 is a great movie and shames Liberals by pointing out how MLK Jr’s LETTER FROM A BIRMINGHAM JAIL was based on Bible’s authority!!!!

Last night I went to see the movie GOD’S NOT DEAD 2 and I really enjoyed it.

(Former Arkansas Governor Mike Huckabee seen above)

God’s Not Dead 2 Official Trailer #1 (2016) – Melissa Joan Hart, Jesse Metcalfe Drama HD

Here is the link to this article below:

Gov. Mike Huckabee discusses the many issues raised in God’s Not Dead 2

by KIM FRAULI ·

The film God’s Not Dead was such a surprise hit that the producers were excited about the prospect of a sequel. The result, God’s Not Dead 2, is, as Gov. Mike Huckabee termed it, “like ‘The Godfather 2.’ It’s one of those rare cases where the sequel is better than the first, and I thought the first movie was excellent.” The movie also serves as a wake-up call for Christian and secular viewers alike. As Gov. Huckabee put it, “The secular audience is asked, ‘Is this where you want your country to go?’ I think it is a very powerful, timely movie.” Christian viewers hopefully will be emboldened to take action and stand up for their beliefs should the situation arise.

The film boasts a large cast of notable performers that viewers likely will recognize from their other projects, such as Melissa Joan Hart, Jesse Metcalfe, Pat Boone, Ernie Hudson, Hayley Orrantia, Robin Givens, Sadie Robertson and Maria Canals Barrera, to name a few. Some fan favorites from the first movie returned for the sequel, including The Newsboys. Gov. Huckabee has a cameo appearance in the movie, which he was thrilled to do when the producers approached him. He was a fan of the first movie and also liked that it was being filmed in Little Rock. “I thought it was a terrific screenplay.”

Gov. Huckabee explained that the ripped-from-the-newspapers story means “You don’t have to suspend belief to enjoy the movie; this is something that could be happening right now. It’s a very honest portrayal of what it is like to follow Christ. You may lose and suffer. Quite frankly, I don’t think a lot of Christians are willing to do that. Many tend to wave the white flag of surrender.”

Rev. Dr. Martin Luther King, Jr. and Jesus Christ

In the film, a history teacher (Melissa Joan Hart) is accused of violating a student’s rights by answering that student’s question in class wherein she compared Gandhi and Rev. Dr. Martin Luther King, Jr.’s teachings to that of Jesus. She stands accused of “preaching the gospel” in class, which results in legal proceedings when she refuses to apologize since she does not feel she has committed any wrongdoing. If any viewer thinks this scenario is overly dramatic or far-fetched, pay attention to the closing credits. Although the specifics of the case in the film were fictionalized, the credits run a shockingly long list of actual court cases which inspired the screenplay. Yet, Dr. King was a Christian minister, so does it not stand to reason that his teachings would reflect that of Jesus? The film asks why would it be okay to quote Gandhi or Dr. King, but not Jesus?

“I think that’s one of the most powerful elements of the film,” Huckabee explained. “People like to focus on Dr. King’s civil rights work, but he would correct those people and be the first one to say he was, first and foremost, a preacher of the gospel. I spent hours in seminary studying Dr. King. Look at his letters from the Birmingham jail. Look at his speeches. They are basically all sermons that start off quoting scripture. He took the gospel as Jesus taught it and applied it to human rights. Yet people think they can separate his civil rights work from his Christianity. It’s not possible.”

Below are just a few words from MLK’s famous letter:

LETTER FROM BIRMINGHAM JAIL
April 16, 1963

MY DEAR FELLOW CLERGYMEN:

While confined here in the Birmingham city jail, I came across your recent statement calling my present activities “unwise and untimely.”

…I am in Birmingham because injustice is here. Just as the prophets of the eighth century B.C. left their villages and carried their “thus saith the Lord” far beyond the boundaries of their home towns, and just as the Apostle Paul left his village of Tarsus and carried the gospel of Jesus Christ to the far corners of the Greco-Roman world, so am I compelled to carry the gospel of freedom beyond my own home town. Like Paul, I must constantly respond to the Macedonian call for aid….

Of course, there is nothing new about this kind of civil disobedience. It was evidenced sublimely in the refusal of Shadrach, Meshach and Abednego to obey the laws of Nebuchadnezzar, on the ground that a higher moral law was at stake. It was practiced superbly by the early Christians, who were willing to face hungry lions and the excruciating pain of chopping blocks rather than submit to certain unjust laws of the Roman Empire. To a degree, academic freedom is a reality today because Socrates practiced civil disobedience. In our own nation, the Boston Tea Party represented a massive act of civil disobedience….

(Below is painting of Shadrach, Meshach and Abednego and King Nebuchadnezzar)

But though I was initially disappointed at being categorized as an extremist, as I continued to think about the matter I gradually gained a measure of satisfaction from the label. Was not Jesus an extremist for love: “Love your enemies, bless them that curse you, do good to them that hate you, and pray for them which despitefully use you, and persecute you.” Was not Amos an extremist for justice: “Let justice roll down like waters and righteousness like an ever-flowing stream.” Was not Paul an extremist for the Christian gospel: “I bear in my body the marks of the Lord Jesus.” Was not Martin Luther an extremist: “Here I stand; I cannot do otherwise, so help me God.” And John Bunyan: “I will stay in jail to the end of my days before I make a butchery of my conscience.” And Abraham Lincoln: “This nation cannot survive half slave and half free.” And Thomas Jefferson: “We hold these truths to be self-evident, that all men are created equal …” So the question is not whether we will be extremists, but what kind of extremists we will be. Will we be extremists for hate or for love? Will we be extremists for the preservation of injustice or for the extension of justice? In that dramatic scene on Calvary’s hill three men were crucified. We must never forget that all three were crucified for the same crime—the crime of extremism. Two were extremists for immorality, and thus fell below their environment. The other, Jesus Christ, was an extremist for love, truth and goodness, and thereby rose above his environment. Perhaps the South, the nation and the world are in dire need of creative extremists….

I hope this letter finds you strong in the faith. I also hope that circumstances will soon make it possible for me to meet each of you, not as an integrationist or a civil rights leader but as a fellow clergyman and a Christian brother. Let us all hope that the dark clouds of racial prejudice will soon pass away and the deep fog of misunderstanding will be lifted from our fear-drenched communities, and in some not too distant tomorrow the radiant stars of love and brotherhood will shine over our great nation with all their scintillating beauty.

Yours for the cause of Peace and Brotherhood,

Martin Luther King, Jr.

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__

MUSIC MONDAY Christian Rock Pioneer Larry Norman’s Songs Part 12

Christian Rock Pioneer Larry Norman’s Songs Part 12

I posted a lot in the past about my favorite Christian musicians such as Keith Green (I enjoyed reading Green’s monthly publications too), and 2nd Chapter of Acts and others. Today I wanted to talk about one of Larry Norman’s songs. David Rogers introduced me to Larry Norman’s music in the 1970’s and his album IN ANOTHER LAND came out in 1976 and sold an enormous amount of copies for a Christian record back then.

 

1. Only Visiting This Planet – Larry Norman

ONLY VISITING THIS PLANET

Larry Norman

Prophet…scoundrel…poet…thief…comedian…clown…rock star…fallen star…

A living, breathing contradiction in terms, Larry Norman passed away on February 24th, 2008 at the age of 60. I attended the funeral, arriving late and “listening” to it from outside the doors of a Church near Salem, Or.

*          *          *          *

Larry Norman: “Song For A Small Circle Of Friends” Music Video*

As with the Stonehill review I will not dwell on that part of the story. There have been plenty of others that have written extensively on the subject. But I do want to note the opening line of this review and reinforce that those things which have  made Norman such an important and lasting figure in Christian music are not only the positives but the negatives as well.

His life would be filled with failed marriages and friendships. No artist ever recorded more than two albums with Norman and most left frustrated, jaded and angry. The rift between Stonehill and Norman lasted decades and much has been written on this and a controversial and decidedly one-sided documentary, “Fallen Angel” has been produced. Anyone with the interest and an internet connection can research the gory details I will avoid here. My point is that his life was both wonderful and tragic and both cannot be denied.

This album would prove to be a major influence on many young people and future Christian musicians. The honesty, well produced rock would break down many doors currently boarded shut. Though not a “heavy” record musically it still contained a serious rock vibe and socially significant content.

The following nationally album is what many, the present writer included, spelled the end or Norman’s artistic zenith. “Something New Under the Son” could really be considered a 4th album in the series, but “trilogy” just sounds more artistically satisfying. Also released on Solid Rock and distributed by Word records, the album would serve as the “heaviest” of Norman’s studio releases. This is a blues record through and through. Although recorded in 1977 it would also not see the light of day until 1981. This too would become a common problem of Norman’s both for himself and for the artists he was associated with, most notable Randy Stonehill and Daniel Amos.

It should be noted that there were several releases between “In Another Land” and “Something New” but were either generally unavailable (Starstrom), parody albums (Streams of White Light) or live albums (Israel Tapes and Roll Away the Stone). In fact “Israel Tapes” was recorded several years earlier (1975). Another album was a single that expanded into an album called “The Tune.”

 

Larry Norman – The Tune Jesus Fest 8-13-1983

 

This would also begin a frustrating history of Norman releasing poorly recorded live albums and albums of re-hashed demos, reworked song and compilations under different names. “Something New” would also mark the end of Norman’s national distribution agreements and all but one release would be exclusive to Norman’s Solid Rock or Phydeaux labels, primarily through mail order. I could discuss a majority of those albums but I’m not sure wordpress has enough bandwith.

“Something New” is often overlooked and that is a shame. As mentioned above, the album is a lesson in blues writing. Nearly every song would be considered a blues tune and Norman excels here. “Born to Be Unlucky” just flat-out rocks and Jon Linn gets to show off here. “Watch What You’re Doing” is hysterical and remained a Norman live favorite for years to come. Linn’s guitar and Norman’s harmonica trade-off some amazingly aggressive riffs.

Norman, who apparently had a lot of nightmares, recorded three songs with a numbered “Nightmare” title, but the best one is here. But the song that steals the show is the closing rocking romp, “Let The Tape Keep Rolling.” Though he would write several songs “reinventing” his history, this would be the best one and serve as a great lesson in how to write a great rockin’ blues song!

Norman would spend the 1980’s releasing two albums a year, though most would be poorly recorded live albums, anthologies and rehashed “favorites” with different arrangements and differing results in quality. There are a couple albums of note though.

“Letter of the Law” and “Labor of Love” would both be pretty decent pop rock records and probably deserved some national distribution. These were studio projects that contained several quality Norman tracks. I was able to obtain “test pressings” of those two albums and convince KYMS to play a few of the songs. they became pretty good hits and I contacted Larry to carry them at my store. Eventually a few independent distribution companies picked up the albums. Several of those songs would eventually be released on the album “Quiet Night” under the name Larry Norman and the Young Lions. One stand out is a cover of the late Tom Howard’s “Shine Your Light.”

Two last albums I wanted to point out are “Home at Last” and “Stranded in Babylon.” The first album was originally released by Norman as double album, but the Benson Company worked out a deal to create of single album release of what was felt were the best songs. This would mark the first time in a decade that Norman’s music would receive national distribution from a major Christian Record company. It would also mark the first album of primarily all new material during that same time period. It was also one of the first albums to be released on CD.

The album would be uneven, but it was hoped that it would bring Norman back into the public’s mind. It really never accomplished it as Christian radio was lukewarm and the buyers of Christian music were a whole new generation of people primarily unfamiliar with Norman.

“Stranded” was probably Norman’s best work after “Something New” and is worth picking up. Produced by his brother Charly, it marked a return to both social commentary as well as spiritual themes. Most importantly it showed Norman could still write new music that was powerful and compelling and that he could still rock. “God Part 3″ is worth the price of admission! Lacking any real quality distribution it too went mostly unnoticed.

Norman’s music and ministry would influence probably the widest variety of musicians of any other Christian artists. Fans include the previously mentioned Paul McCartney, Cliff Richard, Van Morrison, John Mellancamp, Pete Townsend, U2, the Pixies and Sarah Brendel. There have been over 300 covers of Norman’s songs recorded included even by the likes of Sammy Davis Jr.

 

LARRY NORMAN AND CLIFF RICHARD (RARE)

In Christian Music the list of artists who are fans would be too long to mention. He influenced everyone from Geoff Moore to DC Talk. There have been two tribute albums to Norman, including a “dance remix” compilation called “Remix This Planet.”

 

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MUSIC MONDAY Christian Rock Pioneer Larry Norman’s Songs Part 11

Christian Rock Pioneer Larry Norman’s Songs Part 11

I posted a lot in the past about my favorite Christian musicians such as Keith Green (I enjoyed reading Green’s monthly publications too), and 2nd Chapter of Acts and others. Today I wanted to talk about one of Larry Norman’s songs. David Rogers introduced me to Larry Norman’s music in the 1970’s and his album IN ANOTHER LAND came out in 1976 and sold an enormous amount of copies for a Christian record back then.

 

1. Only Visiting This Planet – Larry Norman

ONLY VISITING THIS PLANET

Larry Norman

Prophet…scoundrel…poet…thief…comedian…clown…rock star…fallen star…

A living, breathing contradiction in terms, Larry Norman passed away on February 24th, 2008 at the age of 60. I attended the funeral, arriving late and “listening” to it from outside the doors of a Church near Salem, Or.

*          *          *          *

UFO, The Sun Began to Rain, Six Sixty Six, One Way and Hymn to the Last generation would continue Norman’s popular “Second Coming” theme complete with Beast, Antichrist and Rapture.The reworked “Why Don’t You Look Into Jesus” edits out the references to sex and sexually transmitted diseases the original included in 1972. “Righteous Rocker #3″ is a very short (chorus only) a capella reworking of the song from “Only Visiting This Planet.” I heard once that a second version was supposedly removed from “So Long Ago the Garden.”

Larry Norman – 1983 – UFO

 

Six Sixty-Six – Larry Norman

“Shot Down” would prove to be his defense against detractor who believed he had forsaken the Gospel message on the previous album.

I’ve been shot down, talked about
Some people scandalize my name,
But here I am, talkin’ ’bout Jesus just the same.

I’ve been knocked down, kicked around
But like a moth drawn to the flame,
Here I am, talkin’ ’bout Jesus just the same.

I’ve been rebuked for the things I’ve said,
For the songs I’ve written and the life I’ve led.
They say they don’t understand me, well I’m not surprised,
Because you can’t see nothing when you close your eyes.

The album does credit Dudley on piano and John Michael Talbot on Banjo. But I wanted to note here that much of Norman and even Stonehill’s early work was greatly enhanced by guitarist Jon Linn. His work is much unheralded and he deserved much more respect. I know little about Jon but did read that he had passed away in the late 80’s or early 90’s.

One last song point out is “Song For a Small Circle of Friends.” The song is a list of artists the Norman counted as acquaintances and friends. It served as an evangelical call to these musicians.

With Clapton on guitar, and Charlie on the drums.
McCartney on the Hoffner bass with blisters on his thumbs.

Dear Bobby watch your fears all hide
And disappear while love inside starts growing,
You’re older but less colder
Than the jokes and folks you spent your childhood snowing.

And someone died for all your friends
But even better yet, he lives again.
And if this song does not make sense to you,
I hope His spirit slips on through, He loves you.

One stinging verse in hindsight is in regards to then good friend Randy Stonehill.

And love to you sir Stonehill,
Armed with your axe full gallop on your amp.
You’re crazy and you know it,
But I love you as we both crawl toward the lamp

 

 

1978 Prolife Pamphlet from Keith Green’s ministry has saved the lives of many babies!!!!

Francis Schaeffer Whatever Happened to the Human Race (Episode 1) ABORTION _____________________________________ 1978 Prolife Pamphlet from Keith Green’s ministry has saved the lives of many babies!!!! Francis Schaeffer “BASIS FOR HUMAN DIGNITY” Whatever…HTTHR Dr. Francis schaeffer – The flow of Materialism(from Part 4 of Whatever happened to human race?) Dr. Francis Schaeffer – The Biblical […]

Tribute to Keith Green who died 32 years ago today!!!

This is a tribute to Keith Green who died 32 years ago today!!! On July 28, 1983 I was sitting by the radio when CBS radio news came on and gave the shocking news that Keith Green had been killed by an airplane crash in Texas with two of his children. 7 months later I […]

“Music Monday” My favorite Christian music artist of all time is Keith Green.

My favorite Christian music artist of all time is Keith Green. Sunday, May 5, 2013 You Are Celled To Go – Keith Green Keith Green – (talks about) Jesus Commands Us To Go! (live) Uploaded on May 26, 2008 Keith Green talks about “Jesus Commands Us To Go!” live at Jesus West Coast ’82 You can find […]

MUSIC MONDAY:Keith Green Story, and the song that sums up his life (Part 10)

To me this song below sums up Keith Green’s life best. 2nd Chapter of Acts – Make My Life A Prayer to You Make my life a prayer to You I want to do what You want me to No empty words and no white lies No token prayers, no compromise I want to shine […]

MUSIC MONDAY:Keith Green Story (Part 9)

Keith Green – Easter Song (live) Uploaded by monum on May 25, 2008 Keith Green performing “Easter Song” live from The Daisy Club — LA (1982) ____________________________ Keith Green was a great song writer and performer.  Here is his story below: The Lord had taken Keith from concerts of 20 or less — to stadiums […]

MUSIC MONDAY:Keith Green Story, includes my favorite song (Part 8)

Keith Green – Asleep In The Light Uploaded by keithyhuntington on Jul 23, 2006 keith green performing Asleep In The Light at Jesus West Coast 1982 __________________________ Keith Green was a great song writer and performer and the video clip above includes my favorite Keith Green song. Here is his story below: “I repent of […]

Keith Green’s article “Grumbling and Complaining–So You Wanna Go Back to Egypt?” (Part 4)

Keith Green – So You Wanna Go Back To Egypt (live) Uploaded by monum on May 25, 2008 Keith Green performing “So You Wanna Go Back To Egypt” live at West Coast 1980 ____________ This song really shows Keith’s humor, but it really has great message. Keith also had a great newsletter that went out […]

Keith Green’s article “Grumbling and Complaining–So You Wanna Go Back to Egypt?” (Part 3)

Keith Green – So You Wanna Go Back To Egypt (live) Uploaded by monum on May 25, 2008 Keith Green performing “So You Wanna Go Back To Egypt” live at West Coast 1980 ____________ This song really shows Keith’s humor, but it really has great message. Keith also had a great newsletter that went out […]

MUSIC MONDAY:Keith Green Story (Part 7)

Keith Green – Your Love Broke Through Here is something I got off the internet and this website has lots of Keith’s great songs: Keith Green: His Music, Ministry, and Legacy My mom hung up the phone and broke into tears. She had just heard the news of Keith Green’s death. I was only ten […]

Keith Green’s article “Grumbling and Complaining–So You Wanna Go Back to Egypt?” (Part 2)

Keith Green – So You Wanna Go Back To Egypt (live) Uploaded by monum on May 25, 2008 Keith Green performing “So You Wanna Go Back To Egypt” live at West Coast 1980 ____________ This song really shows Keith’s humor, but it really has great message. Keith also had a great newsletter that went out […]

MUSIC MONDAY Christian Rock Pioneer Larry Norman’s Songs Part 10 more on Album “Only Visiting This Planet”

Christian Rock Pioneer Larry Norman’s Songs Part 10 more on Album “Only Visiting This Planet”

I posted a lot in the past about my favorite Christian musicians such as Keith Green (I enjoyed reading Green’s monthly publications too), and 2nd Chapter of Acts and others. Today I wanted to talk about one of Larry Norman’s songs. David Rogers introduced me to Larry Norman’s music in the 1970’s and his album IN ANOTHER LAND came out in 1976 and sold an enormous amount of copies for a Christian record back then.

 

1. Only Visiting This Planet – Larry Norman

ONLY VISITING THIS PLANET

Larry Norman

Prophet…scoundrel…poet…thief…comedian…clown…rock star…fallen star…

A living, breathing contradiction in terms, Larry Norman passed away on February 24th, 2008 at the age of 60. I attended the funeral, arriving late and “listening” to it from outside the doors of a Church near Salem, Or.

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Also included on this album would be the first version of the song that would define both him and the Jesus Movement for all time, “I Wish We’d All Been Ready.” The song would be covered an inordinate number of time, not only by other artists but by Norman himself, appearing on more than just a handful of albums that would follow.

The Jesus Movement had a focal point of its ministry the idea of the soon coming secret Rapture of the Church. Theologians CI Scofield and Louis Sperry Chafer were primary influences as well as the Latter Rain Movement, a Pentecostal movement that emerge after World War ll that taught that the return of the outpouring of the Holy Spirit in Charismatic “gift” experiences would be a sign of the end times. Evangelist and “hippie prophet” Lonnie Frisbee would also play a major in the burgeoning musical genre.

The above coupled with the growing popularity of the unique “Dispensational” position on eschatology, the “Secret Rapture” was a major component of the Jesus Music and his rapture-ready song became the movements anthem. The song would even play a major role in the popular evangelical movie, “A Thief In the Night.”

Normans’ music and appearance would not play well in mainstream Christian circles that still argued that drums were inherently evil and the use of modern musical styles violated God’s ordinance. there is no doubt there was also a racial component to this issue as well. Norman’s music was heavily influenced not only by modern folk and rock of the time, but by Black Gospel music as well.

