Milton Friedman on the NEGATIVE INCOME TAX (from a 1973 interview)

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Milton Friedman on the NEGATIVE INCOME TAX (from a 1973 interview)

Milton Friedman – The Negative Income Tax

Milton Friedman and Margaret Thatcher were two of my heroes and I know that you can learn a great deal from their lives and their economic philosophies. Ronald Reagan and Margaret Thatcher were both were influenced by Milton Friedman. I suggest checking out these episodes of Milton Friedman’s film series FREE TO CHOOSE: “The Failure of Socialism” and “What is wrong with our schools?”  and “Created Equal”  and  From Cradle to Grave, and – Power of the Market.

A 1973 INTERVIEW WITH MILTON FRIEDMAN – PLAYBOY MAGAZINE

It’s not my intention to violate any copyrights – just to provide the information minus the scantily clad girls:

Bertrand Russell studied economics briefly but quit because it was too easy. Max Planck, the physicist whose break-throughs in quantum mechanics were as revolutionary as Einstein’s in relativity, dropped economics because it was too hard. They were probably both right. That sort of paradox seems to agree with Milton Friedman—and to surround him. Friedman’s own reputation, for example, as the most original economic thinker since John Maynard Keynes, is due in large part to his exhaustive criticism of the theories first set forth by Keynes. There are other contradictions. Even though he had an ambiguous advisory role in the Goldwater campaign and supported Nixon’s re-election—despite the fact that Nixon has said he is now a Keynesian in matters of economic policy—Friedman calls himself a liberal. (In his book Capitalism and Freedom, he argues that “collectivists” have stolen the label.) He takes any number of positions that by themselves would appeal to the left, only to couple them with proposals that seem clearly right wing: He thinks we should close the tax loopholes—and eliminate the graduated income tax; and he is in favor of a negative income tax (in effect, a guaranteed income); but he wants to shut down Social Security.

If there is a single conceptual anchor for these proposals, it is Friedman’s deep and abiding belief in free enterprise. In his view, the free market is the best device ever conceived for ordering human affairs, and he sees it everywhere threatened by the welfare state. Laissez faire and the intellectuals who support it had once sunk to such low esteem that John Kenneth Galbraith could joke that a meeting of free enterprisers held in Switzerland after World War II broke up in disagreement over the question of whether the British navy should own or lease its battleships. It is testimony to Friedman’s tireless, good-natured efforts and the vigor of his arguments that economic ideas once regarded as hopelessly out of date are now being seriously discussed again.

In a way, Friedman is proof of his own assertions about the free market and the opportunities it affords. His parents immigrated to this country from eastern Europe and settled in Brooklyn, then in Rahway, New Jersey where Friedman grew up in working-class surroundings. Under a scholarship, he attended Rutgers University, where he studied math and was introduced to his life’s work in a course taught by Arthur Burns, who is now the chairman of the Federal Reserve Board as well as a friend and student of Friedman’s. He held a number of teaching and research jobs—encountering an occasional obstacle thrown up by anti-Semitism—before joining the faculty of the University of Chicago in 1946, the same year he took his Ph.D. from Columbia. The university has been the focal point of his life ever since, and the branch of economic thought that includes his ideas is called “The Chicago School.”

Perhaps the best example of Friedman’s migration from the wilds of economic theory to a position near center stage involves his approach to money. In his book A Monetary History of the United States, a classic in its field, he argues that the crucial factor in economic trends has been the quantity of money, not what the Federal Government is doing about taxes or spending at any given time. While not all economists were convinced, they were impressed. And early in the first Nixon Administration, Friedman’s ideas were finally implemented as well as discussed. His official influence has waned somewhat since then—Nixon subsequently introduced wage and price controls, which are anathema to Friedman—but the 60-year-old economist says, “I like to be an independent operator, anyway.”

When he’s not teaching at Chicago or traveling to a debate or lecture or testifying before a Congressional committee (“a waste of time and I generally try to get out of it”), Friedman can be found in Ely, Vermont where he and his wife, Rose, who is also an economist and edits his books, have a home near the crest of a high, gently sloping hill that gives way to the Connecticut River Valley. Friedman spends almost half of each year on this hill, writing (he has a column in every third issue of Newsweek), skiing, relaxing and enjoying the good life—all pleasures to which few of us would have access, he would remind you, in a collectivist society. Senior Editor Michael Laurence, who is Playboy’s resident financial expert, and Associate Articles Editor Geoffrey Norman visited Friedman at his hillside retreat to conduct this interview. Their report:

“Friedman is the sort of man who really lives for ideas. His home and office are piled with books, papers, manuscripts, journals and correspondence, and his talk is generally academic, though relieved by an occasional anecdote or aphorism. He clearly loves intellectual give and take—so much that in the three days of our interview, he took time out to instruct our photographer in the merits of free enterprise and to take several phone calls from people in Washington who wanted his advice on and appraisal of recent developments in international finance.

“Whoever he was talking to, Friedman showed an almost childlike enthusiasm when his mind went to work on a subject, even if it was the formulation of a program he’s been advocating since the early Fifties. There was also something about the very cogency of the man’s ideas. The unity of his vision. His consistency. Whatever one thinks of his positions, we found it impossible not to admire the skill of his arguments and his nearly Socratic use of logic. Since neither of us had ever quite fathomed pure economics or been able to understand why economists—who wield such a profound influence over all our lives—have such difficulty in agreeing on anything, we began by trying that one out on him.”

 

 

 

PLAYBOY: Before we deal with the negative income tax, let’s talk about your more fundamental suggestions for reform of the income tax itself.
FRIEDMAN: Well. I’d like to move toward an enormously simplified income tax, by eliminating all present deductions except for a personal exemption and substituting a flat-rate tax for the current graduated schedule. Let’s consider the deductions first. I would eliminate all personal deductions, except for strictly occupational expenses. There would be no more tax deductions for charitable contributions, for interest payments, for real-estate taxes; no more special treatment for capital-gains income, for oil depletion or for all the rest. The income tax would then be based on what it was supposed to be based on all along: individual income.
From this figure, representing his total receipts in excess of business costs, each taxpayer would be entitled to deduct a sum—a personal exemption—that reasonably reflects the cost of a survival existence in the 1970s. When the income tax was enacted, the personal exemption was supposed to assure that there would be no tax whatever on people with very low incomes. The assumption was that everybody deserved a subsistence income before he was taxed. But today, this concept has become a joke. We still have a personal exemption, but—considering the effects of inflation—it’s lower now than it’s ever been. I would double the present personal exemption, to $1500 or $1600 per person.

PLAYBOY: At what percentage of income would you place the flat-rate tax?
FRIEDMAN: If you eliminate the present deductions and retain the present personal exemption, you could scrap the current graduated rates—which run from 14 percent up to 70 percent—and raise the same amount of revenue with a flat-rate tax of around 16 percent. This sounds unbelievable, but it’s true. Our current graduated rates, while they supposedly go from 14 up to 70 percent, are fraudulent. Very few people pay taxes in the higher brackets, largely because of the loopholes we’ve heard so much about.

PLAYBOY: According to the conventional wisdom, the graduated tax is a good way to democratically redistribute wealth by allocating the revenues to social programs. Doesn’t it do that?
FRIEDMAN: The graduated tax, to the extent that it works, doesn’t redistribute wealth. Not only does most of the tax revenue from the higher income brackets not go to the poor in the form of social programs, the graduated tax also protects rather than redistributes wealth. It is, in effect, a tax on becoming wealthy. It doesn’t affect people who are already wealthy. All it does is protect them from the competition of those who would share the wealth with them.

PLAYBOY: Do you think a confiscatory inheritance tax would better solve the problem?
FRIEDMAN: There’s no such thing as an effective inheritance tax. People will always find a way around it. If you can’t pass $100,000 on to your children, you can set them up in a profitable business; if you can’t do that, you can spend the money educating them to be physicians or lawyers or whatever. A society that tries to eliminate inheritance only forces inheritance to take different forms. The human desire to improve the lot of one’s children isn’t going to be eliminated by any government in this world. And it would be a terrible thing if it were, because the desire of parents to do things for their children is one of the major sources of the energy and the striving that make all of us better off. Even an effective inheritance tax, if one could be concocted, wouldn’t prevent the transmission of wealth, but it would put an enormous damper on progress. I’ve never been able to understand the merit of the sort of equality that would chop the tall trees down to the level of the low ones. The equality I would like to see brings the low ones up.

PLAYBOY: Would your flat-rate tax bring the low ones up or would it—at the expense of those in the lower brackets—benefit primarily those who would pay less under your system than they do now?
FRIEDMAN: I think it would be fairer to almost everyone than the present system, assuming you eliminated the loopholes. After all, loopholes are nothing more than devices that allow people with relatively large incomes to avoid high taxation. The Brookings Institution, which has been looking into this, estimates that if you eliminated all the loopholes, you would increase total taxable income by something like 35 percent. Given a 21 or 22 percent average tax rate on the current base to collect current revenues, you can see that on a base a third again as large, a flat-rate tax of around 16 percent would raise the same amount of money. Personally, I can’t imagine many people saying that such a tax would be unfair. As you suggest, people who are very poor might make such a claim, with some justification. That’s why I’d also like to double the size of the present personal exemption. Then it would take a flat-rate tax of around 20 percent to yield the same amount of revenue that the current system raises.

PLAYBOY: You make it sound almost simple. Yet few knowledgeable people besides yourself have ever seriously considered such a proposal.
FRIEDMAN: That’s not necessarily an indictment of the soundness of the idea. But you have a point. The current system, with all its loopholes, makes many taxpayers—especially the influential ones, who have a large voice in government policy—think they have a vested interest in the status quo. Probably most present taxpayers would prefer the current system of taxation to the one I’ve proposed. Yet the one I propose would probably save everybody money.

PLAYBOY: But tax reform can’t save everyone money; the revenue has to come from somewhere. Surely the rich people who pay little or no taxes under the present system wouldn’t benefit by the elimination of tax loopholes.
FRIEDMAN: You’re wrong. You’re not taking into account what it costs people to avoid taxes. This is one of the most important—and most overlooked—points in the whole field of taxation. Let me give you the simplest case: municipal bonds. As you know, the income from municipal bonds is tax-free. You’re not even required to report it. For this reason, municipal bonds pay a much lower return; if corporate bonds are paying eight percent, municipals might be paying five. Suppose you buy some municipal bonds. You get the income from them, yet on the government books, no taxes on this income are recorded. But still, you do pay a tax. You pay three dollars in eight—the difference between what you could have got if you had bought corporate bonds at eight percent and what you did get buying municipals at five. That’s a 37 1/2 percent tax. It’s not recorded, but you’re still paying it. What happens, in effect, is that as a buyer of municipal bonds, you pay a 37 1/2 percent tax to the Federal Government, which turns your money immediately over to the municipality.
A better example is the oil-depletion allowance. A man drills for oil. It costs him $100,000 to drill the hole, but he expects to find only $50,000 worth of oil. Still, he drills the hole because of the tax advantage of being able to deduct the drilling cost from other income. That makes it worth while to drill. But understand, he’s not really drilling for oil, he’s drilling for tax advantage. If it weren’t for the tax laws, nobody would spend $100,000 to find $50,000 worth of oil. So there’s $50,000 of pure waste in such an undertaking. Businessmen call it buying a tax shelter.

PLAYBOY: Who actually bears this cost—the entrepreneur or taxpayers at large?
FRIEDMAN: A good question, and one not easily answered. Individuals enter such transactions, obviously, because they think others will bear most of the burden. If they thought they’d have to pay the cost themselves, they would probably never get involved. But when you have a whole nation of entrepreneurs, each seeking tax advantage, it’s impossible to say just who pays the bill. In essence, we all do. All you can say is that when a man pays $100,000 to drill a hole that will produce $50,000 in oil, $50,000 has been wasted. Given a better tax system, this waste would not have occurred. And that alone justifies changing the tax system.

PLAYBOY: The oil companies defend the depletion allowance on the ground that it encourages exploration for new oil reserves in the U.S.—reserves that might be crucial in a national emergency.
FRIEDMAN: They do, but have you ever seen them give an estimate of how much it costs to provide emergency reserves by this device rather than by others? Two different questions are involved here. First, do considerations of national defense require a large oil reserve for emergencies? Second, what is the best and cheapest way to provide such a reserve? The answer to the first question is far from clear, given the likelihood that any major war involving nuclear weapons would be extremely short. But even if the answer is yes, there are ways of providing a reserve that would be far cheaper than requiring consumers year after year to pay unnecessarily high prices for oil in order to finance exploration for additional wells, and then using the oil from these wells for current consumption, so you have to explore for still more wells.
But I’m getting away from the question you raised: whether the rich could benefit from getting rid of the loopholes. My main point is that all these wasted expenditures, tax shelters—whatever you might label these evasive maneuvers by the well-to-do few—are largely at their own expense. True, they reduce the taxes they pay, but only at a high cost. Philip Stern wrote an article in The New York Times Magazine a few months ago entitled Uncle Sam’s Welfare Program—For the Rich. His argument went like this: People like H.L. Hunt, let’s say, pay $2,000,000 a year in taxes. But if the loopholes were closed, he’d pay $20,000,000. Therefore, Stern said, the current system is the equivalent of Congress’ enacting an $18,000,000 welfare grant for Mr. Hunt, paid for by the public. This is sheer demagogic nonsense, because it completely neglects what it costs Mr. Hunt to avoid the taxes. Maybe Mr. Hunt, to avoid paying $20,000,000 in taxes, paid $16,000,000—by buying municipal bonds, digging uneconomical holes, paying high-priced tax lawyers to find new loopholes. There probably is an element of welfare for the rich, but it’s much less than many people imagine.
Joseph Pechman of the Brookings Institution has estimated that the loopholes reduce tax collections by 77 billion dollars a year. My guess—and it’s just a guess— is that this 77-billion-dollar loss in taxes through the loopholes produces no more than 25 billion dollars for the people who use them. In fact, I’d be surprised if it produced that much. The rest, as I’ve tried to explain, is simply wasted.

PLAYBOY: Under the graduated-tax system, the wealthy pay far more—in theory, at least—than those in any other income bracket. Under your proposed flat-rate system, they and everyone else would have to pay only 20 percent. But with all the loopholes at their disposal—even though you say they save less than they think by using them—don’t the rich stand to lose more than anyone else under your system, with its no-loopholes stipulation?
FRIEDMAN: Not necessarily. If I were Howard Hughes, I’d rather pay 25 percent in taxes than buy a tax shelter that costs me 50 cents on the dollar. Wouldn’t you? The only people this change would actually hurt are those who make their living by providing tax shelters for others. Statistically, these are a tiny minority. Moreover, money would be more economically invested than it is now, and these better investments would create more wealth, and thus generate more taxes, all up and down the line.

PLAYBOY: Most people would have less quarrel with the flat-rate tax than with the elimination of all personal deductions other than provable business expenses. Doesn’t a man who’s hit, say, with tremendous medical expenses one year deserve a tax break?
FRIEDMAN: I have a good deal of sympathy for the deductibility of catastrophic medical expenses—more than I do for almost any other deductions. Medical expenses are a sort of occupational expense—the cost of earning an income. But for the sake of this proposal, I’d eliminate all deductions. For any income tax to really work, it’s got to be simple and straightforward—something you can fill out on one side of one page without too much trouble. Admit one loophole and you admit them all.
As for how to cope with medical expenses if they’re nondeductible, the solution is a simple one: Buy insurance. When a man buys medical insurance, he’s betting the price of the premium that he’s going to get sick and the insurance company is betting the cost of his medical bills that he won’t. If he wins, he gets his bills paid for; if he loses, he’s out the premium. But it was his own decision—and responsibility—to buy the insurance. If hedoesn’t buy insurance, on the other hand, he’s betting that he’s not going to get sick. If he loses, my question is: Why should the rest of us have to pick up his expenses by paying in taxes for the medical bills he deducts from his return? Let him pay the bills; that’s what he risked when he bet.

PLAYBOY: But you assume that this man is a gambler, that he makes a calculated decision not to buy insurance. Don’t most people fail to buy insurance because of either ignorance or poverty?
FRIEDMAN: We’re not talking about poverty-stricken people here, we’re talking about taxpayers. As for ignorance, that’s not a valid argument. My fundamental belief is that you’ve got to hold people individually responsible for their actions.

PLAYBOY: Even as nontaxpayers, the poor can afford neither insurance nor medical expenses. Would you hold them individually responsible for such costs?
FRIEDMAN: Obviously, it bothers me, as it bothers anyone else, to see people destitute, whether through their own fault or not. That’s why I’m strongly in favor of charitable activities, whether individual or joint. One of the worst features of the current system of Social Security and welfare arrangements is that it has drastically reduced the feeling of obligation that members of society traditionally felt toward others. Children today feel far less obligation toward their parents than they did 50 years ago. If the state is going to take care of the parents, why should the children worry? Similarly with the poor. Who feels a personal obligation to help the poor? That’s the government’s job now.

PLAYBOY: To return to the point you raised earlier, you think a negative income tax will change this?
FRIEDMAN: I hope it will. But before we really get into that, let me stress one thing. If we were starting with a clean slate—if we had no government welfare programs, no Social Security, etc.—I’m not sure I would be in favor of a negative income tax. But, unfortunately, we don’t have a tabula rasa. Instead, we have this extraordinary mess of welfare arrangements, and the problem is: How do you get out of them? You can’t simply abolish them, because when we enacted these programs, we assumed an obligation to those who are now being helped by them. In fact, we have induced people to come under the protection of these programs.

PLAYBOY: What do you mean?
FRIEDMAN: I mean that the law of supply and demand works very generally. If there is a demand for poor people, the supply of poor people will rise to meet the demand. In setting up programs such as Aid to Dependent Children and all the other welfare programs, we have created a demand for poor people. Don’t misunderstand me. I’m not blaming poor people. You can hardly blame them for acting in their own interest. Take a poor family in the South, working hard for a very low income. They learn that in New York City they can get $300 a month—or whatever it is—without working. Who can blame such a family for moving to New York to get that income? The blame falls on those of us who set up the incentives in the first place. The blame also falls on us for creating a system that not only induces people to seek its benefits but forces them to stay in the program once they’re enrolled and demeans them terribly in the process of helping them.
I remember how impressed I was, six or eight years ago, when a young man who was writing a book on welfare programs in Harlem came to see me. He said, “You know, I’ve been reading Capitalism and Freedom, where you talk about the extent to which government bureaucracy interferes with the freedom of individuals. You really don’t know the extent of this. Your freedom hasn’t been much interfered with; my freedom hasn’t been much interfered with. When do we meet a government bureaucrat? Maybe when we get a parking ticket or talk about our income taxes. The people you should have been talking about,” he said to me, “are those poor suckers on welfare. They’re the people whose freedom is really being interfered with by government officials. They can’t move from one place to another without the permission of their welfare worker. They can’t buy dishes for their kitchen without getting a purchase order. Their whole lives are controlled by the welfare workers.” And he was absolutely right. The freedom of welfare recipients is terribly restricted. Whether we’re doing this for good purposes or bad, it’s not a wise thing to do. Not if we believe that individuals should be responsible for their own actions.