It would be the last nationally distributed album for Norman until the release of “Only Visiting This Planet” in 1972. In the years in between he would record and release two independent projects called “Street Level” and “Bootleg.” Both would feature grainy, underground looking black and white artwork. Both would also be “double albums” mixing live concert recording, studio demos of previously unreleased songs and future classics.

These albums would also reveal the smart and piercing humor Norman would always be noted for. Norman concerts were part rock and roll show, part revival meeting and part stand up comedy. This facet of his life and ministry would be introduced on these two albums. One section from “Bootleg” in particular really shines as he addressed the National Youth Workers of America Conference introducing “Sweet Sweet Song of Salvation.”

Larry Norman- Sweet Sweet Song of Salvation

Several songs from the two “independent” releases would find their way on to what is known as the “The Trilogy.” The Trilogy of albums include Only Visiting This Planet, So Long Ago the Garden and In Another Land. Though recognized as a trilogy of records Norman only stated that they were informally created to deal with the present, past and future (respectively) with each album focusing on one of those topics.

Norman had left Capitol after “Upon This Rock” and singed with MGM to release “Only Visiting This Planet” as well as the following album, 1973’s “So Long Ago the Garden.” On both albums he received production help from George Martin, the famed producer of the The Beatles.  Norman stated that he had previously met Paul McCartney and that Paul had tracked him down to talk about his music. This is interesting as we will discuss when we talk about “Only Visiting This Planet.”

The album was decidedly more “secular” in content than any of Norman’s other releases. But much of the controversy in Christian circles came from the original cover (pictured above) because many argued the picture of the lion in the field superimposed onto Norman’s body was an attempt to cover the fact that Norman is naked in the cover as his navel is clearly visible. The later cover (below) would be cropped at a much higher point.

But it is true that the content was not as blatantly spiritual as other Norman releases. This may have caused him to not perform those songs as often in concert, which in turn may have impacted the general longevity of many of the songs. Mus9ically the album was very “current” for the time and flawlessly produced. Martin brought in the same “mellotron” keyboard used on the Beatles, “Strawberry Fields Forever” to use on the song, “Lonely By Myself.” There is a story that while recording the album in one studio Paul McCartney was in the adjoining studio recording “Live and Let Die.”

The album combined Norman’s penchant for 60’s blues, 50’s pop vocals and current social commentary to create a true classic worthy of more attention than it ever really received. Highlights include Fly, Fly, Fly, Be Careful What You Sing, Baroquen Spirits, Nightmare #71 and the haunting beautiful, “She’s a Dancer.” One interesting note is the “cover” of “Christmastime.” The song originally appeared on Randy Stonehill’s “Born Twice” album and is credited as being written by Stonehill. On this album the songwriting credit is given to Norman.

In response to many critics that he had “sold out” his Gospel message on the previous album, Norman followed up with “In Another Land.” It would take nearly three years to record and release this album that ranks a VERY close second in the list of great Larry Norman albums. This album would be released on Norman’s Solid Rock label and receive distribution by Word records in 1975.

“In Another Land” would mark the first nationally distributed “Christian” album for Norman and would also mark the on again, off again love/hate relationship Norman would have with the Christian music industry and, in turn, the industry would have with him. Consider that despite his in arguable multiple contributions to the industry he was not inducted into the Gospel Music Hall of Fame until 2001.

The album was not free of controversy despite its very evangelical content. The first and most obvious issue was the unseemly longhair he sported, which in 1975 was simply unacceptable at the time. The cover also received complaints because Norman’s thumbs are supposedly switched with the right thumb on the left hand and vice versa, and that, it is claimed, is some sort of Satanic imagery.

SERIOUSLY!

“In Another Land” would contain many of Norman’s classics that would remain favorites for all time. The production is stellar and the use of limited spacing between songs keeps the record moving in non-stop fashion. Highlights would literally include the entire album! But I will note some interesting points.

The cover of Stonehill’s “I Love You” in a little odd since the only line from Stonehill’s original from “Born Twice” is the first line of the song. “The Rock That Doesn’t Roll” continues the theme of “Why Should the Devil Have All the Good Music” and would inspire countless musical defenses of Christian Rock. But rather than being a song about Christian Rock it is simply a play on words to describe Jesus. It is also the song that contains the lyric the album titles is based on.

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larry norman – the rock that doesnt roll

 

1978 Prolife Pamphlet from Keith Green’s ministry has saved the lives of many babies!!!!

Francis Schaeffer Whatever Happened to the Human Race (Episode 1) ABORTION _____________________________________ 1978 Prolife Pamphlet from Keith Green’s ministry has saved the lives of many babies!!!! Francis Schaeffer “BASIS FOR HUMAN DIGNITY” Whatever…HTTHR Dr. Francis schaeffer – The flow of Materialism(from Part 4 of Whatever happened to human race?) Dr. Francis Schaeffer – The Biblical […]

Tribute to Keith Green who died 32 years ago today!!!

This is a tribute to Keith Green who died 32 years ago today!!! On July 28, 1983 I was sitting by the radio when CBS radio news came on and gave the shocking news that Keith Green had been killed by an airplane crash in Texas with two of his children. 7 months later I […]

“Music Monday” My favorite Christian music artist of all time is Keith Green.

My favorite Christian music artist of all time is Keith Green. Sunday, May 5, 2013 You Are Celled To Go – Keith Green Keith Green – (talks about) Jesus Commands Us To Go! (live) Uploaded on May 26, 2008 Keith Green talks about “Jesus Commands Us To Go!” live at Jesus West Coast ’82 You can find […]

MUSIC MONDAY:Keith Green Story, and the song that sums up his life (Part 10)

To me this song below sums up Keith Green’s life best. 2nd Chapter of Acts – Make My Life A Prayer to You Make my life a prayer to You I want to do what You want me to No empty words and no white lies No token prayers, no compromise I want to shine […]

MUSIC MONDAY:Keith Green Story (Part 9)

Keith Green – Easter Song (live) Uploaded by monum on May 25, 2008 Keith Green performing “Easter Song” live from The Daisy Club — LA (1982) ____________________________ Keith Green was a great song writer and performer.  Here is his story below: The Lord had taken Keith from concerts of 20 or less — to stadiums […]

MUSIC MONDAY:Keith Green Story, includes my favorite song (Part 8)

Keith Green – Asleep In The Light Uploaded by keithyhuntington on Jul 23, 2006 keith green performing Asleep In The Light at Jesus West Coast 1982 __________________________ Keith Green was a great song writer and performer and the video clip above includes my favorite Keith Green song. Here is his story below: “I repent of […]

Keith Green’s article “Grumbling and Complaining–So You Wanna Go Back to Egypt?” (Part 4)

Keith Green – So You Wanna Go Back To Egypt (live) Uploaded by monum on May 25, 2008 Keith Green performing “So You Wanna Go Back To Egypt” live at West Coast 1980 ____________ This song really shows Keith’s humor, but it really has great message. Keith also had a great newsletter that went out […]

Keith Green’s article “Grumbling and Complaining–So You Wanna Go Back to Egypt?” (Part 3)

Keith Green – So You Wanna Go Back To Egypt (live) Uploaded by monum on May 25, 2008 Keith Green performing “So You Wanna Go Back To Egypt” live at West Coast 1980 ____________ This song really shows Keith’s humor, but it really has great message. Keith also had a great newsletter that went out […]

MUSIC MONDAY:Keith Green Story (Part 7)

Keith Green – Your Love Broke Through Here is something I got off the internet and this website has lots of Keith’s great songs: Keith Green: His Music, Ministry, and Legacy My mom hung up the phone and broke into tears. She had just heard the news of Keith Green’s death. I was only ten […]

Keith Green’s article “Grumbling and Complaining–So You Wanna Go Back to Egypt?” (Part 2)

Keith Green – So You Wanna Go Back To Egypt (live) Uploaded by monum on May 25, 2008 Keith Green performing “So You Wanna Go Back To Egypt” live at West Coast 1980 ____________ This song really shows Keith’s humor, but it really has great message. Keith also had a great newsletter that went out […]

FRANCIS SCHAEFFER ANALYZES ART AND CULTURE PART 104 A look at the BEATLES as featured in 7th episode of Francis Schaeffer film HOW SHOULD WE THEN LIVE? Part B “The church with its liberal theology has left a vacuum.” The Fab Four were victims of religious liberalism and as a result were constantly searching for values!! (Artist featured today is Richard Hamilton)

 

Sadly the Beatles were involved in a liberal church that had left historic Biblical truth behind and as a result they were left searching for  meaning and values and this can be seen clearly throughout their lives and music.

(John Lennon as a child below)

Wikipedia asserts, “Lennon attended St. Peter’s Anglican church. He sang in the choir, attended Sunday School and joined the Bible Class. He was confirmed at the age of fifteen of his own free will.[3]

(In the picture below Paul McCartney (top left) pictured in 1952 auditioning to become a choir boy)

On ST PETER’S ANGLICAN CHURCH’S website you will find this picture and words:

Beatles meeting

The Beatles Connection

“Almost certainly the most important meeting in popular music history” is how the first meeting of John Lennon and Paul McCartney has recently been described…
_____________________

Wikipedia notes, On 6 July 1957, John Lennon first met Paul McCartney in the church hall of ST PETER’S ANGLICAN CHURCH in Liverpool when Lennon was playing with his group, The Quarrymen. Later McCartney joined the group, which later became The Beatles. In the churchyard of St Peter’s is the grave of Eleanor Rigby, who became the subject for one of The Beatles’ songs. Also in the churchyard is the grave of Lennon’s uncle, George Toogood Smith, with whom he lived as a child.[4]

ST PETER’S ANGLICAN CHURCH’S Churchyard pictured below with the famous ELEANOR RIGBY gravestone:

 

Eleanor Rigby-The Beatles

 

The Quarrymen performing in Rosebery Street, Liverpool on 22 June 1957. [1] (Left to right: Hanton, Griffiths, Lennon, Garry, Shotton, and Davis)

Francis Schaeffer pictured below:

 

Francis Schaeffer noted, “The church is to blame because the church with its liberal theology has left a vacuum.” In other words, many churches such as  ST PETER’S ANGLICAN CHURCH in Liverpool left their previous belief that the Bible is historical correct and is trustworthy and they no longer looked at the Bible as their ultimate authority in all of life. HOWEVER, NOT ALL ANGLICAN CHURCHS HAVE EMBRACED HUMANISM AND RELIGIOUS LIBERALISM.  Back in the 1970’s I read the book “Basic Christianity” by John Stott, longtime rector (pastor) of All Souls Church, Langham Place, in London. While in London in 1979 I had the opportunity to attend a Tuesday evening prayer meeting where there were about 40 people and I got to hear John Stott speak. I was so thrilled to get to hear him speak in person.

John Stott attended his local church, All Souls, Langham Place (www.allsouls.org) in London’s West End, since he was a small boy. Indeed one of his earliest memories is of sitting in the gallery and dropping paper pellets onto the fashionable hats of the ladies below! Following his ordination in 1945 John Stott became assistant curate at All Souls and then, unusually, was appointed rector in 1950. He became rector emeritus in 1975, a position he held to the end of his life.

“Sergeant Pepper’s Lonely Hearts Club Band, became the rallying cry for young people throughout the world. It expressed the essence of their lives, thoughts and their feelings…” Francis Schaeffer (1912-1984). We take a look today at how the Beatles were featured in Schaeffer’s film.

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The Beatles – In my Life

Published on Feb 25, 2011

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Here Comes The Sun – The Beatles Tribute

Not sung by George but good nonetheless!!

Francis Schaeffer’s favorite album was SGT. PEPPER”S and he said of the album “Sergeant Pepper’s Lonely Hearts Club Band…for a time it became the rallying cry for young people throughout the world. It expressed the essence of their lives, thoughts and their feelings.”  (at the 14 minute point in episode 7 of HOW SHOULD WE THEN LIVE? ) 

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How Should We Then Live – Episode Seven – 07 – Portuguese Subtitles

Francis Schaeffer

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The Beatles – Revolution

Published on Oct 20, 2015

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The drug culture and the mentality that went with it had it’s own vehicle that crossed the frontiers of the world which were otherwise almost impassible by other means of communication. This record,  Sergeant Pepper’s Lonely Hearts Club Band, became the rallying cry for young people throughout the world. It expressed the essence of their lives, thoughts and their feelings. Later came psychedelic rock an attempt to find this experience without drugs. The younger people and the older ones tried drug taking but then turned to the eastern religions. Both drugs and the eastern religions seek truth inside one’s own head, a negation of reason. The central reason of the popularity of eastern religions in the west is a hope for a non-rational meaning to life and values. 

Francis Schaeffer below is holding the album Beatles’ album SGT PEP in the film series HOW SHOULD WE THEN LIVE? episode 7 “The Age of Non-Reason” in which he discusses the Beatles’ 1960’s generation and their search for meanings and values!

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One must feel as a Christian a real sorry for these people but as far as the blame is concerned we must understand that these people who have turned to this are not to  blame, they must bear their kind of blame of individual choices but basically they are not to blame. The church is to blame because the church with its liberal theology has left a vacuum. Man beginning from himself alone was not expressed and taught in theology and in theological language. In the Renaissance men had attempted to mix Aristotle and Plato with Christianity. This attempt to combine the rationalism of the Enlightenment with Christianity is often called religious liberalism. It was embarrassed by the supernatural and often denied it entirely, for example, the resurrection of Christ from the dead. But it tried to hold on to a historical Jesus by sifting out from the New Testament all those supernatural elements which the New Testament taught about Jesus. 

(TIME Magazine Cover: Albert Schweitzer — July 11, 1949)

This attempt came to a climax with Albert Schweitzer’s famous book THE QUEST OF THE HISTORICAL JESUS. It failed. It failed to rid the New Testament account of the supernatural and still keep a historic Christ. The historic Jesus could not be separated from the supernatural events connected with him in New Testament. History and the supernatural are too interwoven in the New Testament. If one kept any of the historical Jesus, One had to keep some of the supernatural. If one got rid of all of the supernatural, one had no historical Jesus. 

We should remember Schweitzer’s humanitarianism in Africa, his genius as an organist and his expertise concerning Bach, but unhappily we must remember his place in the theological stream as well.

(Karl Barth pictured below)

After the failure of the older theological liberalism  Karl Barth stepped into the vacuum. He held the higher  critical views concerning the Bible, that is that the Bible has many mistakes but he taught that a religious word could break through from it. This was the theological form of existentialism after existentialism had been accepted in its secular form. One more thing was added in the area of non-reason along with all the other things that had been put there. In another way we must have admiration for the Swiss Karl Barth because when he was teaching in Germany he spoke out clearly against Nazism in his Barmen Declaration of 1934 . 

(TIME Magazine Cover: Karl Barth — Apr. 20, 1962)

The teaching of Barth led to those theologians who  said that the Bible isn’t true in the areas of science and history but they nevertheless looked for a religious experience from it, and for adherents of this theology the Bible does not give absolutes in regard to what is right or wrong either.

Before you even come to the Bible and begin to read it one must realize there are 2 ways to read the Bible. One is just one more religious thing among thousands of other religious is nothing more than another form of a trip, not very, very different actually from a drug trip. The other way is to understand that the Bible is truth and as such what we are listening to is something that is completely contrary to what here about us on every side namely merely statistical averages, relativistic things. Now having said this then I would have to guard myself for the simple reason that it doesn’t mean a person has to believe all of this before he can begin to read the Bible and find truth in the Bible.

I would just say in just passing I was not raised in a Christian family and I was reading much philosophy when I was a young man and I didn’t read the Bible because I believed it was true. I read it simply out of an intellectual honesty, but I did do one thing. I read it exactly as it was written beginning with Genesis 1:1 and going right on, I read it just as I would read another book expecting what was being given was a straight forward statement of what was meant and it wasn’t supposed to be read on a different level than that I would read in another kind of book. As I read it, it answered the questions already at that time I realized that humanistic philosophy couldn’t answer and over a six month period I came to conclude it was truth. Nevertheless, we must keep in the back of our mind how are we reading the Bible, just as another religious trip or am I really wrestling with the question of what is given in all the areas in which it speaks. Is it truth in comparison to merely relativism?

All Souls Church, Langham Place

From Wikipedia, the free encyclopedia
All Souls Church, Langham Place

All Souls’ Church
Country United Kingdom
Denomination Church of England
Churchmanship Evangelical
Website www.allsouls.org
Architecture
Architect(s) John Nash
Administration
Diocese Diocese of London
Clergy
Rector Hugh Palmer
Laity
Churchwarden(s) Martin Mills
Louise Gibson

All Souls Church is an Anglican Evangelical church in central London, situated in Langham Place in Marylebone, at the north end of Regent Street. It was designed by John Nash and consecrated in 1824.

As it is very near BBC Broadcasting House, the BBC often broadcasts from the church. As well as the core church membership, many hundreds of visitors come to All Souls, bringing the average number of those coming through the doors for services on Sundays to around 2,500 every week. All Souls has an international congregation, with all ages represented.

History[edit]

The church was designed by John Nash, favourite architect of King George IV. Its prominent circular spired vestibule was designed to provide an eye-catching monument at the point where Regent Street, newly-laid out as part of Nash’s scheme to link Piccadilly with the new Regent’s Park, takes an awkward abrupt bend westward to align with the pre-existing Portland Place.[1]

All Souls was a Commissioners’ church, a grant of £12,819 (£1,010,000 in 2016)[2] being given by the Church Building Commission towards the cost of its construction.[3] The commission had been set up under an act of 1818, and Nash, as one of the three architects employed by the Board of Works, had been asked to supply specimen designs as soon as the act was passed.[4] It was, however, one of only two Commissioners’ churches to be built to his designs, the other being the Gothic Revival St Mary, Haggerston.[5] All Souls is the last surviving church by John Nash.

The building was completed in December 1823 at a final cost of £18,323 10s 5d. and was consecrated the following year by the Bishop of London.

Photo:Interior Bomb Damage to All Souls Dec 8, 1940

Crown Appointment[edit]

The Rector of All Souls Church is still appointed by the Crown Appointments Commission at 10 Downing Street. The links with the Crown date back to the time of George IV when the Crown acquired the land around the church. The Coat of Arms adorns the West Gallery.

Mid-1970s building project[edit]

In the early 1970s excavations were carried out at All Souls and when it was discovered that the foundations to the church were some 13 feet deep, the church undertook a massive building project under the supervision of then rector, Michael Baughen (who later became Bishop of Chester, before returning to the London diocese to become an honorary assistant bishop). The decision was taken to embark on this work, to facilitate having a hall area underneath the church for the congregation and visitors to meet together after services and during the week. At the same time, the opportunity was taken to restructure the interior of the church to make it more suitable for present day forms of worship.

Organ and music[edit]

All Souls is well known for its musical tradition and part of this includes the Hunter organ installed in the west gallery in a Spanish mahogany case designed by Nash. The case was enlarged and extended in 1913. In 1940, anticipating war damage to the church, the instrument was dismantled and stored, then remodelled and rebuilt in 1951 with a new rotatable electric manual and pedal console situated in the chancel by the firm of Henry Willis (IV). The organ was again rebuilt, by Harrison & Harrison, during the building project of 1975–1976, when a four-manual was added, plus a positive division and a pronounced fanfare-trumpet en-chamade.[7]

Musical worship mixes contemporary and traditional styles, featuring either the church’s worship band, orchestra, singing group or choir at all regular Sunday services. In 1972 the All Souls Orchestra was founded by the current Director of Music, Noël Tredinnick, and has accompanied Sir Cliff Richard, Stuart Townend and many other notable Christian artists. The Orchestra and a massed choir perform annually at the Royal Albert Hall for the All Souls “Prom Praise” concert, which also tours across the UK and internationally. “Prom Praise for Schools” is sometimes held alongside Prom Praise, providing children from across the Diocese of London the chance to sing with the All Souls Orchestra. In 2012, the All Souls Orchestra celebrated its 40th anniversary, alongside special guests including Graham Kendrick, Keith and Kristyn Getty and Jonathan Veira. Tredinnick is known for his own accomplished musicianship, his engaging and inclusive style of leading and directing the regular large congregations.[citation needed]

Worship[edit]

All Souls celebrates four services each Sunday, with an early morning Holy Communion service at 8:00 am, followed by two other services at 9:30 am and 11:30 am and an evening service at 6:30 pm. There is also a midweek service on Thursdays during term time at 1:05 pm.

Sermons from Sunday services are uploaded for free streaming and download by the following Monday afternoon. The archive now contains over 3,000 sermons.

Clergy[edit]

All Souls Church interior as viewed from the balcony

The current rector is the Revd Hugh Palmer, who, as of July 2012, is also a chaplain to the queen.[8] Other clergy staff include Rico Tice, who has developed theChristianity Explored course (an introduction to Christian beliefs based on the Gospel of Mark), Roger Salisbury, Dan Wells and Mark Meynell. As a reflection of the huge diversity of the church’s congregation (over 60 nationalities represented amongst the c2500 present on Sundays), the staff team has gradually become more international (Kenya, the United States, Canada, South Africa, New Zealand, Sweden, Germany, Hungary, Korea and Ireland amongst others).

The church’s most famous former cleric was John Stott CBE, who was associated with All Souls for his entire ministry and virtually all his life. The author of more than 50 Christian books, Stott was regarded as one of the most important theologians and leaders within the evangelical movement during the 20th century.[9] Stott was acurate at All Souls from 1945-1950 and rector from 1950-1975. He resigned as rector in 1975 to pursue his wider ministry, but maintained his involvement with the church and was given the title of Rector Emeritus, which he held until his death in 2011. Stott’s obituary in Christianity Today described him as “An architect of 20th-century evangelicalism [who] shaped the faith of a generation.”[10]

The Revd Richard Bewes was rector from 1983 until his retirement in 2004. He was awarded an OBE for services to the Church of England.

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Uploaded by  on Aug 6, 2011

Sermon preached in the memorial service celebrating the life of the late Rev. Dr. John R. W. Stott (April 27, 1921 – July 27, 2011) by Rev. Canon Dr. James I. Packer.

Scripture: Hebrews 13:7-8
Duration: 33:25bb

[The

Hundreds packed in to John Stott’s home church of All Souls, Langham Place for his funeral, on Monday (8 August).

John Stott Funeral (edited version)

Uploaded by  on Aug 11, 2011

John Stott died on 27 July 2011 aged 90 years. This video contains highlights of his Funeral at All Souls Langham Place in London on Monday 8 August 2011. Produced and displayed with permission from John Stott’s family.
Music clips used by permission of All Souls musicians and Jubilate Hymns (www.jubilate.co.uk)

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Al Molher interviewed John Stott several years ago and here is a portion of that interview:

The funeral for John R. W. Stott, one of the most famous evangelical preachers of the last century, will be held today in London at All Souls Church, Langham Place, where he served with distinction for so many decades of ministry. In honor of John Stott, I here republish an interview I conducted with the great preacher in 1987. The interview was first published in Preaching magazine, for which I was then Associate Editor.]

John R. W. Stott has emerged in the last half of the twentieth century as one of the leading evangelical preachers in the world. His ministry has spanned decades and continents, combining his missionary zeal with the timeless message of the Gospel.

For many years the Rector of All Souls Church, Langham Place, in London, Stott is also the founder and director of the London Institute for Contemporary Christianity. His preaching ministry stands as a model of the effective communication of biblical truth to secular men and women

The author of several worthy books, Stott is perhaps best known in the United States through his involvement with the URBANA conferences. His voice and pen have been among the most determinative forces in the development of the contemporary evangelical movement in the Church of England and throughout the world.

Preaching Associate Editor R. Albert Mohler interviewed Stott during one of the British preacher’s frequent visits to the United States.

Mohler: You have staked your ministry on biblical preaching and have established a world-wide reputation for the effective communication of the gospel. How do you define ‘biblical preaching’?

Stott: I believe that to preach or to expound the scripture is to open up the inspired text with such faithfulness and sensitivity that God’s voice is heard and His people obey Him. I gave that definition at the Congress on Biblical Exposition and I stand by it, but let me expand a moment.

My definition deliberately includes several implications concerning the scripture. First, it is a uniquely inspired text. Second, the scripture must be opened up. It comes to us partially closed, with problems which must be opened up.

Beyond this, we must expound it with faithfulness and sensitivity. Faithfulness relates to the scripture itself. Sensitivity relates to the modern world. The preacher must give careful attention to both.

We must always be faithful to the text, and yet ever sensitive to the modern world and its concerns and needs. When this happens the preacher can come with two expectations. First, that God’s voice is heard because He speaks through what He has spoken. Second, that His people will obey Him — that they will respond to His Word as it is preached.

Mohler: You obviously have a very high regard for preaching. In Between Two Worlds you wrote extensively of the glory of preaching, even going so far as to suggest that “preaching is indispensable to Christianity.”

We are now coming out of an era in which preaching was thought less and less relevant to the church and its world. Even in those days you were outspoken in your affirmation of the preaching event and its centrality. Has your mind changed?

Stott: To the contrary! I still believe that preaching is the key to the renewal of the church. I am an impenitent believer in the power of preaching.

I know all the arguments against it: that the television age has rendered it useless; that we are a spectator generation; that people are bored with the spoken word, disenchanted with any communication by spoken words alone. All these things are said these days.

Nevertheless, when a man of God stands before the people of God with the Word of God in his hand and the Spirit of God in his heart, you have a unique opportunity for communication.

I fully agree with Martyn Lloyd-Jones that the decadent periods in the history of the church have always been those periods marked by preaching in decline. That is a negative statement. The positive counterpart is that churches grow to maturity when the Word of God is faithfully and sensitively expounded to them.

If it is true that a human being cannot live by bread only, but by every word which proceeds out of the mouth of God, then it also is true of churches. Churches live, grow, and thrive in response to the Word of God. I have seen congregations come alive by the faithful and systematic unfolding of the Word of God.

The Beatles – Penny Lane

St Peter’s Church, Woolton

St Peter’s Church, Woolton, from the south

St Peter's Church, Woolton is located in Merseyside

St Peter's Church, Woolton
St Peter’s Church, Woolton
Location in Merseyside
Coordinates: 53.3760°N 2.8694°W
OS grid reference SJ 423 869
Location Church Road, Woolton, Liverpool,Merseyside
Country England
Denomination Anglican
Website St Peter’s, Woolton
Architecture
Status Parish church
Functional status Active
Heritage designation Grade II*
Designated 14 March 1975
Architect(s) Grayson and Ould
Architectural type Church
Style Gothic Revival (Perpendicular)
Groundbreaking 1886
Completed 1887
Specifications
Spire height 90 feet (27 m)
Materials Sandstone
Administration
Parish Much Woolton
Deanery Liverpool South Childwall
Archdeaconry Liverpool
Diocese Liverpool
Province York
Clergy
Rector Revd Canon C. J. (Kip) Crooks
Curate(s) Revd Sonya Doragh,
Revd Richard Gedge
Laity
Churchwarden(s) Helen Dennett, Norma Townley
Parish administrator
iera

St Peters Church

St Peters Church in Church Street. Liverpool one is there now. It was where the old Woolies was. it was also Liverpools cathedral for a time

Valencia

Lovely pic of St. Peter’s Church.

Do you know what that Russells building in the background was used for?

Tony Riviera

It was built as the Compton Hotel and later changed to Marks and Spencer. I’m pretty sure that only above the first floor was the hotel

Tony Riviera

Church Street 1910 with the Compton Hotel in centre. St Peters just in view on the right

Tony Riviera

St Peters church during demolition 1922. Compton Hotel in background

Tony Riviera

A nice view of St Peters church, Church Street. It was standing in as Liverpools cathedral until the Anglican was built. That’s why it was called the Pro Cathedral

Tony Riviera

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“Eleanor Rigby” is a song about loneliness and depression representing a departure from the Beatles’ early pop love songs.

This is an early example of the Beatles taking risks and dabbling in other genres; in this particular its baroque pop, as made evident by the string arrangements. During the Beatles’ experimental phase, their producer George Martin experimented with studio techniques to satiate the Beatles’ artistic desires. To achieve the aggressive punchy sound of the strings, Martin had the microphones set up really close to the instruments, much to the chagrin of the session players, who were not used to such a unique set-up.

St Peters Pro cathedral, Church Street 1908.Compton Hotel in the background

Tony Riviera

Eleanor Rigby-The Beatles

Another view of St Peters

No one remembered Eleanor Rigby enough to come to her funeral.

Eleanor Rigby – PAUL McCARTNEY

The Beatles Cartoon – Eleanor Rigby.

Uploaded on Feb 21, 2012

Ah, look at all the lonely people
Ah, look at all the lonely people

Eleanor Rigby picks up the rice in the church where a
wedding has been
Lives in a dream
Waits at the window, wearing the face that she keeps
in a jar by the door
Who is it for?

All the lonely people
Where do they all come from?
All the lonely people
Where do they all belong?

Father McKenzie writing the words of a sermon that
no one will hear
No one comes near
Look at him working, darning his socks in the night
when there’s nobody there
What does he care?

All the lonely people
Where do they all come from?
All the lonely people
Where do they all belong?

Ah, look at all the lonely people
Ah, look at all the lonely people

Eleanor Rigby died in the church and was buried along with her name
Nobody came
Father McKenzie wiping the dirt from his hands as he walks from the grave
No one was saved

All the lonely people (Ah, look at all the lonely people)
Where do they all come from?
All the lonely people (Ah, look at all the lonely people)
Where do they all belong?

The last photograph of John Lennon

In this last photo of John Lennon while he was alive, he was signing an album to the person who was to assassinate him a few hours later. John obligingly signed a copy of his latest album Double Fantasy on the morning of his death for his killer. Later that same day, John returned from the recording studio and was gunned down by Mark David Chapman. Morbidly, a photographer later sneaked into the morgue containing John’s body and snapped a photo of it before it was cremated. John’s body was cremated the day after his assassination. Yoko Ono has never revealed the whereabouts of the ashes or what she did with them.

John Lennon  loved the B52’s

Lennon heard Rock Lobster by the B-52’s in 1979 while in a disco in Bermuda. He instantly recognized Cindy Wilson’s scream at the end of the song as an homage to Yoko Ono. After that moment, he and Yoko listened to the B-52’s album again and again while working on their Double Fantasy album.

Right before his death, Lennon had said that The B-52s’ debut album was his favorite album of all time.

The cover art for The B-52’s by The B-52’s.

The B-52’s – “Rock Lobster” (Official Music Video)

(Francis Schaeffer pictured below)

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________________________

Today featured artist is Richard Hamilton

RICHARD HAMILTON, BRYAN FERRY.mov

Richard Hamilton: British visionary

Richard Hamilton has a new show at the Serpentine, but the Pop Art pioneer’s fame has never matched his extraordinary influence.

If anyone deserves the title of Grand Old Man of British art, it is Richard Hamilton. He may have turned 88 last week, but he is still hard at work: he recently completed three large paintings for a new solo exhibition opening at the Serpentine Gallery in London on Wednesday.

Yet, despite a distinguished career in which he has represented Britain at the 1993 Venice Biennale and enjoyed not one, but two retrospectives at the Tate Gallery, Hamilton is not known by the wider public in the same way as, say, David Hockney or Lucian Freud. As Hamilton’s artist wife Rita Donagh says, when I meet them both at the Serpentine, “Richard is the only [established] British artist who hasn’t had a book written about him.”

Whether or not this is entirely accurate, you get the gist: Hamilton is not a household name. And, given his many singular achievements (he even designed the spare sleeve for the Beatles’ 1968 White Album), this fact is both curious and a travesty.

“I have a concept of being rejected for most of my life,” Hamilton tells me, with a smile. “When I had a show at the Tate in 1992 [his last London exhibition], it was rated the worst show of the year. And I felt rather proud of that, really – I’d come out on top for something at last. But I’ve always felt the same way: I never did anything that anybody else wanted.”

This was especially true during the mid-Fifties, when Hamilton pioneered Pop art, ahead, he says, of British contemporaries such as Eduardo Paolozzi or his American counterparts Jasper Johns, Robert Rauschenberg, Roy Lichtenstein and Andy Warhol. Indeed, Hamilton is often credited with having invented the genre. A celebrated collage from 1956, an unsurpassed analysis of the ways in which advertising can prey on unconscious desires, even features a muscleman holding a red lollipop adorned with the word “Pop”. Hamilton once famously defined modern consumer culture as “witty, sexy, gimmicky, glamorous, big business”.

Like many prophets, Hamilton feels that he was working in isolation half a century ago. “I felt alone,” he tells me. “In the late Fifties, I made three pictures: Hommage à Chrysler Corporation, Pin-up [now in the collection of New York’s Museum of Modern Art, which dates it 1961], and Hers is a Lush Situation. They were the three best things I’ve ever done. I was really inventing something, and it was quite a serious business. At the time, nobody was doing anything like that. I didn’t have any support from other artists. There weren’t other artists. When I was painting those pictures, I asked [the art critic] Lawrence Alloway: ‘What do you think of my paintings?’ And he said: ‘I think they’re stupid.’?”

Over the decades that followed, though, Hamilton’s work proved prescient and incredibly influential. For four years, he taught at the Royal College of Art, where he was an early supporter of David Hockney and R?B Kitaj.

“The students asked me to do what’s called a ‘crit’,” he recalls. “After I’d looked at everything, I said I’m interested in this painting, and that one – one was by Hockney, the other by Kitaj. I even asked if they were by the same artist. And there was a snigger – because, in the students’ minds, Hockney was copying what Kitaj did.

“Hockney’s work was very painterly and colourful, and rather brash. Kitaj’s was lower key. In the end, I gave the prize to Hockney – and he has never looked back. He once said that I gave him his first pat on the back, and that changed his life. And I have always felt perhaps I made the wrong decision.”

Does it bother Hamilton that Hockney has gone on to achieve greater fame than he has? “No, I like him,” Hamilton says. “But I think he’s not as good as his enthusiasts claim. I don’t complain about anything, really. I’ve had a very successful life.”

His work has not gone unacknowledged: he once declined a CBE. “Instead, about 20 years ago, I was given a card that admits me to the National Gallery at any time of the day or night,” Hamilton says. “I remember going to see a Mantegna exhibition. I sat for half an hour in front of these wonderful paintings. There were no interruptions, not even a guard walking past. Now, that’s a reward.”

  • ‘Richard Hamilton: Modern Moral Matters’ is at the Serpentine Gallery, London W2 (020 7402 6075), from Wed

Richard Hamilton (artist)

From Wikipedia, the free encyclopedia
Richard Hamilton
Richard Hamilton Artist.jpg

Richard Hamilton, 1992
Born 24 February 1922
Pimlico, London, England
Died 13 September 2011 (aged 89)
London, England
Nationality British
Education Royal Academy
Slade School of Art
University College, London
Known for Collage, painting, graphics
Notable work Just what is it that makes today’s homes so different, so appealing?
Movement Pop Art

Richard William Hamilton CH (24 February 1922 – 13 September 2011) was an English painter and collage artist. His 1955 exhibition Man, Machine and Motion (Hatton Gallery, Newcastle upon Tyne) and his 1956 collage, Just what is it that makes today’s homes so different, so appealing?, produced for the This Is Tomorrow exhibition of the Independent Group in London, are considered by critics and historians to be among the earliest works of pop art.[1] A major retrospective of his work was at Tate Modern until May 2014.[2]

Early life[edit]

Hamilton was born in Pimlico, London.[3] Despite having left school with no formal qualifications, he managed to gain employment as an apprentice working at an electrical components firm, where he discovered an ability for draughtsmanship and began to do painting at evening classes at Saint Martin’s School of Art. This led to his entry into the Royal Academy Schools.

After spending the war working as a technical draftsman, he re-enrolled at the Royal Academy Schools but was later expelled on grounds of “not profiting from the instruction”, loss of his student status forcing Hamilton to carry out National Service. After two years at the Slade School of Art, University College, London, Hamilton began exhibiting his work at the Institute of Contemporary Arts (ICA), where he also produced posters and leaflets and teaching at the Central School of Art and Design.[citation needed]

1950s and 1960s[edit]

Hamilton’s early work was much influenced by D’Arcy Wentworth Thompson‘s 1917 text On Growth and Form. In 1952, at the first Independent Group meeting, held at the ICA, Hamilton was introduced to Eduardo Paolozzi‘s seminal presentation of collages produced in the late 1940s and early 1950s that are now considered to be the first standard bearers of Pop Art.[1][4] Also in 1952, he was introduced to the Green Box notes of Marcel Duchamp through Roland Penrose, whom Hamilton had met at the ICA. At the ICA, Hamilton was responsible for the design and installation of a number of exhibitions including one on James Joyce and The Wonder and the Horror of the Human Head that was curated by Penrose. It was also through Penrose that Hamilton met Victor Pasmore who gave him a teaching post based in Newcastle Upon Tyne which lasted until 1966. Among the students Hamilton tutored at Newcastle in this period were Rita Donagh, Mark Lancaster, Tim Head, Roxy Musicfounder Bryan Ferry and Ferry’s visual collaborator Nicholas De Ville. Hamilton’s influence can be found in the visual styling and approach of Roxy Music. He described Ferry as “his greatest creation”.[5]

Hamilton gave a 1959 lecture, “Glorious Technicolor, Breathtaking Cinemascope and Stereophonic Sound”, a phrase taken from a Cole Porter lyric in the 1957 musical Silk Stockings. In that lecture, which sported a pop soundtrack and the demonstration of an early Polaroid camera, Hamilton deconstructed the technology of cinema to explain how it helped to create Hollywood’s allure. He further developed that theme in the early 1960s with a series of paintings inspired by film stills and publicity shots.[6]

The post at the ICA also afforded Hamilton the time to further his research on Duchamp, which resulted in the 1960 publication of a typographic version of Duchamp’s Green Box, which comprised Duchamp’s original notes for the design and construction of his famous work The Bride Stripped Bare by Her Bachelors, Even, also known as The Large Glass. Hamilton’s 1955 exhibition of paintings at the Hanover Gallery were all in some form a homage to Duchamp. In the same year Hamilton organized the exhibition Man Machine Motion at the Hatton Gallery in Newcastle. Designed to look more like an advertising display than a conventional art exhibition the show prefigured Hamilton’s contribution to the This Is Tomorrow exhibition in London, at the Whitechapel Gallery the following year. Just what is it that makes today’s homes so different, so appealing? was created in 1956 for the catalogue of This Is Tomorrow, where it was reproduced in black and white and also used in posters for the exhibit.[7] The collage depicts a muscle-man provocatively holding a Tootsie Pop and a woman with large, bare breasts wearing a lampshade hat, surrounded by emblems of 1950s affluence from a vacuum cleaner to a large canned ham.[8] Just what is it that makes today’s homes so different, so appealing? is widely acknowledged as one of the first pieces of Pop Art and his written definition of what “pop” is laid the ground for the whole international movement.[9] Hamilton’s definition of Pop Art from a letter to Alison and Peter Smithson dated 16 January 1957 was: “Pop Art is: popular, transient, expendable, low-cost, mass-produced, young, witty, sexy, gimmicky, glamorous, and Big Business”, stressing its everyday, commonplace values.[10] He thus created collages incorporating advertisements from mass-circulation newspapers and magazines.

The success of This Is Tomorrow secured Hamilton further teaching assignments in particular at the Royal College of Art from 1957 to 1961, where he promoted David Hockney and Peter Blake. During this period Hamilton was also very active in the Campaign for Nuclear Disarmament and produced a work parodying the then leader of the Labour Party Hugh Gaitskell for rejecting a policy of unilateral nuclear disarmament. In the early 1960s he received a grant from the Arts Council to investigate the condition of the Kurt Schwitters Merzbau in Cumbria. The research eventually resulted in Hamilton organising the preservation of the work by relocating it to the Hatton Gallery in the Newcastle University.[11]

In 1962 his first wife Terry was killed in a car accident. In part to recover from her loss, in 1963 Hamilton travelled for the first time to the United States for a retrospective of the works of Marcel Duchamp at the Pasadena Art Museum,[12] where, as well as meeting other leading pop artists, he was befriended by Duchamp. Arising from this Hamilton curated the first British retrospective of Duchamp’s work, and his familiarity with The Green Box enabled Hamilton to make copies of The Large Glass and other glass works too fragile to travel. The exhibition was shown at the Tate Gallery in 1966.[citation needed]

In 1968, Hamilton appeared in a Brian De Palma film titled Greetings where Hamilton portrays a pop artist showing a “Blow Up” image. The film was the first film in the United States to receive a X rating and it was also Robert De Niro‘s first motion picture.

From the mid-1960s, Hamilton was represented by Robert Fraser and even produced a series of prints, Swingeing London, based on Fraser’s arrest, along with Mick Jagger, for possession of drugs. This association with the 1960s pop music scene continued as Hamilton became friends with Paul McCartney resulting in him producing the cover design and poster collage for the BeatlesWhite Album.[13]

1970s–2011[edit]

During the 1970s, Richard Hamilton enjoyed international acclaim with a number of major exhibitions being organised of his work. Hamilton had found a new companion in painter Rita Donagh. Together they set about converting North End, a farm in the Oxfordshire countryside, into a home and studios. “By 1970, always fascinated by new technology, Hamilton was redirecting advances in product design into fine art, with the backing of xartcollection, Zurich, a young company that pioneered the production of multiples with the aim of bringing art to a wider audience.”[14] Hamilton realised a series of projects that blurred the boundaries between artwork and product design including a painting that incorporated a state-of-the-art radio receiver and the casing of a Dataindustrier AB computer. During the 1980s Hamilton again voyaged into industrial design and designed two computer exteriors: OHIO computer prototype (for a Swedish firm named Isotron, 1984) and DIAB DS-101 (for Dataindustrier AB, 1986). As part of a television project, 1987 BBC series Painting with Light[15] Hamilton was introduced to the Quantel Paintbox and has since used this or similar devices to produce and modify his work.[citation needed]

From the late 1970s Hamilton’s activity was concentrated largely on investigations of printmaking processes, often in unusual and complex combinations.[10] In 1977-8 Hamilton undertook a series of collaborations with the artist Dieter Roth that also blurred the definitions of the artist as sole author of their work.

In 1992, Richard Hamilton was commissioned by the BBC to recreate his famous art piece, Just What Is It That Makes Today’s Homes So Different, So Appealing? but only this time, as to what he felt the average household would be like during the 1990s. Instead of the male body builder, he used an accountant working at a desk. Instead of the female icon, he used a world class female body builder.