PLAYBOY: For those who don’t know how it works, would you explain how welfare forces people to stay on the dole once they’re enrolled?
FRIEDMAN: If someone on welfare finds a job and gets off welfare, and then the job disappears—as so many marginal jobs do—it’s going to take him some time to go through all the red tape to get back onto the program. This discourages job seeking. In the second place, if he gets a job that pays him, say, $50 or $75 a week, he’s going to lose most of that extra money, because his welfare check will be reduced accordingly—assuming he’s honest and reports it. Since he gets to keep only a small fraction of his additional earnings, there’s small incentive for him to earn.
Also, the present setup has encouraged fathers, even responsible fathers, to leave their families. Again, it’s a matter of incentives. If a man is working and has an income above the minimum, he’s not entitled to welfare. But if he deserts his family, they can receive welfare. That way, he can continue to earn his income and contribute it to his family, in addition to the welfare they get. Many ADC families are actually created by fake desertions. Of course, you have real desertions, too. If a deserted woman is going to be immediately eligible for welfare, the incentive for the family to stick together is not increased, to put it mildly. So the problem is: How do you get out of all this? And this brings us back to the question you asked a moment ago. I see the negative income tax as the only device yet suggested, by anybody, that would bring us out of the current welfare mess and still meet our responsibilities to the people whom the program has got in trouble.

PLAYBOY: How would the negative tax work?
FRIEDMAN: It would be tied in with the positive income tax. The two are similar. Ideally, I’d like to see a flat-rate tax above and below an exemption. I’ve already discussed the flat-rate tax above an exemption. The tax on income below the exemption would be a negative one. Instead of paying money, the low-income person would receive it. Consider the current tax system. If you’re the head of a family of four, with an income of roughly $4000, your personal exemptions, plus automatic deductions, plus low-income allowance, will mean that you pay no tax. Suppose you’re the same family of four with an income of $6000; you’d end up with a taxable income of $2000—that is, $6000 minus $4000—and you’d pay a fraction of that $2000 in taxes. Now suppose you had the same family of four with an income of $2000, you’d have a taxable income of minus $2000—that is, $2000 minus $4000. But under present law, with a taxable income of minus $2000, you pay no tax and that ends the business.
With a negative income tax, an income of $2000 would be subject to negative taxation. Instead of paying taxes, you’d get some money. Just how much would depend on the negative tax rate. If the negative tax rate were 20 percent, you’d get $400. If the rate were 50 percent, you’d get $1000. The 50 percent negative tax rate is simplest, so it’s the one I always like to use for illustration. If you have no income at all, for example, you would have a negative taxable income of $4000—that is, zero minus $4000. You would be entitled to receive 50 percent of that: $2000.

PLAYBOY: In other words, your system would amount to a guaranteed annual income of $2000 for a family of four?
FRIEDMAN: Yes. But it’s very important, in all systems like this, to keep in mind you’re talking about two different numbers: the minimum income, which would be guaranteed to every family or taxpayer; and the break-even point, which is the point at which people would stop receiving money and start paying it. In the example I just gave, $2000 is the base—the amount you’d receive from the government if you earned nothing at all. On the way between the base and the break-even point, which is $4000 in this example, you would receive 50 cents less from the government for every extra dollar you earned, so you’d get to keep 50 cents. This provides a consistent incentive for additional earnings. Above $4000, you’d be on your own. You’d receive nothing extra. In fact, you’d have to start paying taxes, partly to help those who are less fortunate than you.

PLAYBOY: Do you think your negative tax program would be an adequate substitute for our present welfare programs—Aid to Dependent Children, food stamps and the rest?
FRIEDMAN: I believe it would be far superior to the present programs—superior from the point of view of the recipients and also of the taxpayers. But you asked whether it would be adequate. I really don’t think you can discuss negative taxation in terms of adequacy or fairness. You have to ask a different question: How much are you and I willing to tax ourselves in order to benefit someone else? The great fallacy in these discussions is the assumption that somehow somebody else is going to pay the bill. Early in his campaign, Senator McGovern came out with a proposal to give a grant of $1000 to every person in the country. That was really a form of negative income tax, but one on a very high level. Essentially, what McGovern proposed was a $4000 guarantee for a family of four, with a $12,000 break-even point. The result would have been to sharply reduce the incentive to work for people in a very wide income range. It would have reduced the incentives for people making between $4000 and $12,000 by enabling them to collect from the government rather than pay taxes; and it would have reduced incentives for people making more than $12,000 by requiring them to pay much higher taxes. And much of the extra money collected from people making above $12,000 would have gone not to the desperately poor but to people with middle-class incomes.
We have to ask not only how much the recipients get but also who pays for it. Can you really justify taxing people receiving $13,000 a year in order to raise the income of people receiving $11,000 a year? So while I’m in favor of a negative income tax, I don’t favorany negative income tax. I want one that has both the guarantee and the break-even point low enough so that the public will be willing to pay the bill, and one where the marginal tax rate, between the guarantee and the break-even point, will be 50 percent or so, low enough to give people a substantial and consistent incentive to earn their way out of the program.

PLAYBOY: Do you think any of these proposals you’ve been discussing—on taxes, welfare, and so on—has a chance of public acceptance?
FRIEDMAN: There have been some hopeful signs. Some things I’ve been saying for a number of years now are receiving a little more attention. Some of the proposals I’ve made concerning international financial arrangements, for instance. Also, the negative income tax has become a fairly respectable notion. But you see, the problem is twofold. First, you have to sell your ideas, to convince people that government programs generally do the opposite of what their well-meaning proponents intend—that they aren’t getting their money’s worth for taxes. But even if people are convinced by the arguments, there is the problem of getting them to give up what they see as in their special interest. Everyone wants to make sure that he is getting his. Nobody will let go until he’s sure the other guy is, too. And that’s the biggest problem.

PLAYBOY: Is there a solution?
FRIEDMAN: If there is, it would be in bundling things together. That’s how we keep government out of the censorship business. It’s not a matter of taking one case at a time and deciding each case on its merits. If we did that, we would have free speech for very few. Someone would be able to get a law passed prohibiting free speech for Seventh-day Adventists. Or vegetarians. Or Black Panthers.
We talked earlier about reducing the tax rates and closing the loopholes. The right wing would be more than willing to give up the loopholes in return for lower rates; and the left wing would probably be more than willing to give up the high rates in return for closing the loopholes. So it looks as if there’s a deal to be made. But you can’t make a deal through the usual legislative channels, because neither side trusts the other—and both are right. The only way I can see to make such a deal is by a constitutional amendment that says, for example, Congress can impose an income tax as long as the only deductions are for strict occupational expenses and a personal exemption, and as long as the highest tax rate is no more than twice the lowest. Personally, I would prefer a flat rate, but to achieve consensus, it would be better to limit the degree of graduation. That would give both sides some assurance that the deal wouldn’t come unstuck.

Milton Friedman believed in liberty (Interview by Charlie Rose of Milton Friedman part 1)

Charlie Rose interview of Milton Friedman My favorite economist: Milton Friedman : A Great Champion of Liberty  by V. Sundaram   Milton Friedman, the Nobel Prize-winning economist who advocated an unfettered free market and had the ear of three US Presidents – Nixon, Ford and Reagan – died last Thursday (16 November, 2006 ) in San Francisco […]

“The Failure of Socialism” episode of Free to Choose in 1990 by Milton Friedman (Part 1)

Milton Friedman: Free To Choose – The Failure Of Socialism With Ronald Reagan (Full) Published on Mar 19, 2012 by NoNationalityNeeded Milton Friedman’s writings affected me greatly when I first discovered them and I wanted to share with you. We must not head down the path of socialism like Greece has done. Abstract: Ronald Reagan […]

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2015 LITTLE ROCK TOUCHDOWN CLUB SPEAKERS INCLUDE Bret Bielema, Peyton Hillis, Felix Jones,Charlie Weis, Tim Brown, Jeff Long, Heath Shuler, Jay Barker, Stephen Jones, Mack Brown, Blake Anderson, Tony Bua, and George Schroeder!

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Bret Bielema is first speaker in 2015

George Schroeder — USA Today is the last speaker of the year

In an earlier post I praised David Bazzel for the job he did putting together another great lineup of speakers for the Little Rock Touchdown Club in 2015 and today I want to take a look at what Wally Hall thinks about it.

Touchdown Club offers another hefty lineup

By Wally Hall

This article was published today at 2:49 a.m.

Several banks expressed serious interest in being the title sponsor for the Little Rock Touchdown Club after Metropolitan Bank sold to Simmons Bank.

Including Simmons, which wanted to be more than nearby and neighborly. It wanted more than just the great location for its logo every Monday at the luncheons.

It wanted to make the meetings bigger and better, so it offered two things: Money to be the title sponsor, and to help bring in national speakers.

When hundreds met Tuesday in the Simmons Bank lobby on Capitol and Broadway for David Bazzel’s announcement regarding this year’s speakers — one of the best-kept secrets in the country — excitement was everywhere.

Once again Arkansas Coach Bret Bielema will kick off the season. He will speak Monday, Aug. 24, and while many things have been learned about the Arkansas football coach, one of the most obvious is that he intends to win every news conference.

He is enthusiastic, energetic and passionate. He also has a keen wit. The lunch with him will be at the Marriott Hotel ballroom. All other meetings will be at Embassy Suites.

The second meeting will be two former Razorback football greats, former teammates Peyton Hillis and Felix Jones, on Monday, Aug. 31. Both played in the NFL.

The third meeting will be Tuesday, Sept. 8, and will feature Charlie Weis, the former head coach at Notre Dame and Kansas after serving as offensive coordinator for the New England Patriots. He helped them win three Super Bowls.

Bazzel keeps a close eye on big-name coaches who are currently between jobs.

The remainder of the regular meetings will be on Monday, and the season-ending finale, the LRTDC Awards Banquet, will be Thursday, Feb. 11. The speaker for that event will be announced Thursday.

NFL Hall of Famer and Heisman Trophy winner Tim Brown (Sept. 14) will be the fourth speaker. (Bazzel also likes to schedule speakers who won the Heisman).

UA Athletic Director Jeff Long is next, on Sept. 21, and he always brings insight into the entire Razorbacks athletic program and perhaps the college football playoffs.

The former Tennessee quarterback who could throw a football through a brick wall, Heath Shuler, comes in for the seventh week (Sept. 28). Shuler is a businessman these days, but after playing for Tennessee and in the NFL he was a U.S. representative for six years in North Carolina.

Jay Barker, who led Alabama to the 1992 national championship, will speak Oct. 5. Barker also played in the NFL and in Canada, but now he serves as a radio personality in Birmingham, Ala., and is married to country singer Sara Evans.

Stephen Jones, chief operating officer for the Dallas Cowboys, comes to town Oct. 12, and this former Razorback football player and member of the Arkansas Sports Hall of Fame can offer a great perspective on the Cowboys, the NFL and the Razorbacks.

Next up will be former Texas Longhorns coach Mack Brown (Oct. 19). He led the Longhorns to the national championship in 2005. He was asked by several former Longhorns to make this appearance for the James Street Award.

Two highly motivated and interesting coaches come next, starting with Arkansas State’s Blake Anderson (Oct. 26) and then Central Arkansas’ Steve Campbell (Nov. 2).

The next Monday, Nov. 9, will feature the next class to be inducted into the Southwest Conference Hall of Fame. Tickets will go fast.

All-time leading Razorbacks tackler Tony Bua will be on hand Nov. 16.

The season will wrap up with a personal favorite, George Schroeder, a national college writer forUSA Today. Schroeder is a native of Little Rock, and his first job was at the Arkansas Democrat-Gazette.

Membership is open, and dues are just $60. More information is available online at LRTouchdown.com.

Sports on 08/12/2015

Print Headline: Touchdown Club offers another hefty lineup

Rex Nelson impersonates Houston Nutt at LRTC 08 27 12

Published on Oct 2, 2012

Little Rock Touchdown Club has Rex Nelson do the stats for the games played that week. Rex does a lot of impersonations of different people but I like his Houston Nutt the best. Video by Popeye Video – Mrpopeyevideo

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Tom Osborne below:

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Little Rock Touchdown Club founder David Bazzel announced the club’s new awards and 2013 speakers Tuesday

Frank Broyles below:

__________

Frank Broyles, Barry Switzer, and Bobby Burnett (L-R) (1965 Cotton Bowl)

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“Minimum-Wage Rates” by Milton Friedman Newsweek, 26 September 1966

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Milton Friedman – A Conversation On Minimum Wage

“Minimum-Wage Rates” by Milton Friedman Newsweek, 26 September 1966 ©The Newsweek/Daily Beast Company LLC

Congress has just acted to increase unemployment. It did so by raising the legal minimum-wage rate from $1.25 to $1.60 an hour, effective in 1968, and extending its coverage. The result will be and must be to add to the ranks of the unemployed. Does a merchant increase his sales by raising prices? Does higher pay of domestic servants induce more housewives to hire help? The situation is no different for other employers. The higher wage rate decreed by Congress for low-paid workers will raise the cost of the goods that these workers produce—and must discourage sales. It will also induce employers to replace such workers with other workers—either to do the same work or to produce machinery to do the same work or to produce machinery to do the work. Some workers who already receive wages well above the legal minimum will benefit—because they will face less competition from the unskilled. That is why many unions are strong supporters of higher minimum-wage rates. Some employers and employees in places where wages are already high will benefit because they will face less competition from businessmen who might otherwise invest capital in areas that have large pools of unskilled labor. That is why Northern manufactures and unions, particularly in new England, are the principal sources of political pressure for higher legal minimum-wage rates. The groups that will be hurt the most are the low-paid and the unskilled. The ones who remain employed will receive higher wage rates, but fewer will be employed. As Prof. James Tobin, who was a member of president Kennedy’s Council of Economic Advisers, recently wrote: “People who lack the capacity to earn a decent living need to be helped, but they will not be helped by minimum-wage laws, trade-union wage pressures or other devices which seek to compel employers to pay them more than their work is worth. The more likely outcome of such regulations is that the intended beneficiaries are not employed at all.” The loss to the unskilled workers will not be offset by gains to others. Smaller total employment will result in a smaller total output. Hence the community as a whole will be worse off. Women, teen-agers, Negroes and particularly Negro teen-agers, will be especially hard hit. I am convinced that the minimum-wage law is the most anti-Negro law on our statute books—in its effect not its intent. It is a tragic but undoubted legacy of the past—and one we must try to correct—that on the average Negroes have lower skills than whites. Similarly, teen-agers are less skilled than older workers. Both Negroes and teen-agers are only made worse off by discouraging employers from hiring them. On the-job training—the main route whereby the unskilled have become skilled—is thus denied them. The shockingly high rate of unemployment among teen-age Negro boys is largely a result of the present Federal minimum-wage rate. And unemployment will be boosted still higher by the rise just enacted. Before 1956, unemployment among Negro boys aged 14 to 19 was around 8 to 11 per cent, about the same as among white boys. Within two years after the legal minimum was raised from 75 cents to $1 an hour in 1956, unemployment among Negro boys shot up to 24 per cent and among white boys to 14 per cent. Both figures have remained roughly the same ever since. But I am convinced that, when it becomes effective, the $1.60 minimum will increase unemployment among Negro boys to 30 per cent or more. Many well-meaning people favor legal minimum-wage rates in the mistaken belief that they help the poor. These people confuse wage rates with wage income. It has always been a mystery to me to understand why a youngster is better off unemployed at $1.60 an hour than employed at $1.25. Moreover, many workers in low wage brackets are supplementary earners—that is, youngsters who are just getting started or elderly folk who are adding to the main source of family income. I favor governmental measures that are designed to set a floor under family income. Legal minimum-wage rates only make this task more difficult. The rise in the legal minimum-wage rate is a monument to the power of superficial thinking. ____________________________________________________________________________ Reprinted in Milton Friedman, An Economist’s Protest: Columns on Political Economy, pp. 144-145. Glen Ridge, New Jersey: Thomas Horton & Daughters, 1972. Compiled by Robert Leeson and Charles Palm as part of their “Collected Works of Milton Friedman” project. Reformatted for the Web. 10/25/12

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WOODY WEDNESDAY Review of Woody Allen’s latest movie IRRATIONAL MAN Part 5

Irrational Man Official Trailer #1 (2015) – Emma Stone, Joaquin Phoenix Movie HD

Woody Allen, Emma Stone and the cast of Irrational Man in Cannes

‘Irrational Man’ Review

Cannes Review: Woody Allen’s ‘Irrational Man’ Will Keep Fans Happy

Photo of Eric KohnBy Eric Kohn | IndiewireMay 15, 2015 at 7:15AM

Joaquin Phoenix and Emma Stone star in Allen’s latest comedy-drama, which is a solid example of the writer-director’s stronger filmmaking tendencies.
Irrational Man
“Irrational Man”

READ MORE: The 2015 Indiewire Cannes Bible

Most Woody Allen movies fall into simple categories — broadly defined as giddy comedies and sullen dramas — whether or not they succeed. But on certain occasions Allen approaches a rare hybrid, the comedy-drama, which generally produces more intriguing results. The last time Allen attempted such a combination, 2013’s “Blue Jasmine,” marked one of the more potent displays of the prolific writer-director’s talent in years, combining fiery performances with crackling, narcissistic dialogue pitched somewhere between unfettered anger and acerbic wit.

Now comes “Irrational Man,” a similar fusion of Allen’s dominant modes that’s decidedly more minor, but still a competent showcase of the way the productive filmmaker’s voice remains effective with the right synthesis of material and cast. There may be no more obvious premise for a Woody Allen movie this decade than Joaquin Phoenix as a possibly deranged philosophy professor who enters into a dangerous liaison with his student, spouting heady diatribes about Immanuel Kant in between bouts of unfulfilling sex and murderous schemes. After last year’s forgettable “Magic in the Moonlight,” the latest feature marks a small but welcome return to form.

At first a lighthearted romp that shifts into dark comedy midway through, “Irrational Man” owes much to Phoenix’s subversive energy and Allen’s capacity to write involving monologues loaded with existential ideas. That’s not quite enough to make up for a pair of under-realized female characters played by Emma Stone and Parker Posey, or the rather unconvincing depictions of romantic confusion that complicate the plot, but it’s close — and for Allen fans, it’s enough.