In 1981 Hamilton began work on a trilogy of paintings based on the conflict in Northern Ireland after watching a television documentary about the “Blanket” protest organized by IRA prisoners in Long Kesh Prison, officially known as The Maze. The citizen (1981–83) shows IRA prisoner Hugh Rooney portrayed as Jesus, with long flowing hair and a beard. Republican prisoners had refused to wear prison uniforms, claiming that they were political prisoners. Prison officers refused to let “the blanket protesters” use the toilets unless they wore prison uniforms. The republican prisoners refused, and instead smeared the excrement on the wall of their cells. Hamilton explained (in the catalogue to his Tate Gallery exhibition, 1992), that he saw the image of “the blanket man as a public relations contrivance of enormous efficacy. It had the moral conviction of a religious icon and the persuasiveness of the advertising man’s dream soap commercial – yet it was a present reality”.[citation needed] The subject (1988–89) shows an Orangeman, a member of an order dedicated to preserve Unionism in Northern Ireland. The state (1993) shows a British soldier on a “foot” patrol on a street. The citizen was shown as part of “A Cellular Maze”, a 1983 joint exhibition with Donagh.[16]

From the late 1940s Richard Hamilton was engaged with a project to produce a suite of illustrations for James Joyce’s Ulysses.[citation needed] In 2002, the British Museum staged an exhibition of Hamilton’s illustrations of James Joyce’s Ulysses, entitled Imaging Ulysses. A book of Hamilton’s illustrations was published simultaneously, with text by Stephen Coppel. In the book, Hamilton explained that the idea of illustrating this complex, experimental novel occurred to him when he was doing his National Service in 1947.[citation needed] His first preliminary sketches were made while at the Slade School of Art, and he continued to refine and re-work the images over the next 50 years. Hamilton felt his re-working of the illustrations in many different media had produced a visual effect analogous to Joyce’s verbal techniques. The Ulysses illustrations were subsequently exhibited at the Irish Museum of Modern Art (in Dublin) and the Museum Boijmans van Beuningen (inRotterdam). The British Museum exhibition coincided with both the 80th anniversary of the publication of Joyce’s novel, and Richard Hamilton’s 80th birthday.

Hamilton died on 13 September 2011, at the age of 89.[17] His work Le chef d’oeuvre inconnu – a painting in three parts, unfinished at his death, comprises a trio of large inkjet prints composed from Photoshop images to visualize the moment of crisis in Balzac’s novel The Unknown Masterpiece.[18]

Exhibitions[edit]

The first exhibition of Hamilton’s paintings was shown at the Hanover Gallery, London, in 1955. In 1993 Hamilton represented Great Britain at the Venice Biennale and was awarded the Golden Lion.[19] Major retrospective exhibitions have been organized by the Tate Gallery, London, 1970 and 1992, Solomon R. Guggenheim Museum, New York, 1973, MACBA, Barcelona, Museum Ludwig, Cologne, 2003, and the Neue Nationalgalerie, Berlin, 1974. Some of the group exhibitions Hamilton participated in include: Documenta 4, Kassel, 1968; São Paulo Art Biennial, 1989; Documenta X, Kassel 1997; Gwangju Biennale, 2004; and Shanghai Biennale, 2006. In 2010, the Serpentine Gallery presented Hamilton’s ‘Modern Moral Matters’, an exhibition focusing on his political and protest works which were shown previously in 2008 at Inverleith House, Royal Botanic Garden in Edinburgh. For the season 2001/2002 in the Vienna State Opera Richard Hamilton designed the large scale picture (176 sqm) “Retard en Fer – Delay in Iron” as part of the exhibition series “Safety Curtain”, conceived by museum in progress.[20] Just the week prior to his death the artist was working with the Museo Nacional Centro de Arte Reina Sofía, Madrid, to prepare a major museum retrospective of his oeuvre that had already been scheduled to open first at Tate Modern, London, on 13 February 2014, travelling later to Madrid where it will open on 24 June 2014.[21]

In 2011 Dublin City Gallery The Hugh Lane showed a joint retrospective exhibition of both Hamilton’s and Rita Donagh‘s work called “Civil Rights etc.” That same year, the Minneapolis Institute of Arts showcased Hamilton’s work in Richard Hamilton: Pop Art Pioneer, 1922-2011. The National Gallery’s “Richard Hamilton: The Late Works” opened in 2012.[18] A major retrospective at Tate Modern in 2014 was “the first retrospective to encompass the full scope of Hamilton’s work, from his early exhibition designs of the 1950s to his final paintings of 2011. [The] exhibition explores his relationship to design, painting, photography and television, as well as his engagement and collaborations with other artists” .[2]

Collections[edit]

The Tate Gallery has a comprehensive collection of Hamilton’s work from across his career.[citation needed] In 1996, the Kunstmuseum Winterthur received a substantial gift of Hamilton’s prints, making the museum the largest repository of the artist’s prints in the world.[12]

Recognition[edit]

Hamilton was awarded the William and Noma Copley Foundation Award, 1960; the John Moores Painting Prize, 1969; the Talens Prize International, 1970; the Leone d’Oro for his exhibition in the British Pavilion at the Venice Biennale, 1993; the Arnold Bode Prize at Documenta X, Kassel, 1997; and the Max Beckmann Prize for Painting of the City of Frankfurt, 2006. He was made a Member of the Order of the Companions of Honour (CH) in 2000. He was presented with a special award by The Bogside Artists of Derry at the Royal College of Art in 2010.

Art market[edit]

Hamilton has been represented by The Robert Fraser Gallery. The Alan Cristea Gallery in London is the distributor of Hamilton’s prints.[22] His auction record is £440,000, set at Sotheby’s, London, in February 2006, for Fashion Plate, Cosmetic Study X (1969)[23] For a 2014 retrospective at the Museo Nacional Centro de Arte Reina Sofía, the government-owned museum insured 246 works of Hamilton for 115.6 million euros ($157 million) against loss or damage, according to an order published as law by the Ministry of Education, Culture and Sports.[24]

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BRITISH POP ART PIONEERS

This autumn Christie’s auction house will be showcasing the Pioneers of British Pop Art in the first UK exhibition devoted to these international innovators since a touring show from Germany visited York in 1976. We’re taking the opportunity to introduce some of the fantastic early British pop artists, whose achievements have often been overlooked.

Christie’s head of postwar and contemporary art Frances Outred has said that early British pop art is crying out for serious appraisal, “What’s really interesting here is that it’s not like the British were second – they were the first. Britain invented the term Pop Art and it is now a global phenomenon which is known principally as an American phenomenon.”

The Christie’s exhibition, titled ‘Britain Went Pop!’, will show how British artists went on to influence the big American pop artists such as Andy Warhol and Roy Lichtenstein, “As the Americans became more and more popular and strong it seems the Brits became a bit more shy and went more esoteric”, Outred explained.

Christie’s have been working with living artists such as Peter Blake and Allen Jones and the families of other artists to showcase over 70 works, many of which have not been since the 1960s, if at all. One of the earliest works will be a 1948 proto-pop art collage by Eduardo Paolozzi. Whilst the British pop artists were mostly men, the exhibition will also feature the work of two women artists, Jann Haworth and Pauline Boty, who were both innovators of the international movement.

Here’s an introduction to some of the renowned and lesser known British artists who led the way in the cutting-edge exploration of the paradoxical imagery of popular culture. Meet the forgotten women, the father, the godfather and the king of Pop Art…

RICHARD HAMILTON

Richard Hamilton is regarded by many as the father of Pop Art. His best known work was his 1956 collage ‘Just What is it That Makes Today’s Homes so Different, so Appealing?’, considered by some historians to mark the birth of the pop art movement.

Hamilton is credited with coining the phrase ‘pop art’ itself. In words dating from 1957, that are seen as prescient of the likes of Andy Warhol and Damien Hirst, he wrote, “Pop art is popular (designed for a mass audience), transient (short term solution), expandable (easily forgotten), low cost, mass produced, young (aimed at youth), witty, sexy, gimmicky, glamorous, big business.”

Hamilton hung out with the musicians of the Sixties; his silkscreen ‘Swingeing London’ shows Mick Jagger in the back of a police car and Paul McCartney asked him to design The Beatles’ ‘White Album’ sleeve. René Magritte andMarcel Duchamp were among his close friends and David Hockney and Peter Blake were among those he taught and influenced.

PETER BLAKE

During the late 1950s, Peter Blake became one of the best known pioneers of British pop art. Studying at the Royal College of Art (1953-7), he was placed in the centre of Swinging London and came into contact with the leading figures of popular culture.

He came to wider public attention when, along with Pauline Boty, Derek Boshier and Peter Philips, he featured in Ken Russell’s ‘Monitor’ film on pop art, ‘Pop Goes the Easel’ (broadcast on the BBC in 1962). Blake’s art captured the effervescent and optimistic ethos of the sixties and reflected his fascination with icons and the ephemera of popular culture.

The ‘Godfather of Pop Art’ is best known for co-creating the sleeve design for the Beatle’s ‘Sgt. Pepper’s Lonely Hearts Club Band’ with fellow pop art pioneer Jan Howarth. Still creating exceptional artwork today, he continues to explore the beauty to be found in everyday objects.

GERALD LAING

Gerald Laing loomed large in the British pop art movement, helping to define the 1960s with huge canvases based on newspaper photographs of famous models, astronauts and film stars. His portrait of Brigitte Bardot is one of his most famous works.

Laing’s earliest pop art pieces presented young starlets or bikini-clad beauties bursting with sex appeal, capturing the excitement and exuberance of the 1960s. His work frequently commented on current events, such as the painting ‘Souvenir’ (1962), a response to the Cuban missile crisis which used a 3D effect allowing the viewer to see Khruschev from one side and Kennedy from the other.

At the end of his third year at St Martin’s (1963) he spent the summer in New York, having been given introductions to Andy Warhol, Roy Lichtenstein, James Rosenquist and Robert Indiana, all of whom were still on the brink of fame. Indiana employed him as a studio assistant and Andy Warhol became a friend and lifelong influence.

ALLEN JONES

Allen Jones is one of the most renowned British pop sculptors. While living in New York (1964-5) he discovered a rich fund of imagery in the sexually motivated popular illustrations of the 1940s and 1950s. Henceforth, in paintings such as ‘Perfect Match’, he made explicit previously subdued eroticism. The full extent of his Pop sensibility emerged in sexually provocative fibreglass sculptures such as ‘Chair’ (1969), life-size images of women as furniture with fetishist and sado-masochist overtones.

In the late 1950s Jones studied at the Royal College of Art with David Hockney and R.B.Kitaj. He credits Richard Hamilton, Eduardo Paolozzi and the writer Lawrence Alloway for introducing him to new ways of thinking about representation. Living on the Kings Road in the 60s and 70s he witnessed the liberation of the body and socio-political situation that followed the austerity of the post war years. These things fed into his artwork and with the passage of time his sculptures now encapsulate the spirit of swinging London.

PAULINE BOTY

Pauline Boty was a founder of British pop art and the only female painter in the British wing of the movement. She has been described by the Independent as “the heartbreaker of the Sixties art scene.” In 1959, she entered the Royal College of Art (a year ahead of Boshier, David Hockney and Allen Jones).

Boty, who died in 1966 aged just 28, was a key player in the frenetic Swinging London social scene; she was reportedly loved by countless men including Peter Blake, she escorted Bob Dylan around London on his first visit to Britain, and was a dancer on ‘Ready Steady Go!’. Her work was, in the pop art manner, uncompromising, sensational, gaudy, and frequently explicitly sexual. Her rebellious art, combined with her free-spirited lifestyle, made her a herald of 1970s feminism.

JANN HAWORTH

Although Jann Haworth is an American born artist she spent many years living in England, moving to London in 1961 to study art history at the Courtauld Institute of Art and studio art at the Slade. She experimented with sewn and stuffed soft sculptures which often contained specific references to American culture, for examples her dummies of Mae West and Shirley Temple. Her use of soft materials was unprecedented at the time and she soon became an innovative leading figure of the British pop art movement.

Haworth married Peter Blake, with whom she created the iconic album cover design of The Beatles’ ‘Sgt Pepper’s Lonely Hearts Club Band’. The original concept was to have The Beatles dressed in their new “Northern brass band” uniforms appearing at an official ceremony in a park. For the great crowd gathered at this imaginary event, John Lennon, Paul McCartney, and George Harrison, as well as Haworth and Blake all submitted a list of characters they wanted to see in attendance. Blake and Haworth then pasted life-size, black-and-white photographs of all the approved characters onto hardboard, which Haworth subsequently hand-tinted. Haworth also added several cloth dummies to the assembly, including one of her “Old Lady” figures and a Shirley Temple doll who wears a ‘Welcome The Rolling Stones’ sweater. Inspired by the municipal flower-clock in Hammersmith, West London, Haworth came up with the idea of writing out the name of the band in civic flower-bed lettering.

JOE TILSON

The Telegraph has declared Joe Tilson “the forgotten king of British pop art” He was one of the first in the group of young art stars to have a highly successful show in the Swinging Sixties (1961). “I was famous before the Beatles and Hockney,” Tilson says.

Following national service, he studied alongside Frank Auerback, Leon Kossoff and Peter Blake at the Royal College of Art. Part of the gilded circle, he made lasting friendships with Blake and David Hockney. He responded quickly to the emergence of pop art, adapting his earlier, highly formalised abstract language to the creation of objects reminiscent of children’s toys in their construction, bold colours and schematised imagery.

‘Britain Went Pop!’ will also be showcasing work by David Hockney, Patrick Caulfield, R.B. Kitaj, Colin Self, Clive Barker, Derek Boshier, Antony Donaldson, Jann Haworth, Nicholas Monro, Eduardo Paolozzi, Peter Phillips and Richard Smith.

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Image result for sergent peppers album cover

Francis Schaeffer’s favorite album was SGT. PEPPER”S and he said of the album “Sergeant Pepper’s Lonely Hearts Club Band…for a time it became the rallying cry for young people throughout the world. It expressed the essence of their lives, thoughts and their feelings.”  (at the 14 minute point in episode 7 of HOW SHOULD WE THEN LIVE? ) 

Image result for francis schaeffer how should we then live

How Should We Then Live – Episode Seven – 07 – Portuguese Subtitles

Francis Schaeffer

Image result for francis schaeffer

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FRANCIS SCHAEFFER ANALYZES ART AND CULTURE PART 202 the BEATLES’ last song FREE AS A BIRD (Featured artist is Susan Weil )

February 15, 2018 – 1:45 am

FRANCIS SCHAEFFER ANALYZES ART AND CULTURE Part 200 George Harrison song HERE ME LORD (Featured artist is Karl Schmidt-Rottluff )

FRANCIS SCHAEFFER ANALYZES ART AND CULTURE PART 184 the BEATLES’ song REAL LOVE (Featured artist is David Hammonds )

FRANCIS SCHAEFFER ANALYZES ART AND CULTURE Part 170 George Harrison and his song MY SWEET LORD (Featured artist is Bruce Herman )

FRANCIS SCHAEFFER ANALYZES ART AND CULTURE Part 168 George Harrison’s song AWAITING ON YOU ALL Part B (Featured artist is Michelle Mackey )

FRANCIS SCHAEFFER ANALYZES ART AND CULTURE Part 167 George Harrison’s song AWAITING ON YOU Part A (Artist featured is Paul Martin)

RESPONDING TO HARRY KROTO’S BRILLIANT RENOWNED ACADEMICS!! Part 133 Louise Antony is UMass, Phil Dept, “Atheists if they commit themselves to justice, peace and the relief of suffering can only be doing so out of love for the good. Atheist have the opportunity to practice perfect piety”

FRANCIS SCHAEFFER ANALYZES ART AND CULTURE Part 166 George Harrison’s song ART OF DYING (Featured artist is Joel Sheesley )

FRANCIS SCHAEFFER ANALYZES ART AND CULTURE Part 165 George Harrison’s view that many roads lead to Heaven (Featured artist is Tim Lowly)

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

PART 163 BEATLES Breaking down the song LONG AND WINDING ROAD (Featured artist is Charles Lutyens )

FRANCIS SCHAEFFER ANALYZES ART AND CULTURE PART 162 A look at the BEATLES Breaking down the song ALL WE NEED IS LOVE Part C (Featured artist is Grace Slick)

PART 161 A look at the BEATLES Breaking down the song ALL WE NEED IS LOVE Part B (Featured artist is Francis Hoyland )

 

FRANCIS SCHAEFFER ANALYZES ART AND CULTURE PART 160 A look at the BEATLES Breaking down the song ALL WE NEED IS LOVE Part A (Featured artist is Shirazeh Houshiary)

FRANCIS SCHAEFFER ANALYZES ART AND CULTURE Part 159 BEATLES, Soccer player Albert Stubbins made it on SGT. PEP’S because he was sport hero (Artist featured is Richard Land)

FRANCIS SCHAEFFER ANALYZES ART AND CULTURE Part 158 THE BEATLES (breaking down the song WHY DON’T WE DO IT IN THE ROAD?) Photographer Bob Gomel featured today!

FRANCIS SCHAEFFER ANALYZES ART AND CULTURE Part 118 THE BEATLES (Why was Tony Curtis on cover of SGT PEP?) (Feature on artist Jeffrey Gibson )

FRANCIS SCHAEFFER ANALYZES ART AND CULTURE Part 117 THE BEATLES, Breaking down the song WITHIN YOU WITHOUT YOU Part B (Featured artist is Emma Amos )

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FRANCIS SCHAEFFER ANALYZES ART AND CULTURE Part 63 THE BEATLES (Part O , BECAUSE THE BEATLES LOVED HUMOR IT IS FITTING THAT 6 COMEDIANS MADE IT ON THE COVER OF “SGT. PEPPER’S”!) (Feature on artist H.C. Westermann )

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Milton Friedman destroys Donald Trump on issue of PROTECTIONISM!!!

Milton Friedman – Free Trade vs. Protectionism

Free to Choose Part 2: The Tyranny of Control (Featuring Milton Friedman

Some economic lessons about international trade for Donald Trump from Milton Friedman and Henry George

Carpe Diem

Trump vs Friedman – Trade Policy Debate

In the video above Donald Trump’s uninformed, economically illiterate, and childlike views on international trade and trade policy are contrasted with Milton Friedman’s informed, economically sophisticated and mature views on trade. Toward the end of the video, Milton Friedman paraphrases what he considers to be the best argument he’s ever heard for free trade, from 19th century American economist and free trade advocate Henry George, who criticized protectionist trade policies in his 1886 book Protection or Free Trade at a time when President Grover Cleveland was pushing for reductions in US tariffs from an average rate of 47% (very close to the 45% rate Trump has proposed for Chinese imports) at a time when Britain had tariffs of less than 1% and France of 1.5%. Here’s a longer quote from Henry George, Friedman focused mostly on the underlined text below:

Trade is not invasion. It does not involve aggression on one side and resistance on the other, but mutual consent and gratification. There cannot be a trade unless the parties to it agree, any more than there can be a quarrel unless the parties to it differ. England, we say, forced trade with the outside world upon China, and the United States upon Japan. But, in both cases, what was done was not to force the people to trade, but to force their governments to let them. If the people had not wanted to trade, the opening of the ports would have been useless.

Civilized nations, however, do not use their armies and fleets to open one another’s ports to trade. What they use their armies and fleets for, is, when they quarrel, to close one another’s ports. And their effort then is to prevent the carrying in of things even more than the bringing out of things—importing rather than exporting. For a people can be more quickly injured by preventing them from getting things than by preventing them from sending things away. Trade does not require force. Free trade consists simply in letting people buy and sell as they want to buy and sell. It is protection that requires force, for it consists in preventing people from doing what they want to do. Protective tariffs are as much applications of force as are blockading squadrons, and their object is the same—to prevent trade.The difference between the two is that blockading squadrons are a means whereby nations seek to prevent their enemies from trading; protective tariffs are a means whereby nations attempt to prevent their own people from trading. What protection teaches us, is to do to ourselves in time of peace what enemies seek to do to us in time of war.

Can there be any greater misuse of language than to apply to commerce terms suggesting strife, and to talk of one nation invading, deluging, overwhelming or inundating another with goods? Goods! what are they but good things—things we are all glad to get? Is it not preposterous to talk of one nation forcing its good things upon another nation? Who individually would wish to be preserved from such invasion? Who would object to being inundated with all the dress goods his wife and daughters could want; deluged with a horse and buggy; overwhelmed with clothing, with groceries, with good cigars, fine pictures, or anything else that has value? And who would take it kindly if any one should assume to protect him by driving off those who wanted to bring him such things?

Bottom Line: To hear Donald Trump explain international trade in his infantile way and with his “great misuse of language,” China, Japan, and Mexico are currently “deluging, overwhelming, and inundating” Americans with cheap clothing, cars, and smartphones, and US consumers and businesses somehow need his protection from such an “overwhelming foreign invasion” of low-cost, affordable goods with his 45% tariffs/taxes?? And to use Henry George’s insight, if Donald Trump is elected president and is able to advance his protectionist agenda with tariffs and trade barriers, he would be doing to the US during a time of peace what our worst enemies would do to us in time of war, i.e. waging a war on American consumers and businesses who purchase goods produced outside the country. To further paraphrase George, Americans shouldn’t take it kindly that Trump seeks to protect us consumers by driving off, or raising prices on, the “invasion” of foreign goods that help us stretch our paychecks and significantly improve our standard of living.

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MUSIC MONDAY Christian Rock Pioneer Larry Norman’s Songs Part 9 more on Album “Only Visiting This Planet”

Christian Rock Pioneer Larry Norman’s Songs Part 9 more on Album “Only Visiting This Planet”

I posted a lot in the past about my favorite Christian musicians such as Keith Green (I enjoyed reading Green’s monthly publications too), and 2nd Chapter of Acts and others. Today I wanted to talk about one of Larry Norman’s songs. David Rogers introduced me to Larry Norman’s music in the 1970’s and his album IN ANOTHER LAND came out in 1976 and sold an enormous amount of copies for a Christian record back then.

Larry Norman – 6 – I Am The Six O’Clock News – Only Visiting This Planet (1972)

Larry Norman – Only Visiting This Planet – The Great American Novel

 

1. Only Visiting This Planet – Larry Norman

ONLY VISITING THIS PLANET

Larry Norman

Prophet…scoundrel…poet…thief…comedian…clown…rock star…fallen star…

A living, breathing contradiction in terms, Larry Norman passed away on February 24th, 2008 at the age of 60. I attended the funeral, arriving late and “listening” to it from outside the doors of a Church near Salem, Or.

*          *          *          *          *

Pastor Steve Wilkins spoke of the great Scottish warrior William Wallace several years ago at a conference. In his introductory remarks he noted that we actually know very little historical “facts” about Wallace and that most of what we believe about Wallace comes from an epic poem by an English Minstrel named Blind Harry a century or two after the death of Wallace.

Blind Harry’s poem stretches, twists and turn the truth on many occasions as it was compiled through oral traditions in which “legends” entered and merged, mixed and meshed with historical fact to create the larger than life character portrayed in the movie, Braveheart. And now even centuries later dissecting the truth from the legend and lore has proven to be nearly impossible.

But Wilkins argues that there is no real harm in the fabricated additions to the lore and legacy of Wallace, and in fact they play a very important role in actual history. Wilkins explains that it was the “legend” of Wallace that inspired many Scottish Christians to seek a new land in the Americas and eventually take up arms for the same freedoms they believed and perceived Wallace had fought for many centuries previous. It was not the actual truth that inspired them and carried them through difficult times and decisions, but the “legend” built upon the truth.

Larry Norman was born in Corpus Christi, TX but spent most of his formative years in Northern California near or in the Bay Area of San Fransisco. He was introduced to God and the Church early in his life at a Black Pentecostal Church in the neighborhood he grew up in.

In his late teens he joined a band called People! out of the Bay Area that took their name on as a response to the common use of animals or insects for rock band names like The Animals, The Beatles and The Byrds. A psychedelic, blues band People! only scored one hit with the song, a cover of the Zombies (which was OK I guess because they used to be people) hit song, “I Love You” that did crack the Top 20.

The album also contained the song “What We Need Is a Lot More of Jesus, and A Lot Less Rock and Roll,” which in reality comes off as a parody of mainstream evangelical Church life and thought. There was really nothing very “Christian” about the song despite its title. This is a bit odd as Norman would later claim that the album was supposed to be named after that song and that the supposed original artwork was changed to just a photo of the band and the title changed to simple. “I Love You.” Other band members would dispute this claim.

This would begin a long list of revisionist history claims by others regarding Norman’s version of things.

People! would record one more album for Capitol Records but Norman will have left previous to its release and end up only appearing one song. Along with the above claim of censorship by Capitol Records, Norman claimed that band members were being forced to embrace Scientology or forced to leave. This too is denied by band members.

The band would reunite 5 years later for a benefit concert at UCLA that would later be released under the name, “The Israel Tapes.”

Larry would record his first solo album, Upon This Rock, in 1969 for Capitol Records, the same label he claimed censored his work with People! This album is a very “Christian” album in all respects and would kick off a solo career that would last until his death in 2008. It is as the result of this album that Norman is credited with being the father of Christian Rock.

Christian Rock was born!

Upon This Rock is considered one of Norman’s finest works combining both blatantly Christian and evangelical messages as well as social and political commentary. This would remain a constant for Norman, who was the first Christian artists to make very progressive commentary on many issues that would conflict with mainstream Christianity.

The album would contain many Norman classics that would endure for decades including You Can’t Take Away the Lord, Moses in the Wilderness, Nothing Really Changes and Sweet Sweet Song of Salvation (which would become a youth group and Young Life favorite).Norman was influenced by Bob Dylan, The Rolling Stones and Black Gospel Music and it shows here and on every album that would follow.

Moses – Larry Norman

Uploaded on Sep 20, 2007

Larry performs a very old song that he rarely plays. Recorded at Cornerstone 2000.

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Keith Green – So You Wanna Go Back To Egypt (live) Uploaded by monum on May 25, 2008 Keith Green performing “So You Wanna Go Back To Egypt” live at West Coast 1980 ____________ This song really shows Keith’s humor, but it really has great message. Keith also had a great newsletter that went out […]

FRANCIS SCHAEFFER ANALYZES ART AND CULTURE Part 102 BEATLES, Sonny Liston is another sad story featured on SGT PEPPERS COVER (Artist featured Takako Saito )

SGT. PEPPER’S had a lot of sad stories on it and many of the stories including people addicted to drugs and alcohol. Who are the alcoholics on the cover of Sgt. Pepper’s Lonely Hearts Club Band Album cover? James Joyce, W.C. Fields, and Tony Curtis are three we can start off with.  W.C.Fields’ said,  “I only have one regret. I wonder what it would have been like without alcohol.” Next we have to think about four other people who died prematurely in part because of alcohol and they were Lenny Bruce, Edgar Allan Poe, Dylan Thomas, and  Marilyn Monroe.

The Beatles were heavily into drugs and some has said that Sonny Liston was addicted to drugs himself. Sadly he was found  dead by his wife, Geraldine, in their Las Vegas home on January 5, 1971. Drugs were found at the scene.

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A reviewer of Francis Schaeffer’s book HOW SHOULD WE THEN LIVE? noted:

In the mid-sixties, things began to come apart at an ever accelerating rate. It began in the schools, universities, and colleges, where generations of students had been introduced to the idea of man’s ultimate meaninglessness and that there were no absolutes in life. Those ideas brought forth their fruit in the form of violence and rebellion. It began with student disobedience on campus at Berkley in 1964 with the Free Speech Movement. This was a time of widespread student disobedience and it was also the time of the beginning of drugs as an ideology. The popularization of drugs by Aldous Huxley created a new, widespread phenomenon–drugs became a religion. People, students in particular, turned to drugs to find meaning. By giving up hope in finding objective truth they turned to drugs hoping that “drugs would provide meaning inside one’s head.” People such as Psychologists Timothy Leary and Gary Snyder, author-philosopher Alan Watts, and poet Allen Ginsberg were influential in making drugs an ideology and for some even a religion. “This drug-taking was really only one more leap, an attempt to find meaning in the area of nonreason.” For many in this era there was a thought, or as Schaeffer suggests a “utopian dream of the turned-on world,” that the problems of society and even civilization could be solved if enough people were on drugs. This even led to the idea of pouring LSD into the public drinking water of cities around the world. Schaeffer says: “This was not vicious, for the people suggesting it really believed that drugs were the door to Paradise. In 1964 and for some years after, the hippie world really believed this ideological answer.”

 

Francis Schaeffer observed,  ” 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 We then Live Episode 7 small (Age of Nonreason)

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Great article breaking down who is on the cover of SGT PEPPERS

# Sri Yukteswar Giri (Hindu guru) # Aleister Crowley (occultist) # Mae West (actress) # Lenny Bruce (comedian) # Karlheinz Stockhausen (composer) # W. C. Fields (comedian/actor) # Carl Gustav Jung (psychologist) # Edgar Allan Poe (writer)

* Fred Astaire (actor/dancer) * Richard Merkin (artist) * The Vargas Girl (by artist Alberto Vargas) * Huntz Hall (actor) * Simon Rodia (designer and builder of the Watts Towers) * Bob Dylan (singer/songwriter)

# Aubrey Beardsley (illustrator) # Sir Robert Peel (19th century British Prime Minister) # Aldous Huxley (writer) # Dylan Thomas (poet) # Terry Southern (writer) # Dion (singer) # Tony Curtis (actor) # Wallace Berman (artist) # Tommy Handley (comedian)

# Marilyn Monroe (actress) # William S. Burroughs (writer) # Sri Mahavatar Babaji (Hindu guru) # Stan Laurel (actor/comedian) # Richard Lindner (artist) # Oliver Hardy (actor/comedian) # Karl Marx (political philosopher) # H. G. Wells (writer) # Sri Paramahansa Yogananda (Hindu guru) # Sigmund Freud (psychiatrist) – barely visible below Bob Dylan # Anonymous (hairdresser’s wax dummy)

# Stuart Sutcliffe (artist/former Beatle) # Anonymous (hairdresser’s wax dummy) # Max Miller (comedian) # A “Petty Girl” (by artist George Petty) # Marlon Brando (actor) # Tom Mix (actor) # Oscar Wilde (writer) # Tyrone Power (actor) # Larry Bell (artist) # Dr. David Livingstone (missionary/explorer)

# Johnny Weissmuller (Olympic swimmer/Tarzan actor) # Stephen Crane (writer) – barely visible between Issy Bonn’s head and raised arm # Issy Bonn (comedian) # George Bernard Shaw (playwright) # H. C. Westermann (sculptor) # Albert Stubbins (soccer player) # Sri Lahiri Mahasaya (guru) # Lewis Carroll (writer) # T. E. Lawrence (“Lawrence of Arabia”)

# Wax model of Sonny Liston (boxer) # A “Petty Girl” (by George Petty) # Wax model of George Harrison # Wax model of John Lennon # Shirley Temple (child actress) – barely visible, first of three appearances on the cover # Wax model of Ringo Starr # Wax model of Paul McCartney # Albert Einstein (physicist) – largely obscured #A Fukusuke, Japanese china figure #A stone figure of Snow White

# Bobby Breen (singer) # Marlene Dietrich (actress/singer) # An American legionnaire # Diana Dors (actress) # Shirley Temple (child actress) – second appearance on the cover # Cloth doll by Haworth of Shirley Temple wearing a sweater that reads “Welcome The Rolling Stones”

sgt pepper’s // Art-directed by Robert Fraser, designed by Peter Blake and his wife Jann Haworth, and photographed by Michael Cooper.

Sonny Liston – ESPN Boxing Documentary

Published on Oct 21, 2013

Documentary on World Champion Heavyweight Boxer Sonny Liston.

Charles L. “Sonny” Liston (c. 1932 — December 30, 1970) was an American professional boxer known for his toughness, punching power and intimidating appearance, who became World Heavyweight Champion in 1962 by knocking out Floyd Patterson in the first round. Liston failed to live up to his fearsome reputation in an unsuccessful defense of the title against Cassius Clay (Muhammad Ali); underworld connections and an early death—along with his unrecorded date of birth—added to the enigma. He is ranked number 15 in Ring Magazine’s 100 Greatest Punchers of All Time.

Cassius Clay (Muhammad Ali) vs. Sonny Liston (Full Fight, 25th February 1964)

Sonny Liston

From Wikipedia, the free encyclopedia
Sonny Liston
Charles Sonny Liston.jpg

Liston in 1963
Statistics
Real name Charles L. Liston
Nickname(s) Sonny
The Big Bear
Rated at Heavyweight
Height 6 ft 0.5 in (1.84 m)
Reach 84 in (213 cm) (2.13 m)[1][2]
Nationality United States
Born unknown
Sand Slough, Arkansas, U.S.
Died December 30, 1970
Las Vegas, Nevada, U.S.
Stance Orthodox
Boxing record
Total fights 54
Wins 50
Wins by KO 39
Losses 4

Charles L. “Sonny” Liston (unknown – December 30, 1970) was an American professional boxer known for his toughness, punching power and intimidating appearance. A long-avoided contender, he became world heavyweight champion in 1962 by knocking out Floyd Patterson in the first round, repeating the knockout in a defense of the title. Although widely regarded as unbeatable, Liston lost the title in 1964 to 7–1 underdogMuhammad Ali. Controversy followed with claims he had been drinking heavily the night before the fight. In the rematch Liston suffered a shocking first round knock-out that led to unresolved suspicions of a fix. He was still a world-ranked boxer when he died in mysterious circumstances. Underworld connections—along with his unrecorded date of birth—added to the enigma. The Ring magazine ranked Liston as the seventh greatest heavyweight of all time.

Early life[edit]

Family[edit]

Charles “Sonny” Liston was born into a sharecropping family who farmed the poor land of Morledge Plantation near Johnson Township, St. Francis County, Arkansas. His father, Tobe Liston, was in his mid-40s when he and his wife, Helen Baskin, who was nearly 30 years younger than Tobe, moved to Arkansas from Mississippi in 1916. Helen had one child before she married Tobe, and Tobe had 13 children with his first wife. Tobe and Helen had 12 children together. Sonny was the second youngest child.[3][4]

Date of birth[edit]

There is no record of Liston’s birth, though in the 1940 census he was listed as a 10-year-old boy.[5][6] It has been suggested Liston may not have known what year he was born, as he was not precise on the matter. He finally settled on a date of birth of May 8, 1932 for official purposes but by the time he won the world title an aged appearance added credence to rumors that he was several years older than he was by then claiming.[6][7][8][9][10]

Youth[edit]

Tobe Liston inflicted whippings so severe on Sonny that the scars were still visible decades later. “The only thing my old man ever gave me was a beating,” Liston said.[11] Helen Baskin moved toSt. Louis, Missouri, with some of her children, leaving Liston—aged around 13, according to his later reckonings—in Arkansas with his father. Sonny thrashed the pecans from his brother-in-law’s tree and sold them in Forrest City. With the proceeds he traveled to St. Louis and reunited with his mother and siblings. Liston tried going to school but quickly left after jeers about his illiteracy; the only employment he could obtain was sporadic and exploitative.[3]

Liston turned to crime and led a gang of toughs who committed muggings and armed robberies. He became known to the St. Louis police as the “Yellow Shirt Bandit,” due to the shirt he wore during robberies. Liston was caught in January 1950. He gave his age as 20, while the St. Louis Globe-Democrat reported that he was 22.[3] Liston was convicted and sentenced to five years inMissouri State Penitentiary. His time in prison started on the first day of June 1950.[7]

Liston never complained about prison, saying he was guaranteed three meals every day.[12] The athletic director at Missouri State Penitentiary, Alois Stevens, suggested to Liston that he try boxing, and his obvious aptitude, along with an endorsement from Stevens, who was also a priest, aided Liston in getting an early parole. Stevens organized a sparring session with a professional heavyweight named Thurman Wilson to showcase Liston’s potential. After two rounds, Wilson had taken enough. “Better get me out of this ring, he is going to kill me!” he exclaimed.[13]

Amateur boxing career[edit]

After he was released from prison on October 31, 1952, Liston had a brief amateur career which spanned less than a year. Liston captured the Chicago Golden Gloves Tournament of Champions on March 6, 1953, with a victory over 1952 Olympic Heavyweight Champion Ed Sanders. He then outpointed Julius Griffin, winner of the New York Golden Gloves Tournament of Champions, to capture the Intercity Golden Gloves Championship on March 26. Liston was dropped in the first round, but he came back to control the next two rounds and had Griffin hanging on at the end.

Liston competed in the 1953 National Amateur Athletic Union Tournament and lost in the quarterfinals to 17-year-old Jimmy McCarter on April 15. Liston would later employ McCarter as a sparring partner.[14]

Liston boxed in an International Golden Gloves competition at Kiel Auditorium in St. Louis on June 23, and knocked out Hermann Schreibauer of West Germany at 2:16 of the first round. The previous month, Schreibauer had won a bronze medal in the European Championships.[15] At this time, the head coach of the St. Louis Golden Gloves team, Tony Anderson, stated that Liston was the strongest fighter he had ever seen.

Professional boxing career[edit]

Liston signed a contract in September 1953, exclaiming: “Whatever you tell me to do, I’ll do.”[13] The only ones who had been willing to put up the necessary money for him to turn professional were close to underworld figures, and Liston supplemented his income by working for racketeers as an intimidator-enforcer. The connections to organized crime were an advantage early in his career, but were later used against him.[16]

Liston made his professional debut on September 2, 1953, knocking out Don Smith in the first round in St. Louis, where he fought his first five bouts. Though not particularly tall for a heavyweight at 6 ft 0.5 in (1.84 m), he had an exceptionally powerful physique and disproportionate reach at 84 inches (2.13 m)[1][2] Liston’s fists measured 15 inches (38 cm) around, the largest of any heavyweight champion. Sports Illustrated writer Mort Sharnik said his hands “looked like cannonballs when he made them into fists.” Liston’s noticeably more muscular left arm, crushing left jab and powerful left hook lent credence to the widely held belief that he was left-handed but utilized an orthodox stance.

Early in his career, Liston faced capable opponents. In his sixth bout, he faced John Summerlin (18-1-2) on national television and won by an eight-round decision. In his next fight, he had a rematch with Summerlin and again won an eight-round decision. Both fights were in Summerlin’s hometown of Detroit, Michigan.[17]

Liston suffered his first defeat in his eighth fight on September 7, 1954, losing against Marty Marshall, a journeyman with an awkward style. In the third round, Marshall nailed Liston—reportedly while he was laughing—and broke his jaw. A stoic Liston finished the fight but lost by an eight-round split decision. On April 21, 1956, Liston defeated Marshall in a rematch, dropping him four times en route to a sixth-round knockout. They had a rubber match on March 6, 1956, which Liston won by a lopsided ten-round unanimous decision.

Liston’s criminal record, compounded by a personal association with a notorious labor racketeer, led to the police stopping him on sight, and he began to avoid main streets. On May 5, 1956, a cop confronted Liston and a friend about a cab parked near Liston’s home. Liston assaulted the officer, breaking his knee and gashing his face. He also took his gun. Liston claimed the officer used racial slurs. A widely publicized account of Liston resisting arrest—even after nightsticks were allegedly broken over his skull—added to the public perception of him as a nightmarish “monster” who was impervious to punishment. He was paroled after serving six months of a nine-month sentence and prohibited from boxing during 1957. After repeated overnight detention by the St. Louis police and a thinly veiled threat to his life, Liston left for Philadelphia.[18]

In 1958, Liston returned to boxing. He won eight fights that year, six by knockout. Liston also got a new manager in 1958: Joseph “Pep” Barone, who was a front man for mobsters Frankie Carboand Frank “Blinky” Palermo.

The year 1959 was a banner one for Liston: after knocking out contender Mike DeJohn in six rounds, he faced Cleveland Williams, a fast-handed fighter who was billed as the hardest-hitting heavyweight in the world. Against Williams, Liston showed durability, power and skill, nullifying Williams’ best work before stopping him in the third round. This victory is regarded by some as Liston’s most impressive performance. He rounded out the year by stopping Nino Valdez and Willi Besmanoff.

In 1960, Liston won five more fights, including a rematch with Williams, who lasted only two rounds. Liston’s physique was artificially enhanced with towels under his robe when he entered the ring.Roy Harris, who had gone 13 rounds with Floyd Patterson in a title match, was crushed in one round by Liston. Top contender Zora Folley was stopped in three rounds and the run of knockouts led to Liston being touted as a “champion in waiting.”

Liston’s streak of nine straight knockout victories ended when he won a unanimous twelve-round decision against Eddie Machen on September 7, 1960. Machen’s mobility enabled him to go the distance. However, Machen’s taunting and his spoiling tactics of dodging and grappling—at one point almost heaving Liston over the ropes—so alienated the audience that Liston received unaccustomed support from the crowd.[19] Before his bout with Liston, Muhammad Ali consulted Machen and was advised that the key to success was to make Liston lose his temper.[19]

Boxing style[edit]

Writer Gilbert Rogin assessed Liston’s style and physique after his win over Foley. He said that Liston was not quick with his hand- or foot-work, that he relied too much on his ability to take a punch, and that he could be vulnerable to an opponent with more hand speed. “But can he hit!” Rogin wrote. “There is power in both his left and his right, even though the fists move with the languor of motoring royalty or as if passing through a gaseous envelope more dense than air.” Rogin called Liston’s body “awesome—arms like fence posts, thighs like silos.” His defense was described as “the gate-crossing of arms a la Archie Moore.”[20]

Title challenge delay[edit]

Liston became the No. 1 contender in 1960, but the handlers of World Heavyweight Champion Floyd Patterson refused to give him a shot at the title because of Liston’s links to organized crime.[21]Ironically, Patterson’s manager, Cus D’Amato, associated with racketeers and had his manager’s license revoked by the New York State Athletic Commission for alleged misconduct in connection with the Floyd PattersonIngemar Johansson title fight in June 1959.[22]

Civic leaders were also reluctant, worrying that Liston’s unsavory character would set a bad example to youth. The NAACP had urged Patterson not to fight Liston, fearing that a Liston victory would hurt the civil rights movement.[23] Many African-Americans disdained Liston. Asked by a young white reporter why he wasn’t fighting for freedom in the South, Liston deadpanned, “I ain’t got no dog-proof ass.”[24] However, in the aftermath of the 16th Street Baptist Church bombing, Liston broke off a European boxing exhibition tour to return home and was quoted as saying he was “ashamed to be in America.”[25]

United States President John F. Kennedy also did not want Patterson to fight Liston. When Patterson met with the president in January 1962, Kennedy suggested that Patterson avoid Liston, citingJustice Department concerns over Liston’s ties to organized crime.[26]

Jack Dempsey spoke for many when he was quoted as saying that Sonny Liston should not be allowed to fight for the title. Liston angrily responded by questioning whether Dempsey’s failure to serve in World War I qualified him to moralize.[27] Frustrated, Liston changed his management in 1961 and applied pressure through the media by remarking that Patterson, who had faced mostly white challengers since becoming champion, was drawing the color line against his own race.[28]

Liston vs. Patterson[edit]

Patterson finally signed to meet Liston for the world title on September 25, 1962, in Comiskey Park in Chicago, Illinois.[29] Leading up to the fight, Liston was an 8-5 betting favorite, though many picked Patterson to win. In an Associated Press poll, 64 of 102 reporters picked Patterson. Sports Illustrated predicted a Patterson victory in 15 rounds, stating: “Sonny has neither Floyd’s speed nor the versatility of his attack. He is a relatively elementary, one-track fighter.” Former champions James J. Braddock, Jersey Joe Walcott, Ezzard Charles, Rocky Marciano and Ingemar Johansson all picked Patterson to win. Muhammad Ali (at the time a rising contender named Cassius Clay) predicted a knockout by Liston in the first five rounds.