Phoenix portrays the philandering academic thinker Abe Lucas with an intensity that radiates from his beady eyes and erupts with his ongoing brainy declarations.

As with “Blue Jasmine,” which relied on Cate Blanchett to drive the movie forward, “Irrational Man” turns to Phoenix for its chief appeal. Beefier than you’ve ever seen him before (his puffed-up gut marks the best special effect in an Allen movie since “Zelig”), Phoenix portrays the philandering academic thinker Abe Lucas with an intensity that radiates from his beady eyes and erupts with his ongoing brainy declarations.

An esoteric thinker driven to psychotic extremes by his anxious tendencies, Abe is a typical outlet for Allen’s regular fixations. As the story begins, the lonely professor narrates his disillusioned state as he gears up for a teaching gig at a remote university and complains about the futility of his career. Gliding along on a vibrant jazz score, Allen quickly introduces his pompous leading man’s inevitable foil, Jill Pollard (Stone), the brainy student with whom he eventually falls in love. Jill gets her own voiceover, setting the stage for dueling perspectives on the decisions necessary to achieve happiness in life.

Irrational Man

Naturally, things go awry, but “Irrational Man” holds plenty of appeal even before the twists take shape. Allen relishes the opportunity to explore the vulgar, cynical ecosystem of an isolated academic community. As one character puts it, anticipating Abe’s arrival on campus, the coarse professor has been hired to “put some viagra into the philosophy department” with his brooding, romantic perspective on moral relativism and other high-minded conceits. Before long, we’ve been treated to tidbits of his edgy lectures, where he assails the “theoretical bullshit” of classic philosophies and hopes to apply his ideas about behavior to a real-life situation.

Abe’s central conundrum, that he lacks the inspiration necessary to appreciate his life, leads him down a series of crummy encounters. He’s barely able to receive the affections of colleague Rita Richards (Posey), a married woman hoping to woo Abe so he’ll take her away from her own drab existence, and turns to the bottle as a cheap source of solace. After he drunkenly plays Russian Roulette with a loaded gun in front of horrified students at a house party, it seems as though Abe has hit rock-bottom — but he’s actually on the cusp of his darkest decision yet.

As Abe forms a questionable friendship with Jill that has the entire town whispering behind their backs, their bond naturally frustrates Jill’s young boyfriend Roy (Jamie Blackley, the only seemingly well-adjusted person in the entire script. (Naturally, this being an Allen movie, the one kind of normal guy plays a very small part in it.) But it’s not Abe’s eventual relationship with Jill that takes “Irrational Man” into refreshingly devious territory; instead, that comes with Abe’s sudden inspiration to commit a criminal act to help a random stranger.

With its grim turn of events, “Irrational Man” enters “Crimes and Misdemeanors” territory, catapulting its witty banter into increasingly nefarious developments. Even then, however, “Irrational Man” retains a playful tone. “He could always cloud the issues with words,” Jill recalls of her newfound lover — though one could just as easily apply that description to Allen, for whom even the more straightforward narrative trajectory is just a conduit for ruminative asides and one-liners. Though Abe complains that “much of philosophy is verbal masturbation,” Allen sure relishes every opportunity to indulge in its appeal.

Irrational Man

But that’s ultimately part of the movie’s twisted charm, as Abe’s brilliance perpetually threatens to destroy him. Unsurprisingly in this male-centric tale, Stone’s gullible character is dispiritingly half-baked, to the point where she even confesses “I’m so dumb and vulnerable” when it comes to her relationships. No kidding. The actress manages a few moments where she gets to convey legitimate shock at her increasingly troubled connection to Abe, but well-honed reaction shots can only go so far.

Posey, who has developed subtler layers to her performances in recent years, obtains far greater depth in her depiction of a middle-aged woman dreaming of escaping her limited routine. A rain-soaked scene in which she confesses her infidelities to her despondent husband could fit right in with one of Allen’s straight dramas.

Though “Irrational Man” never settles the tension between its two modes, Allen has at least developed a scenario that fits both of them. In between the incident that inspires Abe’s violent act and the rushed conclusion, a pair of expertly-staged moments pair suspenseful endeavors with the absurdity of the motivations behind them. These scenes bear a closer resemblance to the black comedies of the Coen brothers’ oeuvre than anything in Allen’s standard routine.

If the genre elements sustain the work as a whole, the plot suffers from the meandering quality that frequently plagues late period Allen work. Still, the filmmaking finds its groove in individual moments. Cinematographer Darius Khondji latches onto delicate images rich with implications, none better than Phoenix gazing into a magnificent sunset from the beach while contemplating the liberating sensation he’s experienced from committing a deadly crime. Not since a smirking Michael Caine muttered “I’ve got my answer” after coming on to his character’s sister-in-law in “Hannah and Her Sisters” has Allen managed to strike an ironic note while evoking sympathy for his misguided protagonist.

These scattered moments of genuine depth never transport “Irrational Man” into foreign territory. This is, at the end of the day, a middle-of-the-road Allen picture — but one of the better ones among that fairly robust category. Per usual, Allen’s world has a notably outdated quality, with no cell phones or other internet technology in sight. But in this case it actually enhances the insular nature of small-town campus life — a place where crazy ideas can fuel decisive action and obsessive behavior is the norm. It’s the ideal playground for Allen’s usual routine, and anyone on board with that much will embrace the opportunity for another engaging round.

Grade: B

“Irrational Man” premiered this week at the Cannes Film Festival. Sony Pictures Classics will release it later this year.

WATCH: Emma Stone Diagnoses Joaquin Phoenix in New Trailer for Woody Allen’s ‘Irrational Man’

THIS ARTICLE IS RELATED TO: Reviews, Cannes 2015, Cannes Film Festival, Woody Allen, Joaquin Phoenix, Emma Stone, Irrational Man

Irrational Man: Is It Any Good? (Cannes 2015)

Cannes 2015 – IRRATIONAL MAN by Woody ALLEN (Press conference)

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DAVID BAZZEL COMES UP WITH ANOTHER GREAT LINEUP OF SPEAKERS FOR 2015 at LITTLE ROCK TOUCHDOWN CLUB!!!!!

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David Bazzel pictured below:

I have written about my past visits to the Little Rock Touchdown Club many times and I have been amazed at the quality of the speakers. One of my favorite was  Phillip Fulmer, but Frank Broyles was probably my favorite, and  Paul Finebaum, Mike Slive, Willie Roaf,Randy White, Howard Schnellenberger, John Robinson, Mark May, Gene Stallings, Bobby Bowden, Lloyd Carr, Johnny Majors, Pat Summerall, Pat Dye, Vince Dooley , Eric Mangino, and many more were very good too.

If pressed then right behind Frank was  Phillip Fulmer, Howard Schnellenberger, John Robinson, Gene Stallings, Bobby Bowden, Lloyd Carr, Johnny Majors, Pat Summerall, Pat Dye, and Vince Dooley .

The Little Rock Touchdown Club website noted today:

You won’t want to miss a single meeting in 2015! We have another terrific lineup but we can’t be successful without your participation and support.

Our first full meeting will be Monday, August 24th, 2015 at the Little Rock Marriott and will feature Arkansas Razorback Head Football Coach Bret Bielema. Membership in the Little Rock Touchdown Club includes lunch at a reduced rate at all weekly meetings.

(Rex Nelson pictured below)

2015 Speaker Lineup

2015-tdclub-tb

 

Rex Nelson impersonates Houston Nutt at LRTC 08 27 12

Published on Oct 2, 2012

Little Rock Touchdown Club has Rex Nelson do the stats for the games played that week. Rex does a lot of impersonations of different people but I like his Houston Nutt the best. Video by Popeye Video – Mrpopeyevideo

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Tom Osborne below:

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Little Rock Touchdown Club founder David Bazzel announced the club’s new awards and 2013 speakers Tuesday

Frank Broyles below:

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Frank Broyles, Barry Switzer, and Bobby Burnett (L-R) (1965 Cotton Bowl)

Bazzel a deserving, easy target for Toast & Roast

David Bazzel is the honoree of Big Brothers Big Sisters of Central Arkansas' 41st annual Toast & Roast banquet Aug. 13 at the Embassy Suites in Little Rock.

David Bazzel is the honoree of Big Brothers Big Sisters of Central Arkansas’ 41st annual Toast & Roast banquet Aug. 13 at the Embassy Suites in Little Rock.
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Going Deep: A sports column by Nate Olson

When I interviewed David Bazzel back in late January, I finally got to ask the question I had wanted to ask him for a long time: “Do you ever sleep?”

Bazzel, a former Arkansas linebacker, told me that the answer — which is especially true during football season — is: “Very little.” Bazzel’s day job is co-host of the morning-drive radio program The Show With No Name on KABZ-FM, 103.7 The Buzz. The show airs weekdays from 6-10 a.m. He says he regularly stays up until midnight working on his other projects that include the Little Rock Touchdown Club, which is now in its 12th year, and the Broyles Award, which honors the nation’s top college assistant football coaches. He admitted during the interview that he doesn’t profit financially from either endeavor, even though he pours hundred of hours into the events each year. He does those things, as well as originated the The Golden Boot, the trophy awarded to the winner of the Arkansas-LSU game, because he genuinely loves football and promoting the game, Little Rock and the state of Arkansas.

Add to that, attending every University of Arkansas football game as an analyst for The Buzz and KATV, Channel 7 and the numerous speaking engagements, commercials and other business ventures Bazzel somehow manages to do all of those things at a high level. Something I have long admired.

He also squeezes in time to volunteer. While his work ethic is to be admired, it is his humble, genuine personality that shines through. Always friendly, always smiling (his teeth are the whitest I’ve seen) and very approachable. He gets ribbed from time to time because of his attention to his finely coiffed hair, his teeth, muscular physique and flair for fashion (he must own 200 suits and matching pocket squares), but he is well liked by many because, at the core, he is a good, caring person. He is also a devout Christian and shared his testimony with the congregation of Chenal Valley Baptist Church last winter.

Because of those qualities, Big Brothers Big Sisters of Central Arkansas tabbed Bazzel as its 41st annual Toast & Roast honoree. The banquet begins Thursday at the Embassy Suites in Little Rock with a reception at 6 p.m., and the program begins at 7 p.m. Tickets can be purchased for $150. The cause is terrific (it is the biggest fundraiser of the year for the organization), and the entertainment will be outstanding. Check out this lineup of roasters: Arkansas Gov. Asa Hutchinson; former NFL tight end and play-by-play voice for Arkansas football Keith Jackson; former Hog and NBA center Joe Kleine; former Hog, NFL receiver and co-host of Overtime on The Buzz Matt Jones; former Hog guard and The Buzz’s The Zone co-host Pat Bradley; Arkansas Democrat-Gazette sports editor Wally Hall; KATV sports director Steve Sullivan; KATV co-anchor Beth Hunt; car dealer Frank Fletcher; longtime journalist, broadcaster and Simmons First National Corp Director of Corporate Communications Rex Nelson; Tommy Smith, Bazzel’s co-host on The Show With No Name; Roger Scott, another co-host on The Show With No Name; and Bill Vickery, political consultant and host of The Sunday Buzz on The Buzz.

KATV morning show anchor Chris Kane gets the unenviable task of emceeing this free for all. It could get a tad uncomfortable for ol’ No. 53. No doubt, it will be funny with the cast of characters that have been assembled. Scott and his many impressions could fill the the entire time slot by himself. Most all of the roasters love to hear their own voices, so the biggest challenge of the evening might be wrapping it up by 9 p.m., as I am told is the goal. Good luck with that.

I attended my first Toast & Roast last year with former Arkansas basketball coach Nolan Richardson as the honoree. Bradley, current UA basketball coach Mike Anderson, and former Hogs and NBA standout Todd Day raised a high bar for this year. With some of the stories told and jokes delivered by last year’s emcee — KTHV-TV, Channel 11’s Craig O’Neill — I didn’t quit laughing.

Congratulations to Bazzel. The honor is well deserved, and his presence and the all-star roaster roster should make for a huge crowd and a memorable night for all.

For more information on purchasing tickets, go to bbsca.org. Read Nate’s sports blog atgoingdeep.syncweekly.com.

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David Bazzel, Muskie Harris, Ron Calcagni, Lou Holtz of Orlando, Fla., Bert Zinamon, Kelly Lasseigne, and Nancy Monroe at the Little Rock Touchdown Club

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Little Rock Touchdown Club Ed Orgeron Published on Sep 29, 2014 Ed Orgeron speaks to the Little Rock Touchdown Club. ____________________________________ Coach O did a great job speaking at our luncheon on Monday. Former USC, Ole Miss coach Ed Orgeron enjoys being with family after years on the road Ed Orgeron, center, is happy to […]

Little Rock Touchdown Club Ed Orgeron Part 3

Little Rock Touchdown Club Ed Orgeron Published on Sep 29, 2014 Ed Orgeron speaks to the Little Rock Touchdown Club. ____________________________________ I enjoyed hearing Coach Orgeron at luncheon this week. Ed Orgeron covets Kansas job  9h ago Charlie Weis had barely been gone as head coach of the Kansas Jayhawks for 24 hours when former […]

Little Rock Touchdown Club Ed Orgeron Part 2

Little Rock Touchdown Club Ed Orgeron Published on Sep 29, 2014 Ed Orgeron speaks to the Little Rock Touchdown Club. ____________________________________ I always enjoy going to the Little Rock Touchdown Club and hearing Rex Nelson go through the SEC Roundup of the previous week is usually one of the highlights. He started off by saying: […]

Little Rock Touchdown Club Ed Orgeron Part 1

Little Rock Touchdown Club Ed Orgeron Published on Sep 29, 2014 Ed Orgeron speaks to the Little Rock Touchdown Club. ____________________________________ I really enjoyed hearing Ed Orgeron speak at the Little Rock Touchdown Club yesterday and Little Rock native George Schroeder got to interview him afterwards and his is the result below. Ed Orgeron, college […]

Charlotte Jones Anderson did a great job at Little Rock Touchdown Club!!!

________________ I really enjoyed hearing Jerry Jones’ daughter speak at the Little Rock Touchdown Club this week. Like it is Savvy Anderson graces Jerry’s Cowboys Share on facebookShare on twitterMore Sharing Services1 By Wally Hall This article was published September 23, 2014 at 2:31 a.m. Comments aAFont Size Looks like Jane, plays like Tarzan. Charlotte […]

Evangelical Mike Singletary to speak at Little Rock Touchdown Club Today!!!!

___________ Today downtown at the Little Rock Touchdown Club Mike Singletary is speaking.  Mike Singletary: Christ Means Everything – CBN.com SPORTS Mike Singletary: ‘Christ Means Everything’ By Shawn BrownThe 700 Club CBN.com – Mike Singletary spent 12 seasons as a key member of the celebrated Chicago Bears defense of the 1980s. This NFL Hall of […]

 

 

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Milton Friedman’s 7 Most Notable Quotes Rob Nikolewsk July 31, 2014

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Milton Friedman’s 7 Most Notable Quotes

Harry Truman once complained he wanted to find a one-handed economist because he was tired of asking a direct question of those on his economic team, only to have them say, “On the one hand … but on the other hand.”

If there was one hand that noted economist Milton Friedman favored, it was the “invisible hand” of the free market.

Today marks the 102nd anniversary of Friedman’s birth. He died in 2006, but during his long career Friedman won over admirers and drove left-of-center critics crazy with his direct and eloquent defense of capitalism.

Friedman won the Nobel Prize in economics in 1976. But perhaps his greatest influence was nudging people who otherwise may have had little interest in the “dismal science” of economics to look at the world through a new set of eyes and question their assumptions.

Here’s a look at some of Friedman’s most notable quotes:

  1. “The most important single central fact about a free market is that no exchange takes place unless both parties benefit.”
  2. “Most economic fallacies derive from the tendency to assume that there is a fixed pie, that one party can gain only at the expense of another.”
  3. “A society that puts equality before freedom will get neither. A society that puts freedom before equality will get a high degree of both.”
  4. “When everybody owns something, nobody owns it, and nobody has a direct interest in maintaining or improving its condition. That is why buildings in the Soviet Union—like public housing in the United States—look decrepit within a year or two of their construction…”
  5. “Concentrated power is not rendered harmless by the good intentions of those who create it.”
  6. “One of the great mistakes is to judge policies and programs by their intentions rather than their results.”
  7. “If you put the federal government in charge of the Sahara Desert, in five years there’d be a shortage of sand.”

Read more on Watchdog.org.

Rob Nikolewski

@Watchdogorg

Rob Nikolewski is a reporter for Watchdog.org, a national network of investigative reporters covering waste, fraud and abuse in government. Watchdog.org is a project of the nonprofit Franklin Center for Government & Public Integrity.

“Friedman Friday” EPISODE “The Failure of Socialism” of Free to Choose in 1990 by Milton Friedman (Part 5)

Milton Friedman: Free To Choose – The Failure Of Socialism With Ronald Reagan (Full) Published on Mar 19, 2012 by NoNationalityNeeded Milton Friedman’s writings affected me greatly when I first discovered them and I wanted to share with you. Abstract: Ronald Reagan introduces this program, and traces a line from Adam Smith’s “The Wealth of […]

“Friedman Friday” EPISODE “The Failure of Socialism” of Free to Choose in 1990 by Milton Friedman (Part 4)

Milton Friedman: Free To Choose – The Failure Of Socialism With Ronald Reagan (Full) Published on Mar 19, 2012 by NoNationalityNeeded Milton Friedman’s writings affected me greatly when I first discovered them and I wanted to share with you. Abstract: Ronald Reagan introduces this program, and traces a line from Adam Smith’s “The Wealth of […]

“Friedman Friday” EPISODE “The Failure of Socialism” of Free to Choose in 1990 by Milton Friedman (Part 3)

 

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RESPONDING TO HARRY KROTO’S BRILLIANT RENOWNED ACADEMICS!! Part 38 (Dr.Alexander Vilenkin, Professor of Physics and Director of the Institute of Cosmology at Tufts University, PANTHEISM IS NOT THE ANSWER, BUT IS THERE EVIDENCE FOR A PERSONAL GOD OF THE BIBLE?)

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On November 21, 2014 I received a letter from Nobel Laureate Harry Kroto and it said:

…Please click on this URL http://vimeo.com/26991975

and you will hear what far smarter people than I have to say on this matter. I agree with them.