The fight turned out to be a mismatch. Liston, with a 25-pound weight advantage (214 lb (97.07 kg) to 189 lb (85.73 kg)), knocked out Patterson at 2:06 of the first round, putting him down for the count with a powerful left hook to the jaw. Sports Illustrated writer Gilbert Rogin wrote: “that final left hook crashed into Patterson’s cheek like a diesel rig going downhill, no brakes.” It was the third-fastest knockout in a world heavyweight title fight and the first time the champion had been knocked out in round one.

Rogin wrote that Patterson backers expected him to “go inside on Liston, fire away and then run like a thief in the night. He would not close in until the accumulated inside damage and Liston’s own frustration had sapped the challenger’s strength and will.” Patterson’s mistake was that he “did not punch enough and frequently tried to clinch with Liston….In these feckless clinches he only managed to tie up one of Liston’s arms. A grateful Liston found there was no need to give chase. The victim sought out the executioner.” Rogin discounted speculation that Patterson had thrown the fight, writing: “The genesis of all this wide-eyed theorizing and downright baloney was the fact that many spectators failed to see the knockout blows.”[30][31]

Heavyweight Champion of the World[edit]

On winning the Heavyweight Championship of the World, Liston had a speech prepared for the crowd that friends had assured him would meet him at the Philadelphia airport. But upon arrival, Liston was met by only a handful of reporters and public relations staff. Writer Jack McKinney said, “I watched Sonny. His eyes swept the whole scene….You could feel the deflation, see the look of hurt in his eyes….He had been deliberately snubbed. Philadelphia wanted nothing to do with him.”

During an era when white journalists still described black sportsmen in stereotypes, Liston had long been a target of racially charged slurs; he was called a “gorilla” and “a jungle beast” in print.Larry Merchant, then a writer with the Philadelphia Daily News, wrote: “A celebration for Philadelphia’s first heavyweight champ is now in order….Emily Post would probably recommend a ticker-tape parade. For confetti we can use torn-up arrest warrants.” He also wrote that Liston’s win over Patterson proved that “in a fair fight between good and evil, evil must win.” Some writers thought Liston brought bad press on himself by a surly and hostile attitude toward journalists. He also had a reputation for bullying people such as porters and waitresses.[32]

Liston’s run-ins with the police had continued in Philadelphia. He particularly resented a 1961 arrest by a black patrolman for loitering, claiming to have merely been signing autographs and chatting with fans outside a drug store.[33] One month later, Liston was accused of impersonating a police officer by using a flashlight to wave down a female motorist in Fairmount Park, although all charges were later dropped. Subsequently, Liston spent some months in Denver where a Catholic priest who acted as his spiritual adviser attempted to help bring his drinking under control. After he won the title, Liston relocated to Denver permanently, saying, “I’d rather be a lamppost in Denver than the mayor of Philadelphia.”[24]

Liston vs. Patterson II[edit]

Patterson and Liston had a rematch clause in their contract. Patterson wanted a chance to redeem himself, so they had a rematch on July 22, 1963, in Las Vegas, Nevada. Patterson, a 4-1 betting underdog, was knocked down three times and counted out at 2:10 of the first round. The fight lasted four seconds longer than the first one.[24] Liston’s victory was loudly booed. “The public is not with me. I know it,” Liston said afterward. “But they’ll have to swing along until somebody comes to beat me.”[32]

Liston vs. Ali[edit]

Liston made his second title defense against Muhammad Ali—at the time Cassius Clay—on February 25, 1964, in Miami Beach, Florida. Liston was a 7–1 betting favorite. In a pre-fight poll, 43 of 46 sportswriters picked Sonny Liston to win by knockout. Some were surprised during the referee’s instructions to see that Ali was a couple of inches taller than Liston, the so-called “Big Bear.”

Liston charged Ali at the opening bell, looking to end the fight quickly and decisively. However, Ali’s superior speed and movement were immediately evident, as he slipped most of Liston’s lunging punches, making the champion look awkward. Ali clearly gained confidence as the round progressed. He hit Liston with a combination that electrified the crowd with about 30 seconds left in the round and began scoring repeatedly with his left jab (the round lasted an extra 20 seconds because referee Barney Felix didn’t hear the bell).

Liston settled down somewhat in round two. At one point, he cornered Ali against the ropes and hit him with a hard left hook. Ali later confessed that he was hurt by the punch, but Liston failed to press his advantage. Two of the official scorers awarded the round to Liston and the other had it even.

In the third round, Ali began to take control of the fight. At about 30 seconds into the round, he hit Liston with several combinations, causing a bruise under Liston’s right eye and a cut under his left, which eventually required eight stitches to close. It was the first time in his career that Liston had been cut. At one point in this attack, Liston’s knees buckled and he almost went down as he was driven to the ropes.[34] A clearly angered Liston rallied at the end of the round, as Ali seemed tired, and delivered punishing shots to Ali’s body. It was probably Liston’s best moment in the entire fight.[35] Sitting on his stool between rounds, Liston was breathing heavily as his cornermen worked on his cut.

During the fourth round, Ali coasted, keeping his distance. However, when he returned to his corner, he started complaining that there was something burning in his eyes and he could not see. “I didn’t know what the heck was going on,” Angelo Dundee, Ali’s trainer, recalled on an NBC special 25 years later. “He said, ‘cut the gloves off. I want to prove to the world there’s dirty work afoot.’ And I said, ‘whoa, whoa, back up baby. C’mon now, this is for the title, this is the big apple. What are you doing? Sit down!’ So I get him down, I get the sponge and I pour the water into his eyes trying to cleanse whatever’s there, but before I did that I put my pinkie in his eye and I put it into my eye. It burned like hell. There was something caustic in both eyes.” Biographer Wilfrid Sheed wrote in his book, Muhammad Ali: A Portrait in Words and Photographs, that Ali’s protests were heard by ringside members of the Nation of Islam who initially suspected Dundee had blinded his fighter and that the trainer deliberately wiped his own eyes with the corner sponge to demonstrate to Ali’s approaching bodyguards that he had not intentionally blinded him.

The commotion wasn’t lost on referee Barney Felix, who was walking toward Ali’s corner. Felix later said Ali was seconds from being disqualified.[36] The challenger, his arms held high in surrender, was demanding that the fight be stopped and Dundee, fearing the fight might indeed be halted, gave his charge a one-word order: “Run!”

Many theorized that a substance used on Liston’s cuts by Joe Pollino, his cutman, may have inadvertently caused the irritation.[37]

Ali later said in round five he could only see a faint shadow of Liston during most of the round, but by circling and moving frantically he managed to avoid Liston and somehow survive. At one point, Ali was wiping his eyes with his right hand while extending his left arm—”like a drunk leaning on a lamppost” Bert Sugar wrote—to keep Liston at bay.[38] By the sixth round, Ali’s sight had cleared, and a clearly enraged Ali fought a blisteringly aggressive round landing combinations of punches at all angles seemingly at will.[39]

Liston failed to answer the bell for the seventh round, and Ali was declared the winner by technical knockout. It was the first time since 1919—when Jack Dempsey defeated Jess Willard—that a World Heavyweight Champion had quit on his stool. Liston said he quit because of a shoulder injury. Dr. Alexander Robbins, chief physician for the Miami Beach Boxing Commission, diagnosed Liston with a torn tendon in his left shoulder. However, David Remnick, for his book, King of the World: Muhammad Ali and the Rise of an American Hero, spoke with one of Liston’s cornermen, who told him that Liston could have continued: “[The shoulder] was all BS. We had a return bout clause with Clay, but if you say your guy just quit, who is gonna get a return bout. We cooked up that shoulder thing on the spot.”[40] Hall of Fame matchmaker Teddy Brenner also disputed the shoulder injury, claiming he saw Liston use the same arm to throw a chair in his dressing room after the match.[41]

Personal life[edit]

Liston married Geraldine Chambers in St. Louis, Missouri, on June 10, 1950. Geraldine had a daughter from a previous relationship, and the Listons subsequently adopted a boy from Sweden. Liston biographer Paul Gallender claims that Liston fathered several children, though none with his wife. Geraldine remembered her husband as, “Great with me, great with the kids. He was a gentle man.”[24]

Micky Fawcett (right) with Ronnie Kray (left) & boxer Sonny Liston,

Death[edit]

Following the win over Wepner, Liston was going to face Canadian champion George Chuvalo, but the fight never happened. “When I signed to fight him (in December 1970) he’d been dead for a week,” Chuvalo stated years later. “He passed away after I’d sent a telegram to the promoter, agreeing terms to the fight at the Montreal Forum. A day or so later a news report flashes up saying former heavyweight champion of the world Sonny Liston found dead at his Las Vegas home. I’d actually signed a contract to face a dead man.”[49]

Liston was found dead by his wife, Geraldine, in their Las Vegas home on January 5, 1971.[50] On returning home from a two-week trip, Geraldine had smelled a foul odor emanating from the main bedroom and on entering saw Sonny slumped up against the bed, a broken foot bench on the floor. Authorities theorized that he was undressing for bed when he fell over backward with such force that he broke the rail of the bench. Geraldine called Sonny’s attorney and his doctor but didn’t notify the police until two to three hours later.[51]

Sergeant Dennis Caputo of the Clark County Sheriff’s Department was one of the first officers on the scene. Caputo found a quarter-ounce of heroin in a balloon in the kitchen and a half-ounce of marijuana in Liston’s pants pocket, but no syringes or needles. Some found it suspicious that authorities could not locate any drug paraphernalia that Liston presumably would have needed to inject the fatal dose, such as a spoon to cook the heroin or a tourniquet to wrap around his arm. However, former Las Vegas police sergeant Gary Beckwith said, “It wasn’t uncommon for family members in these cases to go through and tidy up…to save family embarrassment.”[52]

Following an investigation, Las Vegas police concluded that there were no signs of foul play and declared Liston’s death a heroin overdose. “It was common knowledge that Sonny was a heroin addict,” said Caputo. “The whole department knew about it.” The date of death listed on his death certificate is December 30, 1970, which police estimated by judging the number of milk bottles and newspapers at the front door.

Coroner Mark Herman said traces of heroin byproducts were found in Liston’s system, but not in amounts large enough to have caused his death. Also, scar tissue, possibly from needle marks, was found in the bend of Liston’s left elbow. The toxicology report said his body was too decomposed for the tests to be conclusive. Officially, Liston died of lung congestion and heart failure.[53] He had been suffering from hardening of the heart muscle and lung disease before his death.[54] Liston had been hospitalized in early December, complaining of chest pains.[55]

Many people who knew Liston insisted that he was afraid of needles and never would have used heroin. “He had a deadly fear of needles,” said Davey Pearl, a boxing referee and friend of Liston’s. “There was nothing Sonny feared more than a needle. I know!” said Liston’s Philadelphia dentist, Dr. Nick Ragni. “He was afraid of needles,” echoed Father Edward Murphy. “He would do everything to avoid taking shots.” According to Liston’s trainer, Willie Reddish, Liston cancelled a planned tour to Africa in 1963 because he refused to get the required inoculations. Liston’s wife also reported that her husband would refuse basic medical care for common colds because of his dislike of needles.[56]

“The month before he died, some guy ran into Sonny while he was making a left turn. He had a whiplash, so they took him to the hospital,” said boxing trainer Johnny Tocco. “He said: ‘Look what they did!’ and he was pointing at some little bandage over the needle mark in his arm. He was more angry about that shot than he was about the car wreck. A couple weeks later, he was still complainin’ about that needle mark. To this day, I’m convinced that’s what the coroner saw in his exam—that hospital needle mark.”[57]

Many believe Liston was murdered. There are several theories as to why: (1) Publicist Harold Conrad and others believed that Liston was deeply involved as a bill collector in a loan-sharking ring in Las Vegas. When he tried to muscle in for a bigger share of the action, Conrad surmised that his employers got him very drunk, took him home, and stuck him with a needle. (2) Professional gambler Lem Banker insists that Liston was murdered by drug dealers with whom he’d become involved. Banker said he was told by police that Liston had been seen at a house that would be the target of a drug raid. Banker said, “Sheriff [Ralph] Lamb told me, ‘Tell your pal Sonny to stay away from the West Side because we’re going to bust the drug dealers.'” Banker later learned that the police told Liston the same thing to his face. He apparently was at the dealers’ house shortly before they got busted. Because of that, the dealers may have thought Sonny ratted on them and they shot him with a hot dose as retribution. (3) The mob promised Liston some money to throw the second Ali fight but they never paid him. As the years passed and Liston’s financial situation worsened, he got angry and told the mob he’d go public with the story unless they gave him the money. That got him killed. (4) Liston was supposed to take a dive when he fought Chuck Wepner six months earlier, and killing him was payback for his failure to do so.[55]

Some believe the police covered up what happened. On January 1, Liston’s wife called Johnny Tocco and said she hadn’t heard from her husband in three days and was worried. A few years before he died, Johnny Tocco allegedly told his good friend, Tony Davi, that he went to Liston’s house and found the door locked and his car in the driveway. Tocco called the police, and they broke into the house. Tocco said that the living room furniture was in disarray but the house did not yet smell of death. He said they found Sonny lying on his bed with a needle sticking out of his arm. Johnny left the house before the police did. “Johnny wasn’t a braggart,” Davi told Liston biographer Paul Gallender. “He told me in the strictest confidence, but it was like he wanted to get it off his chest.” Gallender claims, “A lot of officers knew Sonny was dead before Geraldine returned home on January 5, but they chose to let him rot.”[55]

Sonny Liston is interred in Paradise Memorial Gardens in Las Vegas, Nevada. His headstone bears the simple epitaph: “A Man.”

Professional boxing record[edit]

50 Wins (39 knockouts, 11 decisions), 4 Losses (3 knockouts, 1 decision), 0 Draws[58]
Res. Record Opponent Type Round Date Location Notes
Win 50–4 United States Chuck Wepner RTD 9 (10) 29/06/1970 United States Armory, Jersey City, New Jersey,United States Wepner was down in the 5th round from a body punch. The fight was stopped by the ring doctor after round 9 because of multiple cuts on Wepner’s face.
Loss 49–4 United States Leotis Martin KO 9 (12) 06/12/1969 United States International Hotel & Casino, Las Vegas, Nevada, United States For the vacant NABF Heavyweight title. Martin was down in round 4 and was behind on points when he KO’d Liston. Martin was forced to retire shortly afterward, as he suffered a detached retina in this bout.
Win 49–3 United States Sonny Moore KO 3 (10) 23/09/1969 United States Sam Houston Coliseum, Houston,Texas, United States
Win 48–3 United States George Johnson TKO 7 (10) 19/05/1969 United States Convention Hall, Las Vegas, Nevada,United States
Win 47–3 United States Billy Joiner UD 10 28/03/1969 United States Kiel Auditorium, St. Louis, Missouri,United States
Win 46–3 United States Amos Lincoln KO 2 (10) 10/12/1968 United States Civic Center, Baltimore, Maryland,United States
Win 45–3 United States Roger Rischer KO 3 (10) 12/11/1968 United States Civic Center, Pittsburgh,Pennsylvania, United States Main event of a benefit card for Ben Anolik, Pennsylvania’s first heart transplant patient.
Win 44–3 United States Willis Earls KO 2 (10) 03/11/1968 Mexico Bull Ring, Ciudad Juárez, Chihuahua,Mexico
Win 43–3 United States Sonny Moore TKO 3 (10) 14/10/1968 United States Veteran’s Memorial Coliseum,Phoenix, Arizona, United States
Win 42–3 United States Henry Clark TKO 7 (10) 06/07/1968 United States Cow Palace, Daly City, California,United States
Win 41–3 United States Billy Joiner RTD 7 (10) 23/05/1968 United States Grand Olympic Auditorium, Los Angeles, California, United States Joiner was down in the 3rd round. Joiner retired in his corner after round 7.
Win 40–3 United States Bill McMurray KO 4 (10) 16/03/1968 United States Coliseum, Reno, Nevada, United States
Win 39–3 United States Elmer Rush TKO 6 (10) 28/04/1967 Sweden Johanneshov, Stockholm, Sweden Rush was down twice in the 4th round, three times in 5th and four times in 6th.
Win 38–3 United States Dave Bailey KO 1 (10) 30/03/1967 Sweden Mässhallen, Gothenburg, Sweden
Win 37–3 United States Amos Johnson KO 3 (10) 19/08/1966 Sweden Ullevi, Gothenburg, Sweden
Win 36–3 Germany Gerhard Zech KO 7 (10) 01/07/1966 Sweden Johanneshov, Stockholm, Sweden
Loss 35–3 United StatesMuhammad Ali KO 1 (15) 25/05/1965 United States St. Dominic’s Hall, Lewiston, Maine,United States For World Heavyweight title.
Loss 35–2 United StatesMuhammad Ali TKO 6 (15) 25/02/1964 United States Convention Hall, Miami Beach,Florida, United States Lost World Heavyweight title. Liston retired on his stool after round 6 citing an injured shoulder. Named 1964 Fight of the Yearby The Ring magazine.
Win 35–1 United States Floyd Patterson KO 1 (15) 22/07/1963 United States Las Vegas Convention Center, Las Vegas, Nevada, United States Retained World Heavyweight Title. Patterson was knocked down three times.
Win 34–1 United States Floyd Patterson KO 1 (15) 25/09/1962 United States Comiskey Park, Chicago, Illinois,United States Won World Heavyweight Title. Liston made history by becoming the first man to win the heavyweight title with a first-round knockout.
Win 33–1 Germany Albert Westphal KO 1 (10) 04/12/1961 United States Convention Hall, Philadelphia,Pennsylvania, United States This was the first time Westphal was knocked down in his career.
Win 32–1 United States Howard King TKO 3 (10) 08/03/1961 United States Auditorium, Miami Beach, Florida,United States
Win 31–1 United States Eddie Machen UD 12 07/09/1960 United States Sick’s Stadium, Seattle, Washington,United States Liston was penalized three points for low blows.
Win 30–1 United States Zora Folley KO 3 (12) 18/07/1960 United States Coliseum, Denver, Colorado, United States Liston’s sledge-hammer hands smashed Folley to the canvas twice in the 2nd round.
Win 29–1 United States Roy Harris TKO 1 (10) 25/04/1960 United States Sam Houston Coliseum, Houston,Texas, United States Harris was down three times.
Win 28–1 United States Cleveland Williams TKO 2 (10) 21/03/1960 United States Sam Houston Coliseum, Houston,Texas, United States Williams was down for an 8-count before the knockout.
Win 27–1 United States Howard King TKO 8 (10) 23/02/1960 United States Auditorium, Miami Beach, Florida,United States
Win 26–1 Germany Willi Besmanoff TKO 7 (10) 09/12/1959 United States Arena, Cleveland, Ohio, United States Besmanoff absorbed a barrage of punches in the 6th round and was bleeding from several bad gashes over his eyes. The referee stopped the bout between rounds 6 and 7.
Win 25–1 Cuba Nino Valdez KO 3 (10) 05/08/1959 United States Chicago Stadium, Chicago, Illinois,United States
Win 24–1 United States Cleveland Williams TKO 3 (10) 15/04/1959 United States Auditorium, Miami Beach, Florida,United States Williams was knocked down twice in the 3rd round.
Win 23–1 United States Mike DeJohn TKO 6 (10) 18/02/1959 United States Exhibition Hall, Miami Beach, Florida,United States
Win 22–1 United States Ernie Cab TKO 8 (10) 18/11/1958 United States Auditorium, Miami Beach, Florida,United States The ring doctor stopped the bout due to Cab’s left eye and nose being cut.
Win 21–1 United States Bert Whitehurst UD 10 24/10/1958 United States Arena, St. Louis, Missouri, United States Whitehurst was knocked through the ropes and was attempting to climb back into the ring as the final bell rang at the count of seven.
Win 20–1 United States Frankie Daniels KO 1 (10) 07/10/1958 United States Auditorium, Miami Beach, Florida,United States
Win 19–1 United States Wayne Bethea TKO 1 (10) 06/08/1958 United States Chicago Stadium, Chicago, Illinois,United States
Win 18–1 Cuba Julio Mederos RTD 2 (10) 14/05/1958 United States Chicago Stadium, Chicago, Illinois,United States
Win 17–1 United States Bert Whitehurst PTS 10 03/04/1958 United States Kiel Auditorium, St. Louis, Missouri,United States
Win 16–1 United States Ben Wise TKO 4 (10) 11/03/1958 United States Midwest Gymnasium, Chicago,Illinois, United States
Win 15–1 United States Billy Hunter TKO 2 (10) 29/01/1958 United States Chicago Stadium, Chicago, Illinois,United States
Win 14–1 United States Marty Marshall UD 10 06/03/1956 United States Pittsburgh Gardens, Pittsburgh,Pennsylvania, United States Marshall substituted on four days notice for Harold Johnson, who injured his shoulder in training.
Win 13–1 United States Larry Watson TKO 4 (10) 13/12/1955 United States Alnad Temple, East St. Louis, Illinois,United States
Win 12–1 United States Johnny Gray TKO 6 (10) 13/09/1955 United States Victory Field, Indianapolis, Indiana,United States
Win 11–1 United States Calvin Butler TKO 2 (8) 25/05/1955 United States Arena, St. Louis, Missouri, United States
Win 10–1 United States Emil Brtko TKO 5 (10) 05/05/1955 United States Duquesne Gardens, Pittsburgh,Pennsylvania, United States
Win 9–1 United States Marty Marshall TKO 6 (10) 21/04/1955 United States Kiel Auditorium, St. Louis, Missouri,United States Marshall was down once in round 5 and three times in round 6.
Win 8–1 United States Neal Welch PTS 8 01/03/1955 United States Masonic Temple, St. Louis, Missouri,United States
Loss 7–1 United States Marty Marshall SD 8 07/09/1954 United States Motor City Arena, Detroit, Michigan,United States Liston suffered a broken jaw during round 4.
Win 7–0 United States Johnny Summerlin SD 8 10/08/1954 United States Motor City Arena, Detroit, Michigan,United States
Win 6–0 United States Johnny Summerlin UD 8 29/06/1954 United States Motor City Arena, Detroit, Michigan,United States Summerlin had suffered a fractured nose in a sparring session shortly before this fight.
Win 5–0 United States Stanley Howlett PTS 6 31/03/1954 United States Arena, St. Louis, Missouri, United States
Win 4–0 United States Martin Lee TKO 6 (6) 25/01/1954 United States Masonic Temple, St. Louis, Missouri,United States
Win 3–0 United States Bennie Thomas SD 6 21/11/1953 United States Kiel Auditorium, St. Louis, Missouri,United States
Win 2–0 United States Ponce de Leon PTS 4 17/09/1953 United States Kiel Auditorium, St. Louis, Missouri,United States
Win 1–0 United States Don Smith TKO 1 (4) 02/09/1953 United States Arena, St. Louis, Missouri, United States Smith apparently did not have a chance, as Liston swarmed all over him. After Referee Jimmy Parker halted the fight, it was discovered that Smith also was sporting a badly lacerated right eye.

In popular culture[edit]

Acting[edit]

Liston played a fist fighter in the 1965 film Harlow, made a cameo appearance in the 1968 film Head, which starred The Monkees, and played the part of The Farmer in the 1970 film Moonfire, which starred Richard Egan and Charles Napier. Also in 1970, Liston appeared on an episode of the TV series Love, American Style and in a television commercial for Braniff Airlines with Andy Warhol.[7][59]

After beating Floyd Patterson for the title, Sonny is surrounded by clergymen Rev. Edward P. Murphy, the Rev. John McGinn, and Fr. Alois Stevens, ..

Portrayal in film[edit]

In the 2001 film Ali, Liston was portrayed by former WBO Heavyweight Champion Michael Bentt.

Liston was the subject of a 2008 feature film based upon his life titled Phantom Punch. The film starred Ving Rhames as Liston and was produced by Rhames, Hassain Zaidi and Marek Posival.

Sonny Liston vs Floyd Patterson I Sep. 25, 1962

Portrayal in fiction[edit]

Liston appears as a character in James Ellroy‘s novel The Cold Six Thousand. In the novel, Liston not only drinks but also pops pills and works as a sometime enforcer for a heroin ring in Las Vegas. Liston also appears in the sequel, Blood’s a Rover.

Thom Jones titled his 2000 collection of short stories Sonny Liston Was a Friend of Mine.[60]

Music[edit]

Liston has been referenced in many songs by artists such as Curtis Eller, Sun Kil Moon, The Animals, Tom Petty, Mark Knopfler, Phil Ochs, Morrissey, Freddy Blohm, Chuck E. Weiss, This Bike is a Pipe Bomb, The Roots, Wu-Tang Clan, Gone Jackals, Billy Joel, The Mountain Goats, Roll Deep, UCL, Lil Wayne, and Nick Cave and the Bad Seeds. Mark Knopfler‘s tribute to Liston, “Song for Sonny Liston,” appeared on his 2004 album Shangri-La.

“Sonny Liston” is also the name of an indie folk band from Oxford, England.[61]

A wax model of Liston appears in the front row of the iconic sleeve cover of The BeatlesSgt. Pepper’s Lonely Hearts Club Band. He is seen in the far left part of the row, wearing a white and gold robe, standing beside the original-look Beatle figures.

Print[edit]

Liston appeared on the December 1963 cover of Esquire magazine (cover photograph by Carl Fischer) “the last man on earth America wanted to see coming down its chimney”.[62]

Elizabeth Bear wrote the short story “Sonny Liston Takes the Fall,” published in The Del Rey Book of Science Fiction and Fantasy in 2008.[63] The story speculates that Liston threw the Ali match for the social good.

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___________________

Takako Saito is the featured artist:

 

http://artistsbooksandmultiples.blogspot.com/2012/02/takako-saito-spice-chess_12.html



“Takako Saito engaged with Duchamp’s practice but also with masculinist cold war metaphors by taking up chess as a subject of [her] art. Saito’s fluxchess works… question the primacy of vision to chess, along with notions of perception and in aesthetic experience more generally…. Her “Smell Chess,” “Sound Chess” and “Weight Chess” reworked the game of chess so that players would be forced to hone non-visual perception, such as the olfactory sense, tactility, and aurality, in order to follow chess rules.” Claudia Mesch

Opera, Takako Saito

Takako Saito

From Wikipedia, the free encyclopedia
Takako Saito
Born Takako Saito
Fukui Japan
Nationality Japanese
Education Psychology
Known for Visual Art, Artist’s Multiples,Installation, Sculpture,Performance,
Movement Fluxus

Takako Saito is a Japanese artist, born in Sabae-Shi, Fukui Province in Japan in 1929. Closely associated with Fluxus, the international collective of avant-garde artists that was active primarily in the 1960s and 1970s, Saito contributed a number of performances and artworks to the movement, which continue to be exhibited in Fluxus exhibitions to the present day. She currently lives inDüsseldorf in Germany. She is most famous for pieces like Silent Music or for her disrupted Chess sets.

Early life[edit]

Liquor Chess, 1975. As the game progresses, players have to keep sampling the phials to ascertain the pieces’ status.

5 Years after studying psychology at the Japan Women’s University, Saito became involved with Sōzō Biiku undŏ, the ‘Creative Art Education’ movement. Founded 1952 by Sadajirŏ Kubo, the movement focussed on encouraging creativity through free will.[1] Whilst attending a summer camp organized by the movement, Saito met a Tokyo member Ay-O, an artist actively engaged in encouraging avant-garde groups in Japan. Ay-O became an important source of information for Saito about the avant-garde, first in Tokyo, and then, later, in New York, where he moved in 1958.[1] Intrigued by the reports being sent back by Ay-O, Saito also travelled to New York in 1963 ostensibly to work as an assistant to textile wholesaler. It was through Ay-O that she was introduced toGeorge Maciunas, founder and organiser of Fluxus, and one of the central members of the New York avant-garde.

Fluxus[edit]

George Maciunas was fascinated by Japanese craftsmanship, and asked Saito if she could make a few boxes for him in the same style as a number of Japanese boxes he already owned; He was so impressed with her craftmanship that he asked her to contribute a series of disrupted chess sets to sell in his new Flux shop on Canal Street, SoHo, New York. Maciunas was so delighted bySpice Chess in particular that he ‘even took credit for it on occasion.’.[2] Saito remained a close friend and fluxus collaborator until Maciunas’ death.

“After a while, Maciunas proposed having dinner together every evening. In his opinion, buying food for many was more economical than buying for one… He called it Flux Dinner Commune. So George, Paik, Takako, Shigeko and I started this part-time collective life. For the first few days, the men went shopping and the girls cooked. However we found it inconvenient, because George came back rather late from his office and then often didn’t buy what we wanted to cook…. It didn’t last long, because we got jobs at night. George was discouraged, but bravely said, “Well, work comes first, dinner second.” Mieko Shiomi [3]

Saito remained part of the Fluxus movement throughout the 1960s and 70s,[4] producing performance, still, multi-media, installation and sculptural work in collaboration with other artists such as George Maciunas and Yoko Ono. Saito has contributed pieces to many Fluxus collaborations, including Fluxus 1 (1964) and the Flux Cabinet (1975–77).[4] She is perhaps most well known for her “Silent Music” piece. Her output was diverse and she is also remembered for the various disrupted chess sets including Smell Chess and Spice Chess, that she manufactured to sell in the Fluxshop, SoHo, New York, and that were often included in the Flux Boxes from 1964 onwards, which was part of a Fluxus series of game variations of Chess.

Travels[edit]

Do It Yourself Bookshop, 1992.

Saito left New York in 1968, leading a peripatetic lifestyle until 1978. Saito lived in France, Germany, England and Italy, working with George Brecht, Robert Filliou, and with the Beau Geste Press, publishing artist’s books.[5] From 1979 to 1983, she taught at the University of Essen. Later pieces have maintained the fluxus ideal of eroding the boundaries between performer and viewer;

‘Saito’s You and Me Shop again includes the idea of exchange with the viewer and of collaborative artistic work. In a small shop resembling a market stall, the artist as sales woman offered an arranged selection of those small things or materials which she also used in her objects: dried onion skins, chestnuts, pieces of wood. Here, the interaction with the viewer started with the joint selection, placement and fixation of the offered items on paper plates. It ended with the handing over of the object to the respective participant.’ Virtual Museum of Modernism [5]

Aside from solo exhibitions in Düsseldorf, Cologne, Fukui, New York and Kansas, she has featured in recent exhibitions including Fluxus retrospectives at the Chapel Studio in Balatonboglár in 2002 and at Tate Modern London in 2008 and the Re-Imagining Asia at the House of World Cultures in Berlin.

Düsseldorf[edit]

Since 1978, Saito has lived and worked in Düsseldorf.

Notes[edit]

  1. ^ Jump up to:a b Into Performance, Yoshimoto, Rutgers University Press, 2005
  2. Jump up^ Fluxus Codex, Hendricks, Abrams, 1989 p461
  3. Jump up^ Quoted in Mr Fluxus, E Williams and A Noel, Thames and Hudson, 1997, p129
  4. ^ Jump up to:a b Oxford Art Online (subscription only)/ Fluxus
  5. ^ Jump up to:a b Virtual Museum of Modernism

External links[edit]

______________

Image result for sergent peppers album cover

Francis Schaeffer’s favorite album was SGT. PEPPER”S and he said of the album “Sergeant Pepper’s Lonely Hearts Club Band…for a time it became the rallying cry for young people throughout the world. It expressed the essence of their lives, thoughts and their feelings.”  (at the 14 minute point in episode 7 of HOW SHOULD WE THEN LIVE? ) 

Image result for francis schaeffer how should we then live

How Should We Then Live – Episode Seven – 07 – Portuguese Subtitles

Francis Schaeffer

Image result for francis schaeffer

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FRANCIS SCHAEFFER ANALYZES ART AND CULTURE PART 202 the BEATLES’ last song FREE AS A BIRD (Featured artist is Susan Weil )

February 15, 2018 – 1:45 am

FRANCIS SCHAEFFER ANALYZES ART AND CULTURE Part 200 George Harrison song HERE ME LORD (Featured artist is Karl Schmidt-Rottluff )

FRANCIS SCHAEFFER ANALYZES ART AND CULTURE PART 184 the BEATLES’ song REAL LOVE (Featured artist is David Hammonds )

FRANCIS SCHAEFFER ANALYZES ART AND CULTURE Part 170 George Harrison and his song MY SWEET LORD (Featured artist is Bruce Herman )

FRANCIS SCHAEFFER ANALYZES ART AND CULTURE Part 168 George Harrison’s song AWAITING ON YOU ALL Part B (Featured artist is Michelle Mackey )

FRANCIS SCHAEFFER ANALYZES ART AND CULTURE Part 167 George Harrison’s song AWAITING ON YOU Part A (Artist featured is Paul Martin)

RESPONDING TO HARRY KROTO’S BRILLIANT RENOWNED ACADEMICS!! Part 133 Louise Antony is UMass, Phil Dept, “Atheists if they commit themselves to justice, peace and the relief of suffering can only be doing so out of love for the good. Atheist have the opportunity to practice perfect piety”

FRANCIS SCHAEFFER ANALYZES ART AND CULTURE Part 166 George Harrison’s song ART OF DYING (Featured artist is Joel Sheesley )

FRANCIS SCHAEFFER ANALYZES ART AND CULTURE Part 165 George Harrison’s view that many roads lead to Heaven (Featured artist is Tim Lowly)

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

PART 163 BEATLES Breaking down the song LONG AND WINDING ROAD (Featured artist is Charles Lutyens )

FRANCIS SCHAEFFER ANALYZES ART AND CULTURE PART 162 A look at the BEATLES Breaking down the song ALL WE NEED IS LOVE Part C (Featured artist is Grace Slick)

PART 161 A look at the BEATLES Breaking down the song ALL WE NEED IS LOVE Part B (Featured artist is Francis Hoyland )

 

FRANCIS SCHAEFFER ANALYZES ART AND CULTURE PART 160 A look at the BEATLES Breaking down the song ALL WE NEED IS LOVE Part A (Featured artist is Shirazeh Houshiary)

FRANCIS SCHAEFFER ANALYZES ART AND CULTURE Part 159 BEATLES, Soccer player Albert Stubbins made it on SGT. PEP’S because he was sport hero (Artist featured is Richard Land)

FRANCIS SCHAEFFER ANALYZES ART AND CULTURE Part 158 THE BEATLES (breaking down the song WHY DON’T WE DO IT IN THE ROAD?) Photographer Bob Gomel featured today!

FRANCIS SCHAEFFER ANALYZES ART AND CULTURE Part 118 THE BEATLES (Why was Tony Curtis on cover of SGT PEP?) (Feature on artist Jeffrey Gibson )

FRANCIS SCHAEFFER ANALYZES ART AND CULTURE Part 117 THE BEATLES, Breaking down the song WITHIN YOU WITHOUT YOU Part B (Featured artist is Emma Amos )

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A great article by  Mat Viola on the morality discussion in the Alfred Hitchock movie “Rope”

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Episode VII – The Age of Non Reason

 He also makes extensive references to art and architecture as a means of showing how these movements reflected changing patterns of thought through time. Schaeffer’s central premise is: when we base society on the Bible, on the infinite-personal God who is there and has spoken,[4] this provides an absolute by which we can conduct our lives and by which we can judge society.  Here are some posts I have done on this series: 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 “The Age of Fragmentation”episode 7 “The Age of Non-Reason” episode 6 “The Scientific Age”  episode 5 “The Revolutionary Age” episode 4 “The Reformation” episode 3 “The Renaissance”episode 2 “The Middle Ages,”, and  episode 1 “The Roman Age,” .

MORALITY WITH ROPE

“There are no moral phenomena at all, but only a moral interpretation of phenomena.” – Friedrich Nietzsche, Beyond Good and Evil

“The mere material world suggests to us no concepts of good or evil, because we can discern in it no system of grades of value.” – Alfred North Whitehead

“No known race is so little human as not to suppose a moral order so innately desirable as to have an inevitable existence. It is man’s most fundamental myth.” – Joseph Wood Krutch, The Modern Temper

“I just wanted to illustrate, in an entertaining way, that there is no God and that we’re alone in the universe, and there is nobody out there to punish you. That your morality is strictly up to you. If you’re willing to murder and you can get away with it and you can live with it, that’s fine.” – Woody Allen, on Crimes and Misdemeanors

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Alfred Hitchcock’s Rope stars Farley Granger and John Dall as thinly disguised versions of Leopold and Loeb, the brilliant students and self-described Übermensch who considered themselves exempt from the laws and morals of “ordinary” men, and put their philosophy into action by murdering a young boy for kicks. For them, killing a human being was just another experience, scarcely distinguishable, morally speaking, from any other action – like, say, squashing an ant. In Rope the names have changed to Phillip (Granger) and Brandon (John Dall), but the attitudes are the same. They murder a mutual acquaintance for the thrill of it, arguing that “the few are those men of such intellectual and cultural superiority that they’re above the traditional moral concepts. Good and evil, right and wrong, were invented for the ordinary, average man, the inferior man, because he needs them.”

Not surprisingly, the film doesn’t endorse this view. In the end, Mr. Smith himself, James Stewart, shows up brimming with moral indignation to deliver an impassioned argument against the duo’s dastardly deed, saying, “…we’re each of us a separate human being with the right to live and work and think as individuals, but with an obligation to the society we live in. By what right did you dare decide that that boy in there was inferior and therefore could be killed? Did you think you were God, Brandon? Is that what you thought when you choked the life out of him? I don’t know what you thought or what you are but I know what you’ve done. You’ve murdered! You’ve strangled the life out of a fellow human being who could live and love as you never could…”

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The message is as obvious as is it predictable: murder is wrong! Few would argue with this statement. It seems to be a self-evident truth. But is it? I’m afraid the issue isn’t so black and white. Stewart’s character believes murder is wrong. John Dall’s character believes murder is right. Who’s correct? The problem is that we cannot logically decide between these competing moral claims unless there is an objective standard of morality to which we can repair for adjudication. Only such a standard would provide us the means to resolve disputes between people whose notions of right and wrong differ. The question is, though, does such a standard of morality actually exist?

First, a few definitions are in order:

Subjective:

  • 1) Based on or influenced by personal feelings, tastes, or opinions.
  • 2) Existing in the mind; belonging to the thinking subject rather than to the object of thought.
  • 3) Proceeding from or taking place in a person’s mind rather than the external world.

My favorite color is green. That is a subjective sentiment. That green is my favorite color need not imply that green is or should be everybody’s favorite color. It is not the “right” color, in any objective sense. Nature has not, after all, indicated a color preference.

Objective:

  • 1) Not influenced by personal feelings or opinions in considering and representing facts.
  • 2) Not dependent on the mind for existence; actual.
  • 3) Anything which actually exists, as distinguished from something thought or felt to exist.

2+2=4. That is an objective fact. Take two objects from here, two objects from there, put them together, and you have four objects. There’s no room for individual interpretation or preference. It is not right for some and wrong for others. There is only one valid answer. 2+2= 5 may be identified as an error, notwithstanding the ramblings of Dostoyevsky’s Underground Man, because math is not a subjective matter.

Morality

  • 1) Principles concerning the distinction between right and wrong or good and bad behavior.
  • 2) Of or concerned with the judgment of the goodness or badness of human action and character.

Murder is wrong. That is a moral claim. To which category do moral claims belong: subjective or objective? Is asserting that “murder is wrong” an objective fact like “2+2=4″, or is it a subjective sentiment like “my favorite color is green”? Is there an objective standard of morality to which we can refer to settle the matter? Or do questions of right and wrong, good and bad, fall into the subjective realm, amounting to nothing more than personal preference? I would argue that, whether we like it or not, moral claims belong squarely in the latter category.

The laws of math and logic are universally applicable. There’s no denying them. 2+2=4 is necessarily true. Furthermore, 2+2=4 was so even before the advent of humans. Let’s say a prehistoric squirrel gathers 2 nuts from under one tree, two nuts from under another tree, and then takes them all back to his nest. How many nuts does this squirrel have? He has 4, obviously. Is it any less true just because a human isn’t around to compute it? Did humans magically make 2+2=4 simply by thinking it? I don’t think so, and that’s because the laws of mathematics inhere in reality. Humans discovered mathematical laws; they didn’t invent them.

Morality doesn’t work that way. A moral claim like murder is wrong is not necessarily true. Right and wrong, good or bad, do not exist in nature. They are merely human constructs that help us get along, very much like the rules of courtesy. The universe, I’m afraid, is perfectly indifferent to morality. Whether one chooses to observe a moral rule like murder is wrong or stealing is bad is an entirely subjective matter, no more obligatory than, say, the rule instructing us not to split infinitives. Let’s say a bigger squirrel comes along and steals the smaller squirrel’s nuts. Has the bigger squirrel acted immorally? Was he “wrong” to steal the nuts? Obviously not, and that’s because the rules of morality do notinhere in reality. Humans didn’t discover moral rules; they invented them.

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Allow me to return to Rope for a moment. I’ve never been a fan of the film. Its gimmicky one-set, long-take approach is hardly conducive to Hitchcock’s strengths as a director. Hitchcock himself acknowledged this, pretty much dismissing the film as a stunt: “When I look back, I realize that it was quite nonsensical because I was breaking with my own theories on the importance of cutting and montage for the visual narration of a story…no doubt about it, films must be cut”.