Harry Kroto

Below you have picture of 1996 Chemistry Nobel Prize Winner Dr. Harry Kroto:

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There are 3 videos in this series and they have statements by 150 academics and scientists and I hope to respond to all of them. Wikipedia notes Alexander Vilenkin (Russian: Алекса́ндр Виле́нкин,Ukrainian: Олександр Віленкін; 13 May 1949, Kharkiv,[1] Ukraine, Soviet Union) is Professor of Physics and Director of the Institute of Cosmology at Tufts University. A theoretical physicist who has been working in the field of cosmology for 25 years, Vilenkin has written over 150 papers and is responsible for introducing the ideas of eternal inflation and quantum creationof the universe from a quantum vacuum. Inflation is the idea that space expanded at trillion times faster than the speed of light right after the big bang. His work in cosmic strings has been pivotal. With Arvind Bordeand Alan Guth, he is one of the originators of the Borde-Guth-Vilenkin theorem.

Vilenkin received his undergraduate degree in physics in 1971 in the former Soviet Union (University of Kharkiv). He later moved to the United States, where he obtained his Ph.D. at Buffalo. His work has been featured in numerous newspaper and magazine articles in the United States, Europe, Soviet Union, and Japan, and in many popular books.

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In  the second video below in the 82nd clip in this series are his words and  my response is below them. 

50 Renowned Academics Speaking About God (Part 1)

Another 50 Renowned Academics Speaking About God (Part 2)

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

I grew up at Bellevue Baptist Church under the leadership of our pastor Adrian Rogers and I read many books by the Evangelical Philosopher Francis Schaeffer and have had the opportunity to contact many of the evolutionists or humanistic academics that they have mentioned in their works. Many of these scholars have taken the time to respond back to me in the last 20 years and some of the names  included are  Ernest Mayr (1904-2005), George Wald (1906-1997), Carl Sagan (1934-1996),  Robert Shapiro (1935-2011), Nicolaas Bloembergen (1920-),  Brian Charlesworth (1945-),  Francisco J. Ayala (1934-) Elliott Sober (1948-), Kevin Padian (1951-), Matt Cartmill (1943-) , Milton Fingerman (1928-), John J. Shea (1969-), , Michael A. Crawford (1938-), Paul Kurtz (1925-2012), Sol Gordon (1923-2008), Albert Ellis (1913-2007), Barbara Marie Tabler (1915-1996), Renate Vambery (1916-2005), Archie J. Bahm (1907-1996), Aron S “Gil” Martin ( 1910-1997), Matthew I. Spetter (1921-2012), H. J. Eysenck (1916-1997), Robert L. Erdmann (1929-2006), Mary Morain (1911-1999), Lloyd Morain (1917-2010),  Warren Allen Smith (1921-), Bette Chambers (1930-),  Gordon Stein (1941-1996) , Milton Friedman (1912-2006), John Hospers (1918-2011), Michael Martin (1932-).Harry Kroto (1939-), Marty E. Martin (1928-), Richard Rubenstein (1924-), James Terry McCollum (1936-), Edward O. WIlson (1929-), Lewis Wolpert (1929), Gerald Holton (1922-),  and  Ray T. Cragun (1976-).

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Quote from Dr. Alexander Vilenkin:

The simple question I will answer immediately is that about a personal God and that I don’t believe, a God that concerns himself with human affairs. We don’t have much evidence for that. As for a  more abstract God some people suggest the level of abstraction that makes the concept pointless. If we identify God with the laws of nature I don’t see why we need another term for the laws of nature.

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Let me give four responses.

First, Christianity has not been discouraging Science but encouraging it through the past few centuries.

Second, are the scientists ahead or behind the Bible? There is plenty of evidence that the Bible is historically and scientifically accurate.  Adrian Rogers notes:

Every now and then science may disagree with the Bible, but usually science just needs time to catch up. For example, in 1861 a French scientific academy printed a brochure offering 51 incontrovertible facts that proved the Bible in error. Today there is not a single reputable scientist who would support those supposed “facts,” because modern science has disproved them all!

The ancients believed the earth was held up by Atlas, or resting on pillars, or even seated on the backs of elephants. But today we know the earth is suspended in space, a fact the Word of God records in Job 26:7: “He . . . hangeth the earth upon nothing.” God revealed the facts of cosmology long before man had any idea of the truth.

For centuries man believed the earth was flat, but now we know the earth is a globe. The prophet Isaiah, writing 750 years before the birth of Christ, revealed that “God sitteth upon the circle of the earth” (Isaiah 40:22). The word translated here as “circle” was more commonly translated “sphere.” In other words, Isaiah explained that the earth was a globe centuries before science discovered it.

When Ptolemy charted the heavens, he counted 1026 stars in the sky. But with the invention of the telescope man discovered millions and millions of stars, something that Jeremiah 33:22 revealed nearly three thousand years ago: “The host of heaven cannot be numbered.” How did these men of God know the truth of science long before the rest of the world discovered it? They were moved by the Holy Spirit to write the truth. God’s Word is not filled with errors. It is filled with facts, even scientific facts.

 

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Third, I am glad that Dr. Vilenkin doesn’t fall into the pantheism trap.  Below is an article that addresses that issue:

Pantheism, the Enlightenment and Materialism

9MAY

Introduction: What is Pantheism

Pantheism is the belief that what religions call “God” is the universe itself, in all its splendour and horror. In Pantheism the universe and God are synonymous. Pantheism is as old as the marrow of Indian philosophy; the Upanishads (etymology – “sitting close to” a guru) , and as new as “New Age.” The Jewish Kabbalah, Pantheist to the core, states:

“The essence of divinity is found in every single thing — nothing but it exists. Since it causes every thing to be, no thing can live by anything else. It enlivens them; its existence exists in each existent. Do not attribute duality to God. Let God be solely God. If you suppose that Ein Sof (the Eternal, literally “without end”) emanates until a certain point, and that from that point on is outside of it, you have dualized. God forbid! Realize, rather, that Ein Sof exists in each existent. Do not say, “This is a stone and not God.” God forbid! Rather, all existence is God, and the stone is a thing pervaded by divinity” (Rabbi Moshe Cordovero, Shiur Qomah to Zohar 3:14b; Idra Rabba).

Rabbi Moshe Cordovero's grave in Safed, Israel

Rabbi Moshe Cordovero’s grave in Safed, Israel

Adorning the pantheist pantheon in the late 18th to early 19th centuries were the greats Goethe and Hegel in Germany, Shelley and Keats in England, and Emerson and Thoreau in America. Later in the 19th century pantheism was close to becoming the dominant philosophy.

If pantheism is as old as the Upanishads (the bulk of it probably written circa 600 BCE), how old is materialism? At least as old as the pre-Socratic Greek philosophy of 600-500 BCE, reaching its peak in the 4th Century BCE with the atomists Democritus and Epicurus. “Atomism” was the philosophy that ultimate reality consists of invisible, indivisible bits of randomly colliding matter. Not very different from the materialism of modern times, spearheaded by the Enlightenment. It believed that human beings and nature could be controlled by reason and empirical methods. The reasoning was the laws of society emerge from the laws of nature. Once these social laws where understood, it would be possible to create a better world.

The Enlightenment

In his What is Enlightenment? Emmanuel Kant describes the Enlightenment as “man’s release from his self-incurred tutelage”, where “tutelage” is (Kant continues) “man’s inability to make use of his understanding without direction from another”. The “Enlightenment” has profound relevance not only for understanding modern man. God saw that the light was good, but man saw that enlightenment was better – much better. “Enlightenment” puts man at the centre. Whereas theology, previous to the “Enlightenment,” was the handmaiden of science, after the “Enlightenment,” the movement of “positivism” (August Comte) reduced it to the “charwoman” of science (Frederick Copleston in one of his volumes on the history of philosophy. (Deconstruction and the Inworming of Postmodern theology).

Emmanuel Kant (1724-1804)

Emmanuel Kant (1724-1804)

Force and Chemical Stuff

Scientists such as Lavoisier (1743-94) in France and John Dalton (1766-1844) in England promoted a materialistic philosophy where all entities including human beings were entirely the product of physical and chemical forces. One of the most popular books of the 19th century was Ludwig Büchner’s, “Kraft und Stoff (Force and Matter, 1855). The argument of the book is that there is no need for a transcendent (immaterial) force to explain the universe: the laws of physics and chemistry are sufficient to do the job. Here is Büchner strutting his Stoff in hisconcluding observations (English translation (1870) by J. Frederick Collingwood, p, 251-52):

“Exact science inculcates modesty ; and it is perhaps for this reason, that our modern naturalists have hitherto neglected to apply the standard of exact science to philosophy, and from the treasury of facts to forge arms for the overthrow of transcendental speculations. Now and then there issued from the workshops of these industrious labourers a ray of light which, reaching the noisy philosophers, did not fail to heighten the existing confusion. These single rays were, however, sufficient to cause in the camp of speculative philosophy a feverish excitement, and gave rise to sallies in anticipation of a threatened attack. There was something ludicrous in it to see these philosophers so desperately defend themselves before they were seriously attacked. It certainly will not be long before the battle becomes general. Is the victory doubtful ? The struggle is unequal ; the opponents cannot stand against the trenchant arm of physical and physiological materialism, which fights with facts that every one can comprehend, while the opponents fight with suppositions and presumptions.”

Büchner’s  Force and Matter was followed four years later by the sensational materialisation of Charles Darwin’s “On the origin of Species,” 1859). Darwin’s theory of evolution by means of natural selection dumped the notion that there was design or purpose in the universe. All phenomena could be explained by chemistry and physics, even history; to wit, the “historical materialism” of Marx and Engels and the evolutionary psychology of Herbert Spencer.

Historical materialism

Here is Marx and Engels’ broad overview of historical materialism:

“The first premise of all human history is, of course, the existence of living human individuals. Thus the first fact to be established is the physical organisation of these individuals and their consequent relation to the rest of nature….Men can be distinguished from animals by consciousness, by religion or anything else you like. They themselves begin to distinguish themselves from animals as soon as they begin to produce their means of subsistence, a step which is conditioned by their physical organisation. By producing their means of subsistence men are indirectly producing their actual material life.”

Pantheism takes a sandwich break

I contrast the views of Francis Schaeffer and Herman Bavinck on the relationship between materialism and the “infinite creator God (Schaeffer) in 20th century humanism. Here is Schaeffer in 1982:

“[I]nstead of the final reality that exists being the infinite creator God; instead of that which is the basis of all reality being such a creator God, now largely, all else is seen as only material or energy which has existed forever in some form, shaped into its present complex form only by pure chance.(F. Schaeffer, “A Christian Manifesto”).

The above position describes the Darwinian position as it exists today in 2013.Now, here is Herman Bavinck in 1908. Note how the second paragraph contrasts with Schaeffer:

(My italics)

“The term evolution embodies in itself a harmless conception, and the principle expressed by it is certainly operative within well-defined limits throughout the imiverse. But the trend of thought by which it has been monopolized, and the system built on it, in many cases at least, avail themselves of the word in order to explain the entire world, including man and religion and morality, without the aid of any supranatural factor, purely from immanent forces, and according to unvarying laws of nature.”

“Nevertheless, the transition from the nineteenth to the twentieth century has witnessed an important change in this respect. The foremost investigators in the field of science have abandoned the. attempt to explain all phenomena and events by.mechanico-chemical causes. Everywhere there is manifesting itself an effort to take up and incorporate Darwin’s scheme of a nature subject to law into an idealistic world-view. In fact Darwin himself, through his agnosticism, left room for different conceptions of the Absolute, nay repeatedly and em- phatically gave voice to a conviction that the world is not the product of accident, brute force, or blind necessity, but in its entirety has been intended for progressive improvement. By way of Darwin, and enriched by a mass of valuable scientific material, the doctrine of evolution has returned to the fundamental idea of Hegel’s philosophy. The mechanical conception of nature has been once more replaced by the dynamical ; materialism has reverted to pantheism; evolution has become again the unfolding, the revealing of absolute spirit. And the concept of revelation has held anew its triumphant entry into the realm of philosophy and even of natural science.”

Bavinck’s “The mechanical conception of nature has been once more replaced by the dynamical ; materialism has reverted to pantheism.”

This implies that in the 19th century (recall Bavinck wrote this in 1908) the purely mechanical conception of nature was in vogue, just as it is in vogue again in the late 20th and 21st century. This is not to say that “creationism” is insignficant in the 21st centrury. The interesting observation in Bavinck is that between the mechanical conceptions of the late 19th century and our time, there existed a pantheistic hiatus.

Herman Bavinck (1854 - 1921)

Herman Bavinck (1854 – 1921)

Here is Carl Sagan:

“We’ve arranged a civilization in which most crucial elements profoundly depend on science and technology.” And: Somewhere, something incredible is waiting to be known.” One thing Sagan, while alive, was sure of; it wasn’t God.

Conclusion: I am Gaaaaad, I am Gaaaad

The world with all its stuff is more pantheistic than ever. No one sums it up more than the delightful Shirley Maclaine. Here is an excerpt of an ABC-TV interview featuring Shirley Mclaine:

“During an oceanside conversation, David presses her to stand up and assert the presence of the ‘God-truth’ within.  After suggesting several affirmations, he selects a powerful one for Shirley:  ‘I am God.’ Timidly, she stands at the Pacific.  Stretching out her arms, she mouths the words half-heartedly. ‘Say it louder.’ Shirley blusters about this statement being a little too pompous. For him to make her chant those words is – well, it sounds so insufferably arrogant. David’s answer cuts to the quick: ‘See how little you think of yourself?’ This deep insight embarrasses MacLaine into holy boldness. Intuitively, she comes to feel he’s right.  Lifting both arms to the sky, she pumps it out — ‘I am God!  I am God!’ — as the ocean laps at her feet.”

Shirley Maclaine (1934 - )

Shirley Maclaine (1934 – )

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Fourth, if. Dr. Alexander Vilenkin wants more evidence that a personal God has interacted with humans through the centuries then he needs to check out this issue of the accuracy of the Bible:

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

The Bible and Archaeology (1/5)

The Bible maintains several characteristics that prove it is from God. One of those is the fact that the Bible is accurate in every one of its details. The field of archaeology brings to light this amazing accuracy.

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Many people have questioned the accuracy of the Bible, but I have posted many videos and articles with evidence pointing out that the Bible has many pieces of evidence from archaeology supporting the view that the Bible is historically accurate. Take a look at the video above and below.

The Bible and Archaeology (2/5)

Very good article below:

Applying the Science of Probability to the Scriptures

Do statistics prove the Bible’s supernatural origin?

by

Professor Peter Stoner

For years I have been quoting a book by Peter Stoner called Science Speaks. I like to use a remarkable illustration from it to show how Bible prophecy proves that Jesus was truly God in the flesh.

I decided that I would try to find a copy of the book so that I could discover all that it had to say about Bible prophecy. The book was first published in 1958 by Moody Press. After considerable searching on the Internet, I was finally able to find a revised edition published in 1976.

Peter Stoner was chairman of the mathematics and astronomy departments at Pasadena City College until 1953 when he moved to Westmont College in Santa Barbara, California. There he served as chairman of the science division. At the time he wrote this book, he was professor emeritus of science at Westmont.

In the edition I purchased, there was a foreword by Dr. Harold Hartzler, an officer of the American Scientific Affiliation. He wrote that the manuscript had been carefully reviewed by a committee of his organization and that “the mathematical analysis included is based upon principles of probability which are thoroughly sound.” He further stated that in the opinion of the Affiliation, Professor Stoner “has applied these principles in a proper and convincing way.”

The book is divided into three sections. Two relate directly to Bible prophecy. The first section deals with the scientific validity of the Genesis account of creation.

Part One: The Genesis Record

Stoner begins with a very interesting observation. He points out that his copy of Young’s General Astronomy, published in 1898, is full of errors. Yet, the Bible, written over 2,000 years ago is devoid of scientific error. For example, the shape of the earth is mentioned in Isaiah 40:22. Gravity can be found in Job 26:7. Ecclesiastes 1:6 mentions atmospheric circulation. A reference to ocean currents can be found in Psalm 8:8, and the hydraulic cycle is described in Ecclesiastes 1:7 and Isaiah 55:10. The second law of thermodynamics is outlined in Psalm 102:25-27 and Romans 8:21. And these are only a few examples of scientific truths written in the Scriptures long before they were “discovered” by scientists.

Stoner proceeds to present scientific evidence in behalf of special creation. For example, he points out that science had previously taught that special creation was impossible because matter could not be destroyed or created. He then points out that atomic physics had now proved that energy can be turned into matter and matter into energy.

He then considers the order of creation as presented in Genesis 1:1-13. He presents argument after argument from a scientific viewpoint to sustain the order which Genesis chronicles. He then asks, “What chance did Moses have when writing the first chapter [of Genesis] of getting thirteen items all accurate and in satisfactory order?” His calculations conclude it would be one chance in 31,135,104,000,000,000,000,000 (1 in 31 x 1021). He concludes, “Perhaps God wrote such an account in Genesis so that in these latter days, when science has greatly developed, we would be able to verify His account and know for a certainty that God created this planet and the life on it.”

The only disappointing thing about Stoner’s book is that he spiritualizes the reference to days in Genesis, concluding that they refer to periods of time of indefinite length. Accordingly, he concludes that the earth is approximately 4 billion years old. In his defense, keep in mind that he wrote this book before the foundation of the modern Creation Science Movement which was founded in the 1960’s by Dr. Henry Morris. That movement has since produced many convincing scientific arguments in behalf of a young earth with an age of only 6,000 years.

Peter Stoner’s Calculations Regarding Messianic Prophecy

Peter Stoner calculated the probability of just 8 Messianic prophecies being fulfilled in the life of Jesus. As you read through these prophecies, you will see that all estimates were calculated as conservatively as possible.

  1. The Messiah will be born in Bethlehem (Micah 5:2).
    The average population of Bethlehem from the time of Micah to the present (1958) divided by the average population of the earth during the same period = 7,150/2,000,000,000 or 2.8×105.
  2. A messenger will prepare the way for the Messiah (Malachi 3:1).
    One man in how many, the world over, has had a forerunner (in this case, John the Baptist) to prepare his way?
    Estimate: 1 in 1,000 or 1×103.
  3. The Messiah will enter Jerusalem as a king riding on a donkey (Zechariah 9:9).
    One man in how many, who has entered Jerusalem as a ruler, has entered riding on a donkey?
    Estimate: 1 in 100 or 1×102.
  4. The Messiah will be betrayed by a friend and suffer wounds in His hands (Zechariah 13:6).
    One man in how many, the world over, has been betrayed by a friend, resulting in wounds in his hands?
    Estimate: 1 in 1,000 or 1×103.
  5. The Messiah will be betrayed for 30 pieces of silver (Zechariah 11:12).
    Of the people who have been betrayed, one in how many has been betrayed for exactly 30 pieces of silver?
    Estimate: 1 in 1,000 or 1×103.
  6. The betrayal money will be used to purchase a potter’s field (Zechariah 11:13).
    One man in how many, after receiving a bribe for the betrayal of a friend, has returned the money, had it refused, and then experienced it being used to buy a potter’s field?
    Estimate: 1 in 100,000 or 1×105.
  7. The Messiah will remain silent while He is afflicted (Isaiah 53:7).
    One man in how many, when he is oppressed and afflicted, though innocent, will make no defense of himself?
    Estimate: 1 in 1,000 or 1×103.
  8. The Messiah will die by having His hands and feet pierced (Psalm 22:16).
    One man in how many, since the time of David, has been crucified?
    Estimate: 1 in 10,000 or 1×104.

Multiplying all these probabilities together produces a number (rounded off) of 1×1028. Dividing this number by an estimate of the number of people who have lived since the time of these prophecies (88 billion) produces a probability of all 8 prophecies being fulfilled accidently in the life of one person. That probability is 1in 1017 or 1 in 100,000,000,000,000,000. That’s one in one hundred quadrillion!

Part Two: The Accuracy of Prophecy

The second section of Stoner’s book, is entitled “Prophetic Accuracy.” This is where the book becomes absolutely fascinating. One by one, he takes major Bible prophecies concerning cities and nations and calculates the odds of their being fulfilled. The first is a prophecy in Ezekiel 26 concerning the city of Tyre. Seven prophecies are contained in this chapter which was written in 590 BC:

  1. Nebuchadnezzar shall conquer the city (vs. 7-11).
  2. Other nations will assist Nebuchadnezzar (v. 3).
  3. The city will be made like a bare rock (vs. 4 & 14).
  4. It will become a place for the spreading of fishing nets (vs. 5 & 14).
  5. Its stones and timbers will be thrown into the sea (v. 12).
  6. Other cities will fear greatly at the fall of Tyre (v. 16).
  7. The old city of Tyre will never be rebuilt (v. 14).

Four years after this prophecy was given, Nebuchadnezzar laid siege to Tyre. The siege lasted 13 years. When the city finally fell in 573 BC, it was discovered that everything of value had been moved to a nearby island.

Two hundred and forty-one years later Alexander the Great arrived on the scene. Fearing that the fleet of Tyre might be used against his homeland, he decided to take the island where the city had been moved to. He accomplished this goal by building a causeway from the mainland to the island, and he did that by using all the building materials from the ruins of the old city. Neighboring cities were so frightened by Alexander’s conquest that they immediately opened their gates to him. Ever since that time, Tyre has remained in ruins and is a place where fishermen spread their nets.

Thus, every detail of the prophecy was fulfilled exactly as predicted. Stoner calculated the odds of such a prophecy being fulfilled by chance as being 1 in 75,000,000, or 1 in 7.5×107. (The exponent 7 indicates that the decimal is to be moved to the right seven places.)

Stoner proceeds to calculate the probabilities of the prophecies concerning Samaria, Gaza and Ashkelon, Jericho, Palestine, Moab and Ammon, Edom, and Babylon. He also calculates the odds of prophecies being fulfilled that predicted the closing of the Eastern Gate (Ezekiel 44:1-3), the plowing of Mount Zion (Micah 3:12), and the enlargement of Jerusalem according to a prescribed pattern (Jeremiah 31:38-40).

Combining all these prophecies, he concludes that “the probability of these 11 prophecies coming true, if written in human wisdom, is… 1 in 5.76×1059. Needless to say, this is a number beyond the realm of possibility.

Part Three: Messianic Prophecy

The third and most famous section of Stoner’s book concerns Messianic prophecy. His theme verse for this section is John 5:39 — “Search the Scriptures because… it is these that bear witness of Me.”

Stoner proceeds to select eight of the best known prophecies about the Messiah and calculates the odds of their accidental fulfillment in one person as being 1 in 1017.

I love the way Stoner illustrated the meaning of this number. He asked the reader to imagine filling the State of Texas knee deep in silver dollars. Include in this huge number one silver dollar with a black check mark on it. Then, turn a blindfolded person loose in this sea of silver dollars. The odds that the first coin he would pick up would be the one with the black check mark are the same as 8 prophecies being fulfilled accidentally in the life of Jesus.

The point, of course, is that when people say that the fulfillment of prophecy in the life of Jesus was accidental, they do not know what they are talking about. Keep in mind that Jesus did not just fulfill 8 prophecies, He fulfilled 108. The chances of fulfilling 16 is 1 in 1045. When you get to a total of 48, the odds increase to 1 in 10157. Accidental fulfillment of these prophecies is simply beyond the realm of possibility.

When confronted with these statistics, skeptics will often fall back on the argument that Jesus purposefully fulfilled the prophecies. There is no doubt that Jesus was aware of the prophecies and His fulfillment of them. For example, when He got ready to enter Jerusalem the last time, He told His disciples to find Him a donkey to ride so that the prophecy of Zechariah could be fulfilled which said,“Behold, your King is coming to you, gentle, and mounted on a donkey” (Matthew 21:1-5 andZechariah 9:9).

But many of the prophecies concerning the Messiah could not be purposefully fulfilled — such as the town of His birth (Micah 5:2) or the nature of His betrayal (Psalm 41:9), or the manner of His death (Zechariah 13:6 and Psalm 22:16).

One of the most remarkable Messianic prophecies in the Hebrew Scriptures is the one that precisely states that the Messiah will die by crucifixion. It is found in Psalm 22 where David prophesied the Messiah would die by having His hands and feet pierced (Psalm 22:16). That prophecy was written 1,000 years before Jesus was born. When it was written, the Jewish method of execution was by stoning. The prophecy was also written many years before the Romans perfected crucifixion as a method of execution.

Even when Jesus was killed, the Jews still relied on stoning as their method of execution, but they had lost the power to implement the death penalty due to Roman occupation. That is why they were forced to take Jesus to Pilate, the Roman governor, and that’s how Jesus ended up being crucified, in fulfillment of David’s prophecy.

The bottom line is that the fulfillment of Bible prophecy in the life of Jesus proves conclusively that He truly was God in the flesh. It also proves that the Bible is supernatural in origin.

Note: A detailed listing of all 108 prophecies fulfilled by Jesus is contained in Dr. Reagan’s book,Christ in Prophecy Study Guide. It also contains an analytical listing of all the Messianic prophecies in the Bible — both Old and New Testaments — concerning both the First and Second comings of the Messiah.

For creation science resources see the following websites:

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Related posts:

FRANCIS SCHAEFFER ANALYZES ART AND CULTURE Part 35 Robert M. Pirsig (Feature on artist Kerry James Marshall)

FRANCIS SCHAEFFER ANALYZES ART AND CULTURE Part 34 Aleksandr Solzhenitsyn (Feature on artist Shahzia Sikander)

FRANCIS SCHAEFFER ANALYZES ART AND CULTURE Part 33 Aldous Huxley (Feature on artist Matthew Barney )

FRANCIS SCHAEFFER ANALYZES ART AND CULTURE Part 32 Steven Weinberg and Woody Allen and “The Meaningless of All Things” (Feature on photographer Martin Karplus )

FRANCIS SCHAEFFER ANALYZES ART AND CULTURE Part 31 David Hume and “How do we know we know?” (Feature on artist William Pope L. )

FRANCIS SCHAEFFER ANALYZES ART AND CULTURE Part 30 Rene Descartes and “How do we know we know?” (Feature on artist Olafur Eliasson)

FRANCIS SCHAEFFER ANALYZES ART AND CULTURE Part 29 W.H. Thorpe and “The Search for an Adequate World-View: A Question of Method” (Feature on artist Jeff Koons)

FRANCIS SCHAEFFER ANALYZES ART AND CULTURE Part 28 Woody Allen and “The Mannishness of Man” (Feature on artist Ryan Gander)

FRANCIS SCHAEFFER ANALYZES ART AND CULTURE Part 27 Jurgen Habermas (Featured artist is Hiroshi Sugimoto)

FRANCIS SCHAEFFER ANALYZES ART AND CULTURE Part 26 Bettina Aptheker (Featured artist is Krzysztof Wodiczko)

FRANCIS SCHAEFFER ANALYZES ART AND CULTURE Part 25 BOB DYLAN (Part C) Francis Schaeffer comments on Bob Dylan’s song “Ballad of a Thin Man” and the disconnect between the young generation of the 60’s and their parents’ generation (Feature on artist Fred Wilson)

FRANCIS SCHAEFFER ANALYZES ART AND CULTURE Part 24 BOB DYLAN (Part B) Francis Schaeffer comments on Bob Dylan’s words from HIGHWAY 61 REVISITED!! (Feature on artist Susan Rothenberg)

FRANCIS SCHAEFFER ANALYZES ART AND CULTURE Part 23 BOB DYLAN (Part A) (Feature on artist Josiah McElheny)Francis Schaeffer on the proper place of rebellion with comments by Bob Dylan and Samuel Rutherford

FRANCIS SCHAEFFER ANALYZES ART AND CULTURE Part 22 “The School of Athens by Raphael” (Feature on the artist Sally Mann)

FRANCIS SCHAEFFER ANALYZES ART AND CULTURE Part 21 William B. Provine (Feature on artist Andrea Zittel)

FRANCIS SCHAEFFER ANALYZES ART AND CULTURE Part 20 Woody Allen and Materialistic Humanism: The World-View of Our Era (Feature on artist Ida Applebroog)

FRANCIS SCHAEFFER ANALYZES ART AND CULTURE Part 19 Movie Director Luis Bunuel (Feature on artist Oliver Herring)

FRANCIS SCHAEFFER ANALYZES ART AND CULTURE Part 18 “Michelangelo’s DAVID is the statement of what humanistic man saw himself as being tomorrow” (Feature on artist Paul McCarthy)

FRANCIS SCHAEFFER ANALYZES ART AND CULTURE Part 17 Francis Schaeffer discusses quotes of Andy Warhol from “The Observer June 12, 1966″ Part C (Feature on artist David Hockney plus many pictures of Warhol with famous friends)

FRANCIS SCHAEFFER ANALYZES ART AND CULTURE Part 16 Francis Schaeffer discusses quotes of Andy Warhol from “The Observer June 12, 1966″ Part B (Feature on artist James Rosenquist plus many pictures of Warhol with famous friends)

FRANCIS SCHAEFFER ANALYZES ART AND CULTURE Part 15 Francis Schaeffer discusses quotes of Andy Warhol from “The Observer June 12, 1966″ Part A (Feature on artist Robert Indiana plus many pictures of Warhol with famous friends)

FRANCIS SCHAEFFER ANALYZES ART AND CULTURE Part 14 David Friedrich Strauss (Feature on artist Roni Horn )

FRANCIS SCHAEFFER ANALYZES ART AND CULTURE Part 13 Jacob Bronowski and Materialistic Humanism: The World-View of Our Era (Feature on artist Ellen Gallagher )

FRANCIS SCHAEFFER ANALYZES ART AND CULTURE Part 12 H.J.Blackham and Materialistic Humanism: The World-View of Our Era (Feature on artist Arturo Herrera)

FRANCIS SCHAEFFER ANALYZES ART AND CULTURE Part 11 Thomas Aquinas and his Effect on Art and HOW SHOULD WE THEN LIVE? Episode 2: THE MIDDLES AGES (Feature on artist Tony Oursler )

FRANCIS SCHAEFFER ANALYZES ART AND CULTURE Part 10 David Douglas Duncan (Feature on artist Georges Rouault )

FRANCIS SCHAEFFER ANALYZES ART AND CULTURE Part 9 Jasper Johns (Feature on artist Cai Guo-Qiang )

FRANCIS SCHAEFFER ANALYZES ART AND CULTURE Part 8 “The Last Year at Marienbad” by Alain Resnais (Feature on artist Richard Tuttle and his return to the faith of his youth)

FRANCIS SCHAEFFER ANALYZES ART AND CULTURE Part 7 Jean Paul Sartre (Feature on artist David Hooker )

FRANCIS SCHAEFFER ANALYZES ART AND CULTURE Part 6 The Adoration of the Lamb by Jan Van Eyck which was saved by MONUMENT MEN IN WW2 (Feature on artist Makoto Fujimura)

FRANCIS SCHAEFFER ANALYZES ART AND CULTURE Part 5 John Cage (Feature on artist Gerhard Richter)

FRANCIS SCHAEFFER ANALYZES ART AND CULTURE Part 4 ( Schaeffer and H.R. Rookmaaker worked together well!!! (Feature on artist Mike Kelley Part B )

FRANCIS SCHAEFFER ANALYZES ART AND CULTURE Part 3 PAUL GAUGUIN’S 3 QUESTIONS: “Where do we come from? What art we? Where are we going? and his conclusion was a suicide attempt” (Feature on artist Mike Kelley Part A)

FRANCIS SCHAEFFER ANALYZES ART AND CULTURE Part 2 “A look at how modern art was born by discussing Monet, Renoir, Pissaro, Sisley, Degas,Cezanne, Van Gogh, Gauguin, Seurat, and Picasso” (Feature on artist Peter Howson)

FRANCIS SCHAEFFER ANALYZES ART AND CULTURE Part 1 HOW SHOULD WE THEN LIVE? “The Roman Age” (Feature on artist Tracey Emin)

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“Truth Tuesday” Taking on Ark Times Bloggers on the “Absurdity of Life without God!!” Part 6 (You have to base your morality on God’s revealed word or what are your left with?)

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

The Bible and Archaeology – Is the Bible from God? (Kyle Butt 42 min)

Does God Have to Be Good or Are Things Good Just Because God Says So?

Published on Aug 24, 2012

Dr William Lane Craig was invited by the School of Oriental and African Studies (SOAS) Christian Union, London to give a lecture titled “Can we be good without God?” In this video Dr Craig answers a question about the Euthyphro Dilemma.

The lecture formed part of the Reasonable Faith Tour in October 2011. The Tour was sponsored by Damaris Trust, UCCF and Premier Christian Radio.

The entire lecture “Can We Be Good Without God” can be viewed here: http://www.youtube.com/watch?v=jzlEnr…

For more resources visit Dr Craig’s website: http://www.reasonablefaith.org

More videos from the tour can be viewed at: http://www.youtube.com/user/Reasonabl…

We welcome your comments in the Reasonable Faith forums:
http://www.reasonablefaith.org/forums/

How Should We then Live Episode 7 small (Age of Nonreason)

#02 How Should We Then Live? (Promo Clip) Dr. Francis Schaeffer

The clip above is from episode 9 THE AGE OF PERSONAL PEACE AND AFFLUENCE

10 Worldview and Truth

In above clip Schaeffer quotes Paul’s speech in Greece from Romans 1 (from Episode FINAL CHOICES)

Two Minute Warning: How Then Should We Live?: Francis Schaeffer at 100

A Christian Manifesto Francis Schaeffer

Francis Schaeffer “BASIS FOR HUMAN DIGNITY” Whatever…HTTHR

Dr. Francis Schaeffer: Whatever Happened to the Human Race Episode 1 ABORTION

Francis Schaeffer holding prolife sign

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Life without God in the picture is absurdity!!!. That was the view of King Solomon when he wrote the Book of Ecclesiastes 3000 years ago and it is the view of many of the modern philosophers today. Modern man has tried to come up with a lasting meaning for life without God in the picture (life under the sun), but it is not possible. Without the infinite-personal God of the Bible to reveal moral absolutes then man is left to embrace moral relativism. In a time plus chance universe man is reduced to a machine and can not find a place for values such as love. Both of Francis Schaeffer’s film series have tackled these subjects and he shows how this is reflected in the arts.

Here are some posts I have done on the series “HOW SHOULD WE THEN LIVE? : 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,” .

In the film series “WHATEVER HAPPENED TO THE HUMAN RACE?” the arguments are presented  against abortion (Episode 1),  infanticide (Episode 2),   euthenasia (Episode 3), and then there is a discussion of the Christian versus Humanist worldview concerning the issue of “the basis for human dignity” in Episode 4 and then in the last episode a close look at the truth claims of the Bible.

I have discussed many subjects with my liberal friends over at the Ark Times Blog in the past and I have taken them on now on the subject of the absurdity of life without God in the picture. Most of my responses included quotes from William Lane Craig’s book THE ABSURDITY OF LIFE WITHOUT GOD.  Here is the result of one of those encounters from June of 2013:

Hackett wrote, “I’m quite content with the reality of life as it is and have no need of faith and belief in any invisible being.”

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You have to base your morality on God’s revealed word or what are your left with? Reason is the answer most atheists give but where will that lead? Maybe to another Hitler? I have challenged those on this blog before to rent the movie “Crimes and Misdemeanors” through Net Flix and look at the valid attacks that Woody Allen makes on the morality that atheists are proposing and what the end result of that will be.

William Lane Craig has noted:

If life ends at the grave, then it makes no difference whether one has lived as a Stalin or as a saint. Since one’s destiny is ultimately unrelated to one’s behavior, you may as well just live as you please. As Dostoyevsky put it: “If there is no immortality, then all things are permitted.” On this basis, a writer like Ayn Rand is absolutely correct to praise the virtues of selfishness. Live totally for self; no one holds you accountable! Indeed, it would be foolish to do anything else, for life is too short to jeopardize it by acting out of anything but pure self-interest. Sacrifice for another person would be stupid. Kai Nielsen, an atheist philosopher who attempts to defend the viability of ethics without God, in the end admits,

We have not been able to show that reason requires the moral point of view, or that all really rational persons, unhoodwinked by myth or ideology, need not be individual egoists or classical amoralists. Reason doesn’t decide here. The picture I have painted for you is not a pleasant one. Reflection on it depresses me…. Pure practical reason, even with a good knowledge of the facts, will not take you to morality.8

But the problem becomes even worse. For, regardless of immortality, if there is no God, then any basis for objective standards of right and wrong seems to have evaporated. All we are confronted with is, in Jean-Paul Sartre’s words, the bare, valueless fact of existence. Moral values are either just expressions of personal taste or the by-products of socio-biological evolution and conditioning. In the words of one humanist philosopher, “The moral principles that govern our behavior are rooted in habit and custom, feeling and fashion.”9 In a world without God, who is to say which actions are right and which are wrong? Who is to judge that the values of Adolf Hitler are inferior to those of a saint? The concept of morality loses all meaning in a universe without God. As one contemporary atheistic ethicist points out, “To say that something is wrong because … it is forbidden by God, is … perfectly understandable to anyone who believes in a law-giving God. But to say that something is wrong … even though no God exists to forbid it, is not understandable….” “The concept of moral obligation [is] unintelligible apart from the idea of God. The words remain but their meaning is gone.”10 In a world without a divine lawgiver, there can be no objective right and wrong, only our culturally and personally relative, subjective judgments. This means that it is impossible to condemn war, oppression, or crime as evil. Nor can one praise brotherhood, equality, and love as good. For in a universe without God, good and evil do not exist—there is only the bare valueless fact of existence, and there is no one to say that you are right and I am wrong.