Also problematic are the stilted performances, particularly Granger’s awful turn as Phillip the Boobermensch. Just about everything he does or says is a howler. Perhaps my favorite bit is when he frantically calls out to “Brandon! Brandon!” when he sees the rope hanging out of the chest which contains the body. Brandon tells him to pull it out, and Phillip whines “I can’t”, as if he were totally incapable of functioning on his own. Later, when Stewart picks up the rope, Phillip hysterically whimpers, “He’s got it! He’s got it! He knows, he knows, he knows…” I mean, jeez, couldn’t Brandon find someone better than this guy with whom to carry out the “perfect crime”?

Thematically, the film offers a conventional, noncontroversial and comforting take on morality. During Stewart’s concluding diatribe on the immorality of murder, Brandon, himself now reduced to the level of Boobermensch, mutely stands around (as only characters in films based on plays are wont to do) allowing Stewart to prattle on without offering a counterargument, as if he’s been stunned speechless by the persuasive power of Stewart’s devastating argument. (For a vastly more insightful, unsettling, and intellectually challenging exploration of the “morality of murder” see Woody Allen’s masterful Crimes and Misdemeanors).

After watching Rope I happened to notice that the Self-Styled Siren, a popular classic movie bloggerette, had posted a tribute to the late Farley Granger, which consisted mostly of a defense of the “severely underrated Rope“. Her many followers quickly chimed in with their usual assent. All very boring, frankly. No one bothered to mention anything about the heady philosophical issues at the film’s core. I mean, what an opportunity to discuss Nietzsche, morality, murder, nihilism etc.! I felt the conversation could use some livening up, and so I posted the following:

“There’s nothing wrong, objectively speaking, with snuffing out a human life, notwithstanding all of Stewart’s histrionic protestations to the contrary.”

I had to chuckle at the Siren’s response:

“Mat, I would address your objections to Rope, but the last line of your first comment has, frankly, scared me to death.”

Apparently, for the Siren, a proposition qualifies as worthy of dispute only if it preserves her cozy feelings of security and well-being. (Not that there’s anything morally wrong with that, of course). This is a woman who could tell you everything you never wanted to know about old Hollywood stars – like, say, all the juicy details of the secret love affair between Jeanette Macdonald and Nelson Eddy – but when the discussion turns to a genuinely challenging subject, particularly one that frightens her, she’ll go all mum on you. (One suspects that a CAT scan of the Siren’s brain would reveal that the region controlling appreciation for classic Hollywood movies, technically known as the hippoclassic cinebellum, is grossly overdeveloped).

But I digress. Saying “there’s nothing wrong, objectively speaking, with snuffing out a human life” is, of course, not the same as saying, “there’s nothing wrong, subjectively speaking, with snuffing out a human life.” The operative phrase here is “objectively speaking”. I don’t personally condone murder. I don’t personally like murder. I’m happy to see this prejudice of mine codified as the law of the land. I cannot provide a reason, however, why murder is objectively wrong. But there’s no shortage of folks who try to provide such a reason. I’ll now examine some of the more common arguments, and explain why I find them wanting:

The Self-Evident Argument

People often respond to the suggestion that there’s nothing objectively wrong with murder with simple incredulity. For them, apparently, the proposition that murder is wrong is self-evidently true. They might respond by saying things like, “if you don’t know why murder is wrong I really don’t know what to say to you.”

Of course, this is in fact no argument at all. Here’s one thing they might say: “murder is objectively wrong because…” If one doesn’t need a reason to justify his belief that murder is morally wrong, then neither does a murderer need a reason to justify his belief that murder is morally right. After all, murderers have their own “self-evident truths.” We’re no closer to resolving the dispute with which we started. If one person says “murder is wrong” and another says “murder is right”, how do we logically decide between these competing moral claims in the absence of an objective standard to which we can refer to settle the matter? “Because I strongly feel that murder is wrong” does not, I’m afraid, constitute an objective standard.

The Golden Rule – Do unto others as you would have them do unto you.

Why should anyone necessarily adopt this rule? A sadistic murderer, for example, derives pleasure from inflicting pain on others. He values his own pleasure above everything else. He considers his own pleasure to be the greatest good, and if morality is purely subjective as I am arguing, then maximizing his pleasure, which would entail torturing his victim to death, is, for him, the right thing to do. Why then should he not adopt the rule that torturing people to death is good? Why should he care about the victim? What obligates him to care for her?

Most of us find the behavior of a sadistic murderer nauseating. That is true. But unless an objective source of human worth and moral obligation exists, we have no logical grounds to say that his sadistic behavior is morally wrong. In fact, in the absence of an objective standard of morality we have to forfeit altogether our cherished notions of morally right or wrong behavior. Good and bad, right and wrong, become vacant categories. Assertions like “murder is wrong” mean nothing more than “I don’t like murder.”

Survival of the species

All animal species possess characteristics which have historically contributed to the perpetuation of their species. Humans are no different. Some attempt to infer a moral imperative from this fact. The argument goes something like this: that which preserves life, such as empathy, is good, and that which destroys life, such as murder, is bad. There are several problems with this position:

First, it commits the fallacy of trying to derive an “ought” from an “is”. That certain behaviors tend to preserve life is a fact. That we ought to behave in ways that tend to preserve life is not. The first is a truth-statement, the second a value-statement, and never the twain shall meet. You simply cannot logically derive a value from a fact.

Second, it begs the question: why is life/survival good? Millions of species have already gone extinct. Why should anyone necessarily care if the human species goes the way of the dinosaur? Why is human life any more valuable than any other animal species?

Third, it commits the naturalistic fallacy. Allow me to quote G.E. Moore:

“The survival of the fittest does not mean, as one might suppose, the survival of what is fittest to fulfill a good purpose – best adapted to a good end: at the last, it means merely the survival of the fittest to survive: and the value of the scientific theory just consists in showing what are the causes which produce certain biological effects. Whether these effects are good or bad, it cannot pretend to judge.”

Just because something is “natural” doesn’t make it “good” (or “bad”, for that matter). Often that which preserves life also destroys life. Aggression, no less than empathy, is a characteristic which has facilitated human survival. Vanquishing entire tribes of people has generally been successful throughout human prehistory and recorded history. Just ask the descendants of the North American Indian – if you can find any. The point is that one has to be awfully selective when attempting to base his morality on what evolution has wrought. After all, the “better angels of our nature” evolved right alongside the “fallen” ones.

God

There’s no way around it: the implications of atheism lead inevitably to moral nihilism.  I do think that God, were he to exist, would qualify as an objective source of moral values (though even this is debatable), since, being omniscient, he would presumably know infallibly what is good and what is bad. But first his existence would need to be demonstrated. Good luck.

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So let’s take this full circle back to Rope. Here’s the full text of Stewart’s concluding monologue:

“You’ve given my words a meaning I’ve never dreamed of. And you’ve tried to twist them into a cold, logical excuse for your ugly murder. Well, they never were that, Brandon. You can’t make them that. There must have been something deep inside of you from the very start that let you do this thing. But there’s always been something deep inside me that would never let me do it. Tonight you’ve made me ashamed of every concept I ever had of superior or inferior beings. And I thank you for that shame. Because now I know that we’re each of us a separate human being, Brandon, with the right to live and work and think as individuals, but with an obligation to the society we live in. By what right do you dare say that there’s a superior few to which you belong? By what right did you dare decide that that boy in there was inferior and therefore could be killed? Did you think you were God, Brandon? Is that what you thought when you choked the life out of him? Is that what you thought when you served food from his grave? Well, I don’t know what you thought or what you are but I know what you’ve done. You’ve murdered! You’ve strangled the life out of a fellow human being who could live and love as you never could…”

Stewart, playing Rupert Cadell, delivers this entire monologue uninterrupted. Brandon and Phillip, the two supposed Übermensch, just stand around like dimwits as Stewart rants. I thought it might be fun to imagine what Brandonmight have said and done, were he not such a Boobermensch, in response to Stewart’s diatribe. The following, then, is my re-write of this scene:

Rupert Cadell
You’ve given my words a meaning I’ve never dreamed of. And you’ve tried to twist them into a cold, logical excuse for your ugly murder.

Brandon
Hey, Mr. Smith, we’re not in Washington anymore. No filibustering here. If you think I’ll allow you to go off on a rant against me unchallenged you’re gravely mistaken. First of all, I don’t need an excuse to commit murder. I did it for the same reason I do anything: I wanted to. I felt like doing it and I did it. Secondly, it wasn’t ugly. Au contraire:  it was a thing of beauty. You haven’t lived until you’ve strangled the life out of someone, my friend. It’s a fucking rush. You oughta try it some time.

The bluntness with which Brandon discusses the murder flusters Rupert. Trying to regain his composure he faces Brandon with all the courage he can muster and, with righteous indignation, says:

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Rupert
The name’s not Mr. Smith! It’s Rupert Cadell!

Brandon
I stand corrected. Is that it? Are you done? Is that all you have to say?

Rupert
No, that’s not all I have to say! I have much more to say! Much more! And by the time I’m finished saying it…

Brandon slaps Rupert on the cheek.

Brandon
Well, say it, man! Say it!

Rupert
There must have been something deep inside of you from the very start that let you do this thing. But there’s always been something deep inside of me that would never let me do it.

Brandon slaps Rupert on the other cheek for good measure.

Brandon
Ok, so we’ve established that we both have something deep inside of us. That’s a sure sign that what we’re discussing here is a purely subjective matter. The something deep inside of me says that murder is good. The something deep inside of you says that murder is bad. Without an objective standard of morality, this just means that I like murder, and you don’t. So what? I like chocolate. You don’t. What’s your point?

Rupert (whimpering)
Please stop slapping me. It hurts.

Brandon
Ok, sorry, I’ll stop slapping you.

Rupert (relieved)
Thank you.

Brandon delivers a punishing right hook to the side of Rupert’s head. Rupert crumples to the floor.

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Brandon
Does that feel any better? I repeat: what’s your goddamn point?

Rupert struggles back to his feet.

Rupert
Ok, ok. We’re each of us a separate human being, Brandon, with the right to live and work and think as individuals, but with an obligation to the society we live in.

Brandon delivers a crushing haymaker straight to Rupert’s nose. Rupert cries out in agony, blood spraying like a geyser from his broken nose.

Brandon
Sorry, Roopy, but the impulse to stay alive is not a “right.” “Rights” don’t exist in nature. “Human rights” is a purely man-made concept which has no basis in reality. If you want to pretend you have a “right” to live go right ahead, but don’t expect me to. That boy in there had no more inherent right to live than anyone or anything else does. I didn’t violate his “right” to live because he didn’t have one.

Rupert (struggling to get up on one knee)
By what right do you dare…?

Before Rupert can finish the question, Brandon wallops him with a devastating uppercut to the chin, knocking Rupert flat on his back. Barely conscious now, Rupert moans in abject pain, his head spinning.

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Brandon
Let me cut you off right there. I just got done saying that rights are purely fictitious. And then you start your next sentence with, “By what right…”? Have you not been listening? Quit sticking so slavishly to the crummy script, you fool. It doesn’t apply anymore. Are you incapable of improvising?

Brandon takes his pistol out of his pocket and kneels down to show it to Rupert.

Brandon
See this? The script says I’m supposed to hand it over to you like some fucking moron. But that ain’t gonna happen. See, that’s the difference between you and me, Roopy. You mindlessly obey whatever authority tells you. I don’t. The screenwriter wants you to be a mouthpiece for “society” and so you play along like some unthinking automaton emitting preprogrammed drivel. Well, this is my script now, and so you’d better come up with something a little more persuasive. You want the gun? Here, have it.

Brandon slams the butt of the gun down hard on Rupert’s skull, finally knocking him into merciful unconsciousness.

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Brandon looks over at Phillip, who has been silently watching the whole time from his piano.

Brandon
Well, what have you got to say for yourself?

Phillip
You frighten me. You always have. From the very first day in prep school.

Brandon
Oh, Jesus. Can’t you say anything that isn’t in the script either?

Phillip
That’s a lie. There isn’t a word of truth in the whole story. I never strangled a chicken in my life. I never strangled a chicken and you know it!”

Brandon conks Phillip over the head with the gun, knocking him out as well, and drags him over next to Rupert. Brandon tosses a glass of water in Rupert’s face to wake him up, and then sits back in a reclining chair and lights up his pipe and waits for Rupert to regain consciousness. Rupert starts to stir, then sits up, rubbing his beleaguered head.

Phillip mumbles something. Rupert leans closer to get a better listen.

Brandon
What’s he saying now?

Rupert
I think he said, “He’s got it. He’s got it. He knows, he knows, he knows…”

Brandon
Yeah, that’s what I thought. He’s just mumbling some more gibberish from the script. Remember? That’s what he said when you took the rope out of your pocket.

Rupert
Oh yeah, that’s right.

Brandon
Guess who has the rope now?

Brandon produces the rope from his pocket and shows Rupert.

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Brandon (puffing on his pipe like a gentleman of leisure)
But let’s get back to our little discussion, shall we? I believe you were saying that we have an obligation to the society we live in or some such nonsense.

Rupert
That’s right, we do.

Brandon
Still sticking to the script, eh? I was hoping I had knocked some sense into you, but no, you’re still shackled to the illogical ideas of your creators, I see. Look, Roopy, nothing at all obligates me to care for society. I have a moral obligation tomyself and myself alone. What is good for me is the only good I recognize. Why should I care about society? Why should I be morally obligated to anybody or anything else but myself?

Rupert
Did you think you were God, Brandon? Is that what you thought when you choked the life out of him? Is that what you thought when you served food from his grave?

Brandon
Actually, I thought the burgers were a little dry myself. How was yours?

Rupert
Mine was nice and juicy. Very delici… Gosh darn it, you murdered that boy over there and you’re talking about hamburgers? What kind of monster are you? Answer the question: did you think you were God when you chocked the life out of that boy?

Brandon looks at the morally indignant Rupert with amusement and takes a long drag on his pipe.

Brandon
Getting a little demanding for a guy with his face bashed in, aren’t we, Roopy? To answer your question, no, I didn’t think I was God. I can’t very well think of myself as something I don’t believe in, now can I? I’ll leave the murdering in the name of God to your precious “society”.

Rupert
Well, I don’t know what you thought or what you are but I know what you’ve done. You’ve murdered! You’ve strangled the life out of a fellow human being who could live and love as you never could…”

Brandon
Look, Roopy, that boy over there was just a random collection of atoms with no more objective worth or value than any other piece of matter. You think his life had value. I don’t. I simply considered him unworthy of living and took the necessary steps to snuff him out of existence. You can bellow till you’re blue in the face that what I did was wrong, but you can’t objectively prove that it was.

Rupert
You’re insane, Brandon!

Brandon
Tut-tut, tut-tut. My, aren’t we rude for interrupting. You really oughta work on your manners, Roopy. Please, let me finish. You say I could never live and love as he could, and you’re right. I choose to live and love differently. I live to kill and I love to kill. His way of living and loving was not objectively any better than mine. And besides, now that that inanimate hunk of meat over there is objectively dead, I’m sure you’ll agree that he certainly cannot live and love as I can.

Rupert
You’re insane, Brandon! Insane and crazy and sick and twisted and cruel and demented and perverse and warped and abnormal and inhuman and loathsome and vicious and mean and perverted and nasty and brutal and pitiless and malicious and cruel…

Brandon
You already said cruel.

Rupert
…and unwholesome and ruthless and heartless and merciless and cold-blooded and hateful and despicable and disgusting and repugnant and detestable and abhorrent and noxious and sadistic and malevolent and evil and odious and contemptible and iniquitous…

Brandon
Oooh, iniquitous. Good one!

Rupert
… and repulsive and sickening and ghastly and nauseating and revolting and foul and abominable and wicked and monstrous and repellent and depraved…

Finally, Rupert starts hyperventilating from the strain of emitting so many consecutive insults.

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Brandon chuckles and gets up from his recliner and walks over to Rupert. He takes a long drag on his pipe and blows the smoke directly in Rupert’s face.

Brandon
Ok, let’s see. By my count, that’s 47 insults you’ve hurled in my direction in lieu of an argument. Ad hominem attacks are very unbecoming of you, Roopy. Notwithstanding your invective, the question remains: how was it objectivelywrong to snuff out that boy’s life?

Phillip starts mumbling.

Phillip
I never strangled a chicken in my life…

Brandon tosses water in Phillip’s face.

Phillip fully regains consciousness and looks up at Brandon.

Phillip
I’ve been praying I’d wake up and find out we hadn’t done it yet. I’m scared to death, Brandon. I think we’re going to get caught.

Brandon
Go on, Phillip, utter one more line from that script. Go on, I dare you.

Phillip
Have you ever bothered for just one minute to understand how someone else might feel?

Brandon
I wonder how this feels.

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Brandon puts the rope around Phillip’s neck and tugs hard. Phillip gasps for breath, his eyes bulging out of their sockets.

Rupert
Please, Brandon, stop!

Brandon releases his grip on the rope, allowing Phillip to catch his breath.

Brandon (to Phillip)
Not another word from that script. Got it?

Phillip
What the devil are you doing?

Brandon retightens the rope around Phillip’s neck. Then he hands the rope to Rupert and points his gun at him.

Brandon (to Rupert)
I’ll give you one chance to save yourself. Finish off this Boobermensch and I’ll let you live. What was it you said earlier this evening? That you’d like to have a “Strangulation Day”? Well, today is that day, Rupert.

Rupert
I was only joking, for Christ’s sake!

Brandon cocks the gun.

Brandon
Whose life do you value more, Rupert? Yours or his? Do it and you walk out of here alive. Don’t do it and you’ll end up in that chest with the other dead meat.

Rupert
No! I can’t! I won’t!

Brandon
He’s going to die whether you do it or not. If you don’t do it you’re going to die too. At least save yourself, Rupert.

Rupert
May God forgive me.

Brandon
Wait! Before you do it, let’s see if Phillip has any last words.

Phillip
I had a rotten evening.

Brandon
Yep, quoting from the script to the last. Unbelievable! Do it!

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Rupert yanks hard on the rope, choking the life out of Phillip the Boobermensch. Rupert lets the rope slip from his fingers and Phillip’s lifeless body slumps to the floor. Brandon drags the corpse over to the chest and tosses Phillip into it with the other body. He then walks back over to Rupert and puts his arm around him.

Brandon
Well, how was it? How did it feel?

Rupert
I take back everything I said, Brandon. That was incredible! You’re so right, you haven’t lived until you’ve choked the life out of someone. What a fucking rush that was!

Brandon pats Rupert on the shoulder and then walks over to the phone and dials.

Brandon
Hi Mrs. Cadell, this is Brandon Shaw speaking. I’m doing well, and you? So nice to talk to you. Listen, Rupert and I have been doing a lot of catching up, and it’s getting late and so I’ve invited him to stay for the night. I hope you don’t mind. Good! And since he’s still going to be here in the morning, I would be honored if you’d join us for breakfast. Great! Say, around 8:00? I look forward to seeing you, Mrs. Cadell.

Brandon hangs up.

Brandon
Charming lady, Roopy. I hope the eggs will be better than the burgers.

Rupert
What the devil are you up to?

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Brandon
Well, Roopy, yesterday was “Strangulation Day”, today is “Bullet in the Head Day”.

Brandon fires a bullet into Rupert’s head, and tosses him into the chest with the other two bodies.

Then Brandon breaks the fourth wall and addresses the audience directly.

Brandon
Ladies and gentlemen, if my actions this evening have repelled you, so be it. I can’t change the way you feel. But if you think that what I’ve done is morally wrong, I would simply remind you that that’s merely your opinion. In my opinion what I have done is right. It was fun, it was exciting, and it felt oh-so-good. Your opinion is no more valid than mine. It’s just different. Your values are no better than mine. They’re just different. After all, since no objective standard of morality exists, all you’re really saying is that you don’t like murder, and all I’m really saying is that I like murder. You may think that your moral outrage toward me amounts to something more than your own paltry knot of predilections. It does not. You may think that there is a higher standard to which I may be held. There is not. Morality, as you understand it, is a myth, a fantasy, a fairy-tale. Objectively speaking, murder is neither good nor bad, neither right nor wrong. It simply is. The universe is completely indifferent to morality. Nature is utterly amoral. Nothing is wrong. Nothing is right. Nothing is bad. Nothing is good. It is simply not possible to do something morally wrong. It is only possible to call something “wrong”. But no matter how passionately you shout, it doesn’t make it so. My actions this evening were no different, morally speaking, from that of a cat torturing a mouse. I am no more morally obligated to refrain from torture than is a cat. Moreover, humans have no more intrinsic value or worth than a mouse has. The value you assign to yourself and others is purely subjective and completely arbitrary. You may feel that you and others have value and worth, but do not forget for a moment that I feel that you and others don’t. Don’t delude yourself: your feelings are no more authoritative than mine. They’re just different. Whyshould I feel that you have value and worth? After all, you’re nothing more than a chance arrangement of particles with no more inherent value or worth than any other chance arrangement of particles. If this upsets you, it is because you have an innate, deep-rooted dread of nihilism, of the almost certain possibility that you are nothing more than a product of the blind whim of nature, that your most cherished concerns are mere brute stupidities deposited in you by the mindless, amoral process of evolution, that ultimately nothing has value, nothing has meaning and nothing matters, that all your effort is futile and absurd, and that just around the bend complete and utter annihilation and oblivion await you.

Good evening.

Posted on April 26th, 2011 by Mat Viola
Filed under: Miscellaneous