Related posts:

Francis Schaeffer’s “How should we then live?” Video and outline of episode 10 “Final Choices” (Schaeffer Sundays)

E P I S O D E 1 0   Dr. Francis Schaeffer – Episode X – Final Choices 27 min FINAL CHOICES I. Authoritarianism the Only Humanistic Social Option One man or an elite giving authoritative arbitrary absolutes. A. Society is sole absolute in absence of other absolutes. B. But society has to be […]

Francis Schaeffer’s “How should we then live?” Video and outline of episode 9 “The Age of Personal Peace and Affluence” (Schaeffer Sundays)

E P I S O D E 9 Dr. Francis Schaeffer – Episode IX – The Age of Personal Peace and Affluence 27 min T h e Age of Personal Peace and Afflunce I. By the Early 1960s People Were Bombarded From Every Side by Modern Man’s Humanistic Thought II. Modern Form of Humanistic Thought Leads […]

Francis Schaeffer’s “How should we then live?” Video and outline of episode 8 “The Age of Fragmentation” (Schaeffer Sundays)

E P I S O D E 8 Dr. Francis Schaeffer – Episode VIII – The Age of Fragmentation 27 min I saw this film series in 1979 and it had a major impact on me. T h e Age of FRAGMENTATION I. Art As a Vehicle Of Modern Thought A. Impressionism (Monet, Renoir, Pissarro, Sisley, […]

Francis Schaeffer’s “How should we then live?” Video and outline of episode 7 “The Age of Non-Reason” (Schaeffer Sundays)

E P I S O D E 7 Dr. Francis Schaeffer – Episode VII – The Age of Non Reason I am thrilled to get this film series with you. I saw it first in 1979 and it had such a big impact on me. Today’s episode is where we see modern humanist man act […]

Francis Schaeffer’s “How should we then live?” Video and outline of episode 6 “The Scientific Age” (Schaeffer Sundays)

E P I S O D E 6 How Should We Then Live 6#1 Uploaded by NoMirrorHDDHrorriMoN on Oct 3, 2011 How Should We Then Live? Episode 6 of 12 ________ I am sharing with you a film series that I saw in 1979. In this film Francis Schaeffer asserted that was a shift in […]

Francis Schaeffer’s “How should we then live?” Video and outline of episode 5 “The Revolutionary Age” (Schaeffer Sundays)

E P I S O D E 5 How Should We Then Live? Episode 5: The Revolutionary Age I was impacted by this film series by Francis Schaeffer back in the 1970′s and I wanted to share it with you. Francis Schaeffer noted, “Reformation Did Not Bring Perfection. But gradually on basis of biblical teaching there […]

Francis Schaeffer’s “How should we then live?” Video and outline of episode 4 “The Reformation” (Schaeffer Sundays)

Dr. Francis Schaeffer – Episode IV – The Reformation 27 min I was impacted by this film series by Francis Schaeffer back in the 1970′s and I wanted to share it with you. Schaeffer makes three key points concerning the Reformation: “1. Erasmian Christian humanism rejected by Farel. 2. Bible gives needed answers not only as to […]

“Schaeffer Sundays” Francis Schaeffer’s “How should we then live?” Video and outline of episode 3 “The Renaissance”

Francis Schaeffer’s “How should we then live?” Video and outline of episode 3 “The Renaissance” Francis Schaeffer: “How Should We Then Live?” (Episode 3) THE RENAISSANCE I was impacted by this film series by Francis Schaeffer back in the 1970′s and I wanted to share it with you. Schaeffer really shows why we have so […]

Francis Schaeffer’s “How should we then live?” Video and outline of episode 2 “The Middle Ages” (Schaeffer Sundays)

  Francis Schaeffer: “How Should We Then Live?” (Episode 2) THE MIDDLE AGES I was impacted by this film series by Francis Schaeffer back in the 1970′s and I wanted to share it with you. Schaeffer points out that during this time period unfortunately we have the “Church’s deviation from early church’s teaching in regard […]

Francis Schaeffer’s “How should we then live?” Video and outline of episode 1 “The Roman Age” (Schaeffer Sundays)

Francis Schaeffer: “How Should We Then Live?” (Episode 1) THE ROMAN AGE   Today I am starting a series that really had a big impact on my life back in the 1970′s when I first saw it. There are ten parts and today is the first. Francis Schaeffer takes a look at Rome and why […]

Francis Schaeffer: “Whatever Happened to the Human Race” (Episode 5) TRUTH AND HISTORY

Francis Schaeffer: “Whatever Happened to the Human Race” (Episode 5) TRUTH AND HISTORY Published on Oct 7, 2012 by AdamMetropolis This crucial series is narrated by the late Dr. Francis Schaeffer and former Surgeon General Dr. C. Everett Koop. Today, choices are being made that undermine human rights at their most basic level. Practices once […]

Francis Schaeffer: “Whatever Happened to the Human Race” (Episode 4) THE BASIS FOR HUMAN DIGNITY

The opening song at the beginning of this episode is very insightful. Francis Schaeffer: “Whatever Happened to the Human Race” (Episode 4) THE BASIS FOR HUMAN DIGNITY Published on Oct 7, 2012 by AdamMetropolis This crucial series is narrated by the late Dr. Francis Schaeffer and former Surgeon General Dr. C. Everett Koop. Today, choices […]

Francis Schaeffer: “Whatever Happened to the Human Race” (Episode 3) DEATH BY SOMEONE’S CHOICE

Francis Schaeffer: “Whatever Happened to the Human Race” (Episode 3) DEATH BY SOMEONE’S CHOICE Published on Oct 6, 2012 by AdamMetropolis This crucial series is narrated by the late Dr. Francis Schaeffer and former Surgeon General Dr. C. Everett Koop. Today, choices are being made that undermine human rights at their most basic level. Practices […]

Francis Schaeffer: “Whatever Happened to the Human Race?” (Episode 2) SLAUGHTER OF THE INNOCENTS

Francis Schaeffer: “Whatever Happened to the Human Race?” (Episode 2) SLAUGHTER OF THE INNOCENTS Published on Oct 6, 2012 by AdamMetropolis This crucial series is narrated by the late Dr. Francis Schaeffer and former Surgeon General Dr. C. Everett Koop. Today, choices are being made that undermine human rights at their most basic level. Practices […]

Francis Schaeffer: “Whatever Happened to the Human Race” (Episode 1) ABORTION OF THE HUMAN RACE

It is not possible to know where the pro-life evangelicals are coming from unless you look at the work of the person who inspired them the most. That person was Francis Schaeffer.  I do care about economic issues but the pro-life issue is the most important to me. Several years ago Adrian Rogers (past president of […]

Ecclesiastes, Purpose, Meaning, and the Necessity of God by Suiwen Liang (Quotes Will Durant, Madalyn Murray O’Hair, Stephen Jay Gould,Richard Dawkins, Jean-Paul Sartre,Bertrand Russell, Leo Tolstoy, Loren Eiseley,Aldous Huxley, G.K. Chesterton, Ravi Zacharias, and C.S. Lewis.)

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THE ARTISTS, POETS and PROFESSORS of BLACK MOUNTAIN COLLEGE (the college featured in the film THE LONGEST RIDE) Part 16 Willem de Kooning (Part C)

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Black Mountain College: A Thumbnail Sketch

Published on Aug 14, 2014

A 13 minute documentary about the legendary arts school in the mountains of North Carolina

Legend of Black Mountain

Uploaded on Apr 20, 2008

Black Mountain College was a phenomenal circumstance. The fact that so many artists of that level in their respective fields could organize and develop such an institution is unparalleled. Who would’ve thought that a small mountain town of western North Carolina would be their home, albeit for a short while.

It has been my practice on this blog to cover some of the top artists of the past and today and that is why I am doing  this current series on Black Mountain College (1933-1955). Here are some links to some to some of the past posts I have done on other artists: Marina Abramovic, Ida Applebroog,  Matthew Barney, Aubrey Beardsley, Larry Bell, Wallace Berman, Peter Blake,  Allora & Calzadilla,   Christo and Jeanne-Claude, Heinz Edelmann,  Olafur Eliasson, Tracey Emin, Jan Fabre, Makoto Fujimura, Hamish Fulton, Ellen Gallaugher, Ryan Gander, John Giorno, Rodney Graham,  Cai Guo-Qiang, Jann Haworth, Arturo Herrera, Oliver Herring, David Hockney, David Hooker,  Nancy Holt, Roni Horn, Peter Howson, Robert Indiana, Jasper Johns, Martin Karplus, Margaret Keane, Mike Kelley, Jeff Koons, Richard Linder, Sally Mann, Kerry James Marshall, Trey McCarley,   Paul McCarthy, Josiah McElheny, Barry McGee, Richard Merkin, Yoko Ono, Tony Oursler, George Petty, William Pope L., Gerhard Richter, Anna Margaret Rose,  James Rosenquist, Susan Rothenberg, Georges Rouault, Richard Serra, Shahzia Sikander, Raqub Shaw, Thomas Shutte, Hiroshi Sugimoto, Mika Tajima,Richard Tuttle, Luc Tuymans, Alberto Vargas,  Banks Violett, H.C. Westermann,  Fred Wilson, Krzysztof Wodiczko, Andrea Zittel,

The amazing setting and backstory of The #LongestRide Movie

20th Century Fox invited our writer, Jennifer Donovan, on an expenses-paid set visit to North Carolina for Nicholas Sparks’ new movie, The Longest Ride, in theaters April 10.

Earlier this week, I wrote about my visit to the set of The Longest Ride movie, focusing on the casting and the characters. In this post, I’m going to look at some of the interesting elements of the plot, which made for a great book, but will also look great on screen.

TLR-bull riding

Nicholas Sparks on the Bull-riding Element

One of the great things about this film, but the partnership that Fox had with the PBR to develop this film was like nothing you’ve ever seen. And it was necessary because people who make movies are good at making movies. And every time you see an animal in a movie, that animal is tame or trained, so they go to their spot, and so you know where to put the camera.

You don’t know where that bull is going, so how do you get Scott on the bull? How do you get the angle right? Well, guess who knows How to do that? The PBR, among other things.  So, then Fox can do things that the PBR can’t with the level of quality of the camera. It’s the most realistic stuff. These are real cowboys. They’re from the PBR.

These are the real bulls from the PBR. I mean, you can look up the bull in the PBR. The thing is ranked number three in the world right now. It’s unbelievable.

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Art in post-war North Carolina

In my post at 5 Minutes for Books, On Reading Nicholas Sparks for the First Time, I wrote about talking with one of the other bloggers for whom this was her first experience with a Nicholas Sparks novel. One of the things she noted, and that I liked about this novel as well, was the rich backstory and characterization of Ira and Ruth Levinson. The backdrop of art was interesting to me, not only because my daughter is an artist, but because I always love learning about a different culture or hobby or occupation while I’m reading fiction. Between bull riding and art collecting in post-war North Carolina, I learned a lot while reading The Longest Ride.

So, I have this idea for this story, and Ira and Ruth, and I have in my mind that they’re going to collect art. And I’m sitting there thinking, “How am I going to pull this off? I live in North Carolina, right. There’s a nice Jewish couple in North Carolina. If they’re in New York, maybe you could see it happening, right.”
So, I said to myself, “How can I make this seem believable?” So, my first notion was that they were just going to meet an artist who happened to be vacationing in North Carolina, befriend this person, man or woman, go with him to wherever the art scene was, and that’s how they got started.
So, that was my plan. So, I said, “Okay. So, let’s find a North Carolina artist who might have been around in the ’40s, ’50s. So, I Google like literally “North Carolina artists in the 1940s,” or something.
And boom, up pops Black Mountain College. And it turns out that Black Mountain College was this experimental college, ran for about 24 years in the 1930s to, I think, 1956 or 1957.
And it was the center of the modern art movement for American painters. Everyone from Willem de Kooning was there, to Rauschenberg, to Franz Kline, to Pat Passlof.
I mean, De Kooning’s paintings, they go for $350 million. He’s over here teaching at Black Mountain College. Buckminster Fuller was there. Robert DeNiro’s father, who was a very famous artist, he was a graduate of Black Mountain College.
Came in, they did painting and sculpture, whatever they did. And it was there, and it was a couple of hours away.
So, there I’m writing, I’m looking for an artist, and I find out that this key element that I need to make the art collecting believable, that center was like two hours from where I placed them originally.
I was like, “Wow.” So, I called my agent and I said, “You are not going to believe this. You are not going to believe what I just found.” And so, of course, then I learned all I could about Black Mountain College.

The Longest Ride is in theaters April 10.

Based on the bestselling novel by master storyteller Nicholas Sparks, THE LONGEST RIDE centers on the star-crossed love affair between Luke, a former champion bull rider looking to make a comeback, and Sophia, a college student who is about to embark upon her dream job in New York City’s art world. As conflicting paths and ideals test their relationship, Sophia and Luke make an unexpected connection with Ira, whose memories of his own decades-long romance with his beloved wife deeply inspire the young couple. Spanning generations and two intertwining love stories, THE LONGEST RIDE explores the challenges and infinite rewards of enduring love.

Starring: Britt Robertson, Scott Eastwood, Jack Huston, Oona Chaplin, and Alan Alda

Directed by: George Tillman, Jr.

My first post in this series was on the composer John Cage and my second post was on Susan Weil and Robert Rauschenberg who were good friend of Cage. The third post in this series was on Jorge Fick. Earlier we noted that  Fick was a student at Black Mountain College and an artist that lived in New York and he lent a suit to the famous poet Dylan Thomas and Thomas died in that suit.

The fourth post in this series is on the artist  Xanti Schawinsky and he had a great influence on John Cage who  later taught at Black Mountain College. Schawinsky taught at Black Mountain College from 1936-1938 and Cage right after World War II. In the fifth post I discuss David Weinrib and his wife Karen Karnes who were good friends with John Cage and they all lived in the same community. In the 6th post I focus on Vera B. William and she attended Black Mountain College where she met her first husband Paul and they later  co-founded the Gate Hill Cooperative Community and Vera served as a teacher for the community from 1953-70. John Cage and several others from Black Mountain College also lived in the Community with them during the 1950’s. In the 7th post I look at the life and work of M.C.Richards who also was part of the Gate Hill Cooperative Community and Black Mountain College.

In the 8th post I look at book the life of   Anni Albers who is  perhaps the best known textile artist of the 20th century and at Paul Klee who was one  of her teachers at Bauhaus. In the 9th post the experience of Bill Treichler in the years of 1947-1949  is examined at Black Mountain College. In 1988, Martha and Bill started The Crooked Lake Review, a local history journal and Bill passed away in 2008 at age 84.

In the 10th post I look at the art of Irwin Kremen who studied at Black Mountain College in 1946-47 and there Kremen spent his time focused on writing and the literature classes given by the poet M. C. Richards. In the 11th post I discuss the fact that Josef Albers led the procession of dozens of Bauhaus faculty and students to Black Mountain.

In the 12th post I feature Wassily Kandinsky (1866-1944) who was featured in the film THE LONGEST RIDE and the film showed Kandinsky teaching at BLACK MOUNTAIN COLLEGE which was not true according to my research. Evidently he was invited but he had to decline because of his busy schedule but many of his associates at BRAUHAUS did teach there. In the 13th post I look at the writings of the communist Charles Perrow. 

Willem de Kooning was such a major figure in the art world and because of that I have dedicated the 14th, 15th and 16th posts in this series on him. Paul McCartney got interested in art through his friendship with Willem because Linda’s father had him as a client. Willem was a  part of New York School of Abstract expressionism or Action painting, others included Jackson Pollock, Elaine de Kooning, Lee Krasner, Franz Kline, Arshile Gorky, Mark Rothko, Hans Hofmann, Adolph Gottlieb, Anne Ryan, Robert Motherwell, Philip Guston, Clyfford Still, and Richard Pousette-Dart.

Black Mountain College: An Introduction

bmc logo by j.albersThe story of Black Mountain College begins in 1933 and comprises a fascinating chapter in the history of education and the arts. Conceived by John A. Rice, a brilliant and mercurial scholar who left Rollins College in a storm of controversy, Black Mountain College was born out of a desire to create a new type of college based on John Dewey’s principles of progressive education. The events that precipitated the College’s founding occurred simultaneously with the rise of Adolf Hitler, the closing of the Bauhaus by the Nazis, and the beginning of the persecution of artists and intellectuals on the European continent. Some of these people found their way to Black Mountain, either as students or faculty. Meanwhile, the United States was mired in the Great Depression, and Franklin Roosevelt, committed to putting people back to work, established the Public Works Arts Project (a precursor of the WPA).

The founders of the College believed that the study and practice of art were indispensable aspects of a student’s general liberal arts education, and they hired Josef Albers to be the first art teacher. Speaking not a word of English, he and his wife Anni left the turmoil in Hitler’s Germany and crossed the Atlantic Ocean by boat to teach art at this small, rebellious college in the mountains of North Carolina.

Black Mountain College was fundamentally different from other colleges and universities of the time. It was owned and operated by the faculty and was committed to democratic governance and to the idea that the arts are central to the experience of learning. All members of the College community participated in its operation, including farm work, construction projects and kitchen duty. Located in the midst of the beautiful North Carolina mountains near Asheville, the secluded environment fostered a strong sense of individuality and creative intensity within the small College community.

Legendary even in its own time, Black Mountain College attracted and created maverick spirits, some of whom went on to become well-known and extremely influential individuals in the latter half of the 20th century. A partial list includes people such as Willem and Elaine de Kooning, Robert Rauschenberg, Josef and Anni Albers, Jacob Lawrence, Merce Cunningham, John Cage, Cy Twombly, Kenneth Noland, Ben Shahn, Franz Kline, Arthur Penn, Buckminster Fuller, M.C. Richards, Francine du Plessix Gray, Charles Olson, Robert Creeley, Dorothea Rockburne and many others, famous and not-so-famous, who have impacted the world in a significant way. Even now, decades after its closing in 1957, the powerful influence of Black Mountain College continues to reverberate.

For more information:

Willem de Kooning

From Wikipedia, the free encyclopedia
Willem de Kooning
Willem de Kooning in his studio.jpg

De Kooning in his studio in 1961
Born April 24, 1904
Rotterdam, Netherlands
Died March 19, 1997 (aged 92)
East Hampton, New York, United States[1]
Nationality Dutch, American
Known for Abstract expressionism
Notable work Woman I, Easter Monday,Attic, Excavation
Awards Praemium Imperiale
National Medal of Arts (1986)

Willem de Kooning (/ˈwɪləm də ˈkuːnɪŋ/;[2] Dutch: [ˈʋɪləm də ˈkoːnɪŋ]; April 24, 1904 – March 19, 1997) was a Dutch American abstract expressionist artist who was born in Rotterdam, the Netherlands.[3]

In the post-World War II era, de Kooning painted in a style that came to be referred to as Abstract expressionism or Action painting, and was part of a group of artists that came to be known as the New York School. Other painters in this group included Jackson Pollock, Elaine de Kooning, Lee Krasner, Franz Kline, Arshile Gorky, Mark Rothko, Hans Hofmann, Adolph Gottlieb, Anne Ryan, Robert Motherwell, Philip Guston, Clyfford Still, and Richard Pousette-Dart.

Early life[edit]

Willem de Kooning, Woman V(1952–53), National Gallery of Australia

Woman III, (1953), private collection

Willem de Kooning (1968)

De Kooning as sculptor: Seated Woman on a Bench, bronze of 1972 (cast 1976), in the Hirshhorn Museum and Sculpture Garden

Willem de Kooning was born in Rotterdam, in South Holland in the Netherlands, on April 24, 1904. His parents, Leendert de Kooning and Cornelia Nobel, were divorced in 1907, and de Kooning lived first with his father and then with his mother. He left school in 1916 and became an apprentice in a firm of commercial artists. Until 1924 he attended evening classes at the Academie van Beeldende Kunsten en Technische Wetenschappen, the academy of fine arts and applied sciences of Rotterdam, now the Willem de Kooning Academie.[3]

In 1926 de Kooning travelled to the United States as a stowaway on the Shelley, a British freighter bound for Argentina, and on August 15 landed at Newport News, Virginia. He stayed at the Dutch Seamen’s Home inHoboken and found work as a house-painter. In 1927 he moved to Manhattan, where he had a studio on West Forty-fourth Street. He supported himself with jobs in carpentry, house-painting and commercial art.[3]

De Kooning began painting in his free time; in 1928 he joined the art colony at Woodstock, New York. He also began to meet some of the Modernist artists active in Manhattan. Among them were Stuart Davis, the Armenian Arshile Gorky and the Russian John Graham, who together de Kooning called the “Three Musketeers”.[4]:98 Gorky, who de Kooning first met at the home of Misha Reznikoff, became a close friend and, for at least ten years, an important influence.[4]:100 Balcomb Greene said that “de Kooning virtually worshipped Gorky”; according to Aristodimos Kaldis, “Gorky was de Kooning’s master”.[4]:184 De Kooning’s drawing Self-portrait with Imaginary Brother, from about 1938, may show him with Gorky; the pose of the figures is that of a photograph of Gorky with Peter Busa in about 1936.[4]:184

De Kooning joined the Artists Union in 1934, and in 1935 was employed in the Federal Art Project of the Works Progress Administration, for which he designed a number of murals including some for the Williamsburg Federal Housing Project in Brooklyn. None of them were executed,[1] but a sketch for one was included in New Horizons in American Art at the Museum of Modern Art, his first group show. From 1936, when De Kooning had to leave the Federal Art Project because he did not have American citizenship, he began to work full-time as an artist, earning income from commissions and by giving lessons.[3]

Work[edit]

Early work[edit]

De Kooning’s paintings of the 1930s and early 1940s are abstract still-lifes characterised by geometric or biomorphic shapes and strong colours. They show the influence of his friends Davis, Gorky and Graham, but also of Arp, Joan Miró, Mondrian and Picasso.[1] In the same years de Kooning also painted a series of solitary male figures, either standing or seated, against undefined backgrounds; many of these are unfinished.[1][3]

Black and white abstractions[edit]

By 1946 de Kooning had begun a series of black and white paintings, which he would continue into 1949. During this period he had his first one-man show at the Charles Egan Gallery; it consisted largely of black and white works, although a few has passages of bright color. De Kooning’s black paintings are important to the history of Abstract Expressionism of their densely impacted forms, their mixed media, and their technique.[5]:25

The women[edit]

De Kooning’s well-known Woman series, begun in 1950 the time after meeting his future wife and culminating in Woman VI, owes much to Picasso, not least in the aggressive, penetrative breaking apart of the figure, and the spaces around it. Picasso’s late works show signs that he, in turn, saw images of works by Pollock and de Kooning.[6]:17 De Kooning led the 1950s’ art world to a new level known as the American Abstract Expressionism. “From 1940 to the present, Woman has manifested herself in de Kooning’s paintings and drawings as at once the focus of desire, frustration, inner conflict, pleasure, … and as posing problems of conception and handling as demanding as those of an engineer.”[7] The female figure is an important symbol for de Kooning’s art career and his own life. This painting is considered as a significant work of art for the museum through its historical context about the post World War II history and American feminist movement. Additionally, the medium of this painting makes it different form others of de Kooning’s time.

Individual works[edit]

Solo exhibitions[edit]

1948

Willem de Kooning, Egan Gallery, New York, April 12-May 12.[5]:126

1951

Willem de Kooning, Egan Gallery, New York, April 1-30, and tour to Arts Club of Chicago[5]:126

1953

Willem de Kooning: Painting on the theme of the Women, Sidney Janis Gallery, New York, March 16- April 11.

De Kooning 1953-1953, Museum School, Museum of Fine Arts, Boston, April 21-May 8, and tour to Workshop Center, Washington, D.C [5]:126

1955

Recent Oils by Willem de Kooning, Martha Jackson Gallery, New York, November 9- December 3.[5]:126

1956

De Kooning, Sidney Janis Gallery, April 2-28[5]:126

1959

de Kooning, Sidney Janis Gallery, May 5-30[5]:126

1961

Willem de Kooning, Paul Kantor Gallery, Beverly Hills, California, April 3-29[5]:126

1962

Recent painting by Willem de Kooning, Sidney Janis Gallery, May 5-31 [5]:126

1964

“Women” Drawing by Willem de Kooning, Hames Goodman Gallery, Buffalo, January 10-25.

Willem de Kooning: Retrospective Drawings 1936-1963, Allan Stone Gallery, New York, February[5]:126

1956

Willem de Kooning, Paul Kantor Gallery, March 22- April 30, and tour to Aspen Institute, Colorado

Willem de Kooning: A retrospective Exhibition from public and private collections, Smith College Museum of Art, Northampton, Massachusetts, April 8- May 2, and tour to Hayden Gallery, Massachusetts Institute of technology Cambridge.[5]:126

1966

De Kooning’s Women, Allan Stone Gallery, March 14- April 2.[5]:126

See also[edit]

Further reading[edit]

External links[edit]

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Paul and de Kooning

Small details from three paintings

From left to right: Robot and star, 1995, Brains on fire, 1994, Black scratch I, 1994

“You have to paint abstract after you’ve been seeing Bill de Kooning” – Sir Paul McCartney

Paul credits the artist Willem de Kooning with being one of his greatest influences, as well as being a family friend. They met at the end of the seventies when de Kooning was a client of Linda’s father’s law firm.

Linda and Paul frequently visited the artist in his studio and Paul often became so fired up by the visits that he would go to the paint shop on the way home and buy all the same paints and canvases as de Kooning, or ‘Bill’ as he affectionately refers to him.

Abstract painting

Paul remembers De Kooning’s attitude to his painting as a particular source of inspiration. One day he asked the artist what his painting was meant to be, to which de Kooning replied, “I don’t know, it looks like a couch, huh?” Paul found the remark profoundly liberating. In his own words, ‘he never looked back’.

Art Criticism journal, volume 20, number 1.
[Images, not originally in Art Criticism, have been added here]Martin Ries                        DE KOONING’S ASHEVILLE  
AND ZELDA’S IMMOLATION
“Perhaps I am more of a novelist than a poet.”
-Willem de Kooning
“What was to go on the canvas was not a picture but an event.”
-Harold Rosenberg

One of the important experiments in American art education began in Asheville , North Carolina , in 1933. Black Mountain College was conceived at a critical moment in history; its founding occurred concurrent with ominous events abroad: Hitler became Chancellor of Germany, and the Nazi terror of book-burnings, street beatings, political arrests of Jews, communists, homosexuals and others, and incinerations in concentration camps. The Nazis closed the famous Bauhaus, the innovative school of art, architecture, and design. Josef Albers came to Black MountainCollege as director, bringing his Bauhaus experience to encourage artistic cross-fertilization. By the time the College closed in 1957 it had attracted a venerable Who’s Who of the avant-garde, including Robert Rauschenberg, John Cage, Merce Cunningham, Buckminster Fuller, Eric Bentley, Robert Motherwell, Paul Taylor, Alfred Kazin, and many others. Willem de Kooning taught there in 1948.[1]

In the late 1930s and early 1940s Abstract and Cubist art were formalist structures that did not necessarily embody transcendent, universal themes. Inspired by the Freudian method of free association, the Surrealists put great emphasis on the instinctual and invented “psychic automatism” to breed buried images unavailable to the conscious mind. The goal of forward-looking American artists (fellow artist Jacob Kainen called them “the alert artists”) was to synthesize the modern movements into an entirely new pictorial style; what interested them about Surrealism was its processes, its attitudes toward creativity and the unconscious, and its emphasis on content as opposed to form. A few of the Surrealist artists “painted responses to the political and historical events of the period … Picasso’s Guernica more successfully captured the Americans’ imagination as a direct response to disaster…” [2]

The Europeans had shown the way; yet the avant-garde American artists had to work desperately to break away from the influence of the School of Paris and especially from that Olympian, Pablo Picasso. Like the Collective Unconscious or the dreams of childhood, Picasso’s images and icons kept creeping in while the Abstract Expressionists used both Surrealism and Abstraction to break the Spaniard’s stranglehold. Discussing art in the 1930s and 1940s, Jackson Pollock complained, “Damn that Picasso, just when I think I’ve gotten somewhere I discover that bastard got there first;” Arshile Gorky mourned that they were “defeated” by Picasso; while de Kooning said, “Picasso is the man to beat.”

De Kooning drew on the School of Paris (Pollock called him a “French” painter); his “apparent aim is a synthesis of tradition and modernism that would grant him more flexibility within the confines of the Late Cubist canon of design,” stated Clement Greenberg; “… there is perhaps even more Luciferian pride behind de Kooning’s ambition than there is behind Picasso’s.” [3]Thomas B. Hess wrote, “He will do drawings on transparent paper, scatter them one on top of the other, study the composition drawing that appears on top, make a drawing from this, reverse it, tear it in half, and put it on top of still another drawing. Often the search is for a shape to start off a painting…” [4]Harold Rosenberg, who upheld the idea of “high art” in defiance of mass culture, applied existential relationships between artists and the world: “The vision of transcending the arts … rests upon one crucial question: What makes one an artist?” [5]He did not see abstraction as a projection of individual emotions so much as a reflection of overall psychic need. Abstract art in its final analysis, he asserted, was transcendental.

            De Kooning admired Cubism for its emphasis on structure; [6]  yet Asheville, (1948, Phillips Collection, Washington, D.C.) its surface sensuality dominating compositional logic, is both linear and
Willem de Kooning, Asheville, 1948, oil and enamel / cardboard,
64.9×81 cm (25½x31-7/8), The Phillips Collection, Washington, D.C.
painterly as well as structural. The need for the ordered geometric background structure of Cubism did not begin to disappear from de Kooning’s work until he increased his gestural activity, probably under Jackson Pollock’s influence, by loosening shapes and allowing the paint to run in such paintings as Light in August.
Willem de Kooning, Light in August, 1947,
55×41½, Museum of Contemporary Art, Teheran
               The use of the sign painter’s liner brush [7] allowed him to get the precipitate look of a quick expressionist sketch; each stroke is integrated with every other stroke that shift ceaselessly as forms merge with background as well as with other forms to mold a single consolidated surface. Art dealer and friend of the artist, Allan Stone, described the forms as opening up and flowing into the background, “creating fluidity and movement which can be termed ‘liquification of cubism.'”  [8]

The push toward a new expression in Asheville is beyond literal legibility. [9] Nevertheless Charles F. Stuckey says the sulfuric color scheme of ocher, red, black and white “evoke flames, smoke and ashes”; [10] he reads a large dark “eye” to the right as looking like a “cigarette burn in cloth;” he also sees “torn and displaced legs, elbows, and torso”, body parts [11] scattered like martyr’s attributes, as well as “lips cracked to expose teeth”, and finds a “darkened left side of a mouth that

Diagram of Ashville

seems to curl forward to suggest the way paper curls when it burns” (there is a plethora of gnashing teeth in Picasso’s Weeping Women [“postscripts” to Guernica, summer,1937]).

Pablo Picasso, Weeping Women 1937

However, Stuckey also finds these conflagration similes in the frantic brushstroke of de Kooning’sLight in August as they refer to the fire episode in William Faulkner’s Light in August, a novel the painter especially liked. The titles of several of de Kooning’s black and white paintings at this time:Dark Pond, Night Square, together with Black Friday (the darker name for “Good Friday,” the day of the Crucifixion) and Light in August, are “drawn from the Bible, Aeschylus, and William Faulkner.” [12]

The title of Light in August is derived from the novel of the same name by Faulkner. Heir of the Symbolists, he was little appreciated until Malcolm Cowley’s Portable Faulkner was published in 1946. F. Scott Fitzgerald suffered a similar fate: when he died in 1940 none of his books was in print, “The revival – or, better, the apotheosis – of [The Great] Gatsby began after the author’s death ….  That was in 1941. It took another five years for a new generation to rediscover it.”[13] De Kooning, a “fervent reader,” [14] may have been part of that generation and read about “the macabre valley of ashes presided over by the eyes on a billboard” in Gatsby.

  1. Scott Fitzgerald and Zelda embodied the “flaming youth” [15] in the 1920s before she suffered a mental breakdown. Zelda was confined to mental institutions throughout the 1930s and 1940s until her tragic death in March of 1948 when fire destroyed the Highland Hospital inAsheville, North Carolina, where she was a patient. De Kooning may have read about Zelda’s death in the New York Times of March 12, 1948 : “Flames quickly engulfed the four-story central building of the Highland Hospital for Nervous Diseases. … Mrs. F. Scott Fitzgerald, widow of the author and a victim of the hospital fire, had been ill for some years and went to the Highland Hospital three months ago…”

Assuming de Kooning read of the tragic fire at Highland Hospital, he probably would have recalled the devastating fire in Gorky’s studio, Gorky’s Charred Beloved of 1946 and Agony of 1947 (Gorky committed suicide while de Kooning was working on Asheville), as well as the flames in Picasso’s Guernica (fig. 2) and related studies. Stalin’s scorched earth policy, the fire-storms ofEngland, Germany, and Japan during the war, as well as the frequent blazes in New York City , may have also occurred to him.

De Kooning’s penchant for the soot and detritus of the city is the reverse of Marcel Proust’s “golden morning brightness of a Parisian sidewalk” and more like Baudelaire’s “botanist of the sidewalk.” Edwin Denby, poet and friend in the 1930s and 1940s, recalled the artist’s attraction to minute details encountered in his environment:  “I remember walking at night in Chelsea with Bill … and his pointing out to me on the pavement the dispersed compositions – spots and cracks and bits of wrappers and reflection of neon-light…” [16] Indeed, Rosalind Krauss similarly has commented on Picasso’s turning the dross of collage into art [17] as he shaped “these bits and pieces into an organized montage.” [18] In Apollinaire’s Zone, written just as Picasso was embarking on collage, the poet praised what the artist saw in the streets: “The inscription on the sign boards and the walls … You read the handbills, catalogs, posters that sing out loud and clear  …” [19]

Willem de Kooning, Abstraction, 1949/50,
Thyssen-Bornamisza collection, Madrid.

De Kooning often began several pictures with related images; Asheville [20] andAbstraction (1949/50, Thyssen-Bornemisza collection, Madrid) have much in common. The floor line in the ashen-hued Abstraction, leading in from the bottom right corner, creates a “nook” on the right side (and a resting place for a dark skull – an unusually non-abstract and specific image for the artist at that time) which “houses” a ladder, window, and door, as well as the torso, leg, and rectangular structure at bottom left. The vibrant yellows, blues, and fuchsias are dispersed by black strokes within modified white areas. There is a Picassoid hoof-form in the upper left corner, a house structure in the upper right (the same double-bar as in Asheville, a visual abutment which undoubtedly corresponds to the window edge in Guernica and related sketches), as well as several rectangular window and door shapes and a ladder from Minotauromachia.

Pablo Picasso, Guernica , 1937,
oil / canvas, 349x777cm (137-3/8×305-7/8),
Museo Nacional de Arte Reina Sofia, Madrid.
Pablo Picasso, Minotauramachia, 1935,
etching, 49.5×69.2 cm (19½x27¼).

Is the ladder a metaphor for escape? A fireman’s attempt at rescue? A passage from one plane to another? The ladder of life and the time-honored symbol of ascension, the primal idea that one climbs the ladder of one’s forebears (however Olympian) as with Jacob’s Ladder?

In Asheville de Kooning depicts a book of charred matches (left) which he seems to have used from his earlier Still Life with Matches (c.1942, collection Mr. & Mrs. Stephen D. Paine),

Willem de Kooning, Still Life with Matches, c.1942,
13.9×19 cm (5½x7½), Mr & Mrs Stephen D. Paine collection.

very much as Thomas Hess described his working methods. This detail is topped by a blackened circle that probably was originally a thumbtack (top left) to keep fragments of drawings in position as the artist worked. A second folded matchbook is at the top just below the “thumbtack.” Are the shapes references to squares, rectangles, openings, windows, doors, and other apertures? Are they meant to appear burnt and damaged? Geometric shapes, imbued with implied order, are usually inserted in an effort to stabilize the picture, but they keep getting lost in de Kooning’s shuffle of shapes. Certainly the series of rectangles on the left of Asheville includes a “spent book of matches” (Stuckey); they are also similar to the ladder in the Thyssen-Bornemisza Abstraction, both of which may have been prompted by the ladder in Picasso’s Minotauromachia, and/or the many ladders in Joan Miró’s and Paul Klee’s and other Surrealists’ works where the Jacob-like ladder leads upwards to a fusion of tangible and intangible, a transcending union of heaven and earth, to “higher realities.”

            Indeed, below the spent safety matches is a form very much like the leg of the dying horse inComposition Study for Guernica comparable to the form in the lower left of Asheville, both in similar
Pablo Picasso, Detail, Composition Study for Guernica, (II), 1 May 1937,
pencil on blue paper, 21x27cm (8-1/4×10-5/8), Museo Nacional de Arte Reina Sofia, Madrid.
areas of both paintings, not to mention two very Picassoid horse’s hoofs, bottom center (also bottom center in Guernica). The foot of the Rushing Woman in Guernica is comparable to the shape in the lower right corner of Asheville (similar areas of both paintings); the rectangles in the upper right corner of Asheville are like the right-angled edges of the window of the burning house in Guernica(similar areas of both paintings).

Picasso’s Guernica and Minotaur images, often reproduced in Cahiers d’Art and Minotauremagazines, could have been seen in the late ’30s and early ’40s by American artists. The mural itself was exhibited in New York at the Valentin Gallery in 1939, and an extensive Picasso exhibition was held at the Museum of Modern Art in the same year. De Kooning was undoubtedly familiar with the first important book on Guernica [21] with its related studies and photographs of the mural in progress.

If Asheville is turned upside-down, the matchbooks relate to the more recognizable rectangles, apertures, and ladder in the Thyssen-Bornemisza Abstraction, as well as to Picasso’s many ladders.
Other paintings at that time indicate fragments of drawings are shuffled and scattered in the search for new paintings. Specific forms in such as those in the upper right are identical to the forms in.

Willem de Kooning, Painting, c.1950,
76.5×101.6 cm (30-1/8×40), David Geffen collection, Los Angeles

Willem de Kooning, Little Attic, c.1949, oil / paper / press board,
77.4×10.1 cm (30½x40), Dr. Israel Rosen collection.

The imagery in these two works, both the same size, presumably derived from a single drawing and then migrated from one painting to another. [22] These “specific forms” are similar to the progression of rectangular forms on the left side of Asheville. Other forms in Geffen’s Painting, such as ladders and gaping mouths, are repeated throughout the compositions of this period (the heart shape on the right in Little Attic is reminiscent of the shape of testicles in much of Picasso’s depictions of bulls. Both organs relate to man’s emotional life, they bind male psyche and male soma).

The Olympian Picasso continued to possess his progeny.

De Kooning often used window-like rectangles (usually delineated with black paint) in his early work to organize the background and relate the composition to the edges of his canvas. With no directional trajectories, the tension of the window shapes make enclosure dynamic rather than ambiguous. An aperture for penetration into space, a window often symbolizes the eye* of the artist opened for revelation; one can look in as well as out [23] into larger vistas, or greater consciousness.

————————–

*  
After death, the eyes of the deceased are closed; this gesture symbolically shuts the “window of the soul.”

————————–

De Kooning was probably familiar with Wassily Kandinsky’s Concerning the Spiritual in Art, (N.Y., 1947) where he attributes to colors certain universal meanings: “Black is something burnt out, the ashes of a funeral pyre … The silence of black is the silence of death …” Completed shortly after the artist’s black and white period, Asheville combines color as well as black and white, but none dominates. Generally, color isn’t abstract in the sense that it involves nuances of mood, while black and white is more abstract because it relates less to nature.  However, we’re often disconcerted by color schemes with values of equal importance when there is no dominant hue.

Space is a pre-condition of all that exists, its appearance is emptiness, and therefore can contain everything; or as de Kooning explained, space contains “billions and billions of hunks of matter … floating around in darkness according to a great design of nothingness.” [24] De Kooning’s picture plane, to which any shape or image could be attached, is not dissimilar to the relativistic unified field theory that tries to integrate into one comprehensive idea the many clashing bits of data and complex uncertainty of randomness that is modern physics.

In the manner of Levi-Strauss’s bricoleur, the handyman, tinkerer, or inventor of myths, memory accumulates appealing images and materials that can then be reshaped and used over and over again. Many of the abstract shapes in Asheville look like fragments from previous works, a kind of visual promiscuity, or what another critic called “willful pentimenti.” [25] Although there are many unrecognized and suggestive abstract forms in the painting, they pass before us almost without our recognizing them, like fleeting images in a dream. Yet Asheville , with its loopy liner brush lines and sooty colors, is certainly one of de Kooning’s most regal works.  As Rudolf Arnheim explained, in reference to Picasso: “The creative process has systolic and diastolic stages. The artist condenses his material, eliminating unessentials, or paints an abundance of shapes and ideas, recklessly crowding the concept. Rather than grow consistently like a plant, the work often fluctuates between antagonistic operations.” [26]

Or, as Harold Rosenberg said, abstract art in its final analysis is transcendental.

– E N D –

NOTES:

[ 1 ] Martin B Duberman, Black Mountain : An Exploration in Community, Peter Smith, Gloucester ,Massachusetts , 1988. p.283: The artist and Buckminster Fuller became “great friends, really extraordinary friends,” said Fuller. “I used to have to go to Asheville to get things for my structures, for my classes…and Bill de Kooning used to like to ride along with me and talk philosophy. Bill is a very, very wonderful thinker.”
S. Naifeh and G.W. Smith, Jackson Pollock: American Saga, Clarkson Potter, N.Y., 1989, p.710: de Kooning and Rosenberg shared a thoughtful if not deep philosophical streak; when asked if he would rather be a “half-assed philosopher or a great painter, de Kooning replied, “Let me think about that.”

[2] Stephen Polcari, Abstract Expressionism and the Modern Experience, Cambridge University Press, New York, Port Chester, Melbourne, Sydney, 1991, p.28.

[3] Clement Greenberg, Art and Culture: Critical Essays, Beacon Press, Boston, 1961, p.213.

[4] Thomas B. Hess, Willem de Kooning, Museum of Modern Art , N.Y., 1968, p.47.

[5] Harold Rosenberg, The De-definition of Art, Horizon Press, N.Y., 1972, p.13.

[6] Willem de Kooning, “What Abstract Art Means to Me,” Museum of Modern Art Bulletin 18,Spring 1951, p.7; reprinted in Hess, p. 146. De Kooning also described Cubism as “a poetic frame … where an artist could practise  his intuition;” in Hess, p. 146.

[7] Willem de Kooning: Tracing the Figure, essays by Cornelia H. Butler, Paul Schimmel, RichardShiff and Anne M. Wagner, The Museum of Contemporary Art, Los Angeles , Princeton UniversityPress, Princeton and Oxford , 2002. Elaine de Kooning’s brother, Conrad Fried, remembered that deKooning made his own brushes with extra-long floppy hairs designed to make “fast,” whiplash lines.Shiff, p.158.

[8] Allan Stone, Willem de Kooning: Liquefying Cubism, Allan Stone Gallery catalog, New York, 1994, p. iii.

[9] Willem de Kooning: “I feel certain parts you ought to leave up to the world” in “The Renaissance and Order”, trans/formation 1, 1951; quoted in Thomas B. Hess, Willem de Kooning, Museum of Modern Art , N.Y., 1968, p.141; and in Robert Goodnough, ed., Artists’ Sessions at Studio 35, N.Y.,1950, p.16.

[10] Charles F. Stuckey, “Bill de Kooning and Joe Christmas,” Art in America, vol.68, no.3, March1980, p.78.

[11] Willem de Kooning: Tracing the Figure, essays by Cornelia H. Butler, Paul Schimmel, RichardShiff and Anne M. Wagner, The Museum of Contemporary Art, Los Angeles, Princeton UniversityPress, Princeton and Oxford , 2002. Shiff, p. 164, n. 1: “I nevertheless believe that nearly all of deKooning’s “abstractions” either began with a reference to the human figure or incorporated figuralelements along the way.”

[12] Sally Yard, “The Angel and the demoiselle – Willem de Kooning’s Black Friday,” Record of the Art Museum, Princeton University, vol. 50, no. 2, 1991, p.15.

[13] The Great Gatsby, by F. Scott Fitzgerald, introduction by Charles Scribner III , N.Y. , 1992, p.xviii]: The Great Gatsby “led the Fitzgerald rediscovery and restoration of 1945-50…” Fitzgerald wrote of “…the old island here that flowered once for Dutch sailors’ eyes … commensurate with their capacity to wonder.” as well as the “…sporting life at Asheville …” [The Great Gatsby, preface and notes by Matthew J. Bruccoli, N.Y., 1992, p.23].

[14] Numerous friends, associates and critics have cited de Kooning’s wide reading, from Kierkegaard, Melville and Proust to Dostoevsky, Joyce and Whitman.

[15] John Tytell, Passionate Lives, Birch Lane Press , New York , 1991, .p.77. Fitzgerald said Zelda had “a more intense flame at its highest than ever I had.”

[16] Elaine de Kooning, “Edwin Denby Remembered – Part 1,” Ballet Review 12, spring 1984, p. 30; also, Edwin Denby, Willem de Kooning, N.Y., Hanuman Books, 1988, p.46.

[17] Rosalind E. Krauss, The Picasso Papers, N.Y., Farrar, Straus and Giroux, 1998, p. 72, quoting David Cottongton’s “turning the dross of the vernacular into the gold of art” in Picasso & Braque: A Symposium,  (ed., Lynn Zelevansky) N.Y. Museum of Modern Art, 1992, p. 69.

[18] Krauss, p. 42.

[19] Krauss, p. 72-73.

[20] The painting is inscribed as Ashville [sic] on the back of the panel, with the emphasis on “Ash.” Charles Moore Brock, unpublished Master’s Thesis, “Describing Chaos: Willem de Kooning’s Collage Painting Asheville and its Relationship to Traditions of Description and Illusionism in Western Art,” 1993, University of Maryland , p.8.

[21] Juan Larrea, Guernica: Pablo Picasso, introduction by Alfred H Barr, published by the art dealer, Curt Valentin, N.Y., 1947.

[22] Hess, p. 47-51.

[23] Carla Gottlieb, The Window in Art: a Study of Window Symbolism in Western Painting, Abaris Books, Pleasantville , N.Y. , 1981.

[24] De Kooning, p. 7; reprinted in Hess, p. 146.

[25] Sally Yard, Willem de Kooning: The First Twenty-Six Years in New York – 1927-1952 ( New York : Garland , 1986, p. 57.

[26] Rudolf Arnheim, Picasso’s Guernica: The Genesis of a Painting, University of California Press,Berkeley & Los Angeles , 1962, p.56.

This paper was written with the help of a Release-Time Research Grant from Long Island Universityat Brooklyn . I wish to thank John Ott, educator, computer scientist, and mathematician, for his suggestions in preparing this study.

Copyright  © 2005  Martin Ries

______

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________________

MUSIC MONDAY Best song on the album PIPES OF PEACE by Paul McCartney is SO BAD!!!!

_____

 

Paul McCartney – So Bad [High Quality]

Paul McCartney – So Bad (Live – 1984)

Pipes of Peace

From Wikipedia, the free encyclopedia
This article is about the album. For the song, see Pipes of Peace (song).
“The Man (song)” redirects here. For the song by Aloe Blacc, see The Man (Aloe Blacc song). For the song by Ed Sheeran, see The Man (Ed Sheeran song).
Pipes of Peace
PaulMcCartneyalbum - Pipesofpeace.jpg
Studio album by Paul McCartney
Released 31 October 1983
Recorded October/December 1980, February–March 1981, summer 1981, September–October 1982, February/July 1983
Genre Rock, pop rock
Length 38:58
Label Parlophone (UK)
Columbia (US)
Producer George Martin
Paul McCartney chronology
Tug of War
(1982)
Pipes of Peace
(1983)
Give My Regards to Broad Street
(1984)
Singles from Pipes of Peace
  1. “Say Say Say“
    Released: 3 October 1983
  2. “Pipes of Peace“
    Released: 5 December 1983

Pipes of Peace is the fourth studio album by English singer-songwriter Paul McCartney, released in 1983. As the follow-up to the popular Tug of War, the album came close to matching the commercial success of its predecessor in Britain but peaked only at number 15 on America’s Billboard 200 albums chart. While Pipes of Peace was the source of international hit singles such as “Say Say Say” (recorded with Michael Jackson) and the title track, the critical response to the album was less favourable than that afforded to Tug of War.

Background and structure[edit]

Upon its release, many were quick to notice that Pipes of Peace mirrored its predecessor in many ways. It was produced by George Martin, it featured two collaborations with the same artist (this time with Michael Jackson; the Tug of War collaborations being with Stevie Wonder), and continued McCartney’s alliance in the studio with Ringo Starr, former 10cc guitarist Eric Stewart and his last session work with Wings guitarist Denny Laine. The reason for all of this is that many of the songs released on Pipes of Peace were recorded during the 1981 sessions for Tug of War, with “Pipes of Peace“, “The Other Me”, “So Bad”, “Tug of Peace” and “Through Our Love” being recorded afterwards, in September–October 1982. By November, McCartney would start shooting his self-written motion picture Give My Regards to Broad Street, co-starring wife Linda, Ringo Starr and Tracey Ullman, which would take up most of his time throughout 1983. Due to the filming commitments (and to allow a reasonable lapse of time between his new album and Tug of War), Pipes of Peace was delayed until October for release.

With momentum building for his film project – and the accompanying soundtrack album – McCartney would spend much of his energies finishing and preparing Give My Regards to Broad Street for its release in the autumn of 1984.

In 1983 Pipes of Peace made its debut on CD on Columbia Records. In 1993, the album was remastered and reissued on CD as part of “The Paul McCartney Collection” series, with the previously unreleased “Twice in a Lifetime” (the title song for a 1985 film); his 1984 hit from the Rupert Bear project, “We All Stand Together”; and “Simple as That”, released in 1986 on the charity album The Anti-Heroin Project – It’s A Live-In World – all as bonus tracks. “Ode to a Koala Bear” (the B-side to “Say Say Say”) was overlooked for inclusion. The album is due to be reissued in remastered form during 2015, as part of the on-going ‘Paul McCartney Archive Collection’ series of releases.

Critical reception[edit]

Professional ratings
Review scores
Source Rating
AllMusic 2.5/5 stars[1]
Robert Christgau B–[2]
Encyclopedia of Popular Music 2/5 stars[3]
The Essential Rock Discography 4/10[4]
MusicHound 2/5 stars[5]
NME (unfavourable)[6]
Q 3/5 stars[7]
Rolling Stone 2/5 stars[8]
The Rolling Stone Album Guide 2/5 stars[9]

Critical reaction was less than that which had greeted Tug of War, many feeling that Pipes of Peace was a weaker execution of its predecessor’s formula. In addition, author Howard Sounes writes, the album’s commercial reception was “slightly disappointing, considering the quality of the work”. Sounes views Pipes of Peace and its predecessor as “abounding with well-crafted tunes” that almost match the standard of McCartney’s work with the Beatles; yet, he adds, the two albums “must be marked down for a surfeit of love ballads with lamentable lyrics”.[10]

Reviewing the album for the NME, Penny Reel described Pipes of Peace as “A dull, tired and empty collection of quasi-funk and gooey rock arrangements … with McCartney cooing platitudinous sentiments on a set of lyrics seemingly made up on the spur of the moment.” Reel opined that the “one decent moment” was the title track, which he found to be “a Beatlish soiree surely destined as a Christmas single”, before concluding: “Even here, however, a note of insincerity in the vocal finally defeats the lyric’s objective.”[6]

The album featured the duet between McCartney and Jackson, “Say Say Say“, which reached number 2 in the UK and number 1 in the US, where it remained for six weeks through to early in 1984.

Following “Say Say Say”, the album’s title track became a UK number 1, while in the US, “So Bad” was a top 30 hit. Pipes of Peace peaked at number 4 in the UK and number 15 in the US.

Track listing[edit]

All songs written by Paul McCartney, except “Say Say Say” and “The Man” co-written by Michael Jackson, “Hey Hey” co-written by Stanley Clarke.

Side one
  1. “Pipes of Peace” – 3:56
  2. “Say Say Say” – 3:55
    • Duet with Michael Jackson
  3. “The Other Me” – 3:58
  4. “Keep Under Cover” – 3:05
  5. “So Bad” – 3:20
Side two
  1. “The Man” – 3:55
    • Duet with Michael Jackson
  2. “Sweetest Little Show” – 2:54
  3. “Average Person” – 4:33
  4. “Hey Hey” – 2:54
  5. “Tug of Peace” – 2:54
  6. “Through Our Love” – 3:28
Bonus tracks

Other songs[edit]

Title Length Notes
“Ode to a Koala Bear (McCartney)” Available on “Say Say Say” single

Personnel[edit]

Charts[edit]

Chart positions[edit]

Chart (1983–84) Position
Australian Kent Music Report[11] 9
Austrian Albums Chart[12] 15
Canadian RPM Albums Chart[13] 10
Dutch Mega Albums Chart[14] 11
French SNEP Albums Chart[15] 13
Italian Albums Chart[16] 8
Japanese Oricon LPs Chart[17] 5
New Zealand Albums Chart[18] 38
Norwegian VG-lista Albums Chart[19] 1
Spanish Albums Chart[20] 3
Swedish Albums Chart[21] 4
Swiss Albums Chart[22] 12
UK Albums Chart[23] 4
US Billboard 200[24] 15
West German Media Control Albums Chart[25] 20

Year-end charts[edit]

Chart (1983) Position
Australian Albums Chart[11] 89
French Albums Chart[26] 43
Italian Albums Chart[16] 33
UK Albums Chart[27] 33
Chart (1984) Position
Australian Albums Chart[11] 94
Canadian Albums Chart[28] 87
Japanese Albums Chart[29] 45
Spanish Albums Chart[20] 9
UK Albums Chart[30] 67
US Billboard Pop Albums[31] 98

Certifications[edit]

Region Certification Sales/shipments
Canada (Music Canada)[32] Platinum 100,000^
Japan (Oricon Charts) 201,000[17][29]
United Kingdom (BPI)[33] Platinum 300,000^
United States (RIAA)[34] Platinum 1,000,000^
^shipments figures based on certification alone

References[edit]

  1. Jump up^ Erlewine, Stephen Thomas. Pipes of Peace at AllMusic. Retrieved 29 June 2011.
  2. Jump up^ Christgau, Robert. Pipes of Peace. Retrieved 29 June 2011.
  3. Jump up^ Larkin, Colin (2006). The Encyclopedia of Popular Music(4th edn). New York, NY: Oxford University Press. p. 1257.ISBN 0-19-531373-9.
  4. Jump up^ Strong, Martin C. (2006). The Essential Rock Discography. Edinburgh, UK: Canongate. p. 696.ISBN 978-184195-827-9.
  5. Jump up^ Graff, Gary; Durchholz, Daniel (eds) (1999). MusicHound Rock: The Essential Album Guide. Farmington Hills, MI: Visible Ink Press. p. 730. ISBN 1-57859-061-2.
  6. ^ Jump up to:a b Reel, Penny (5 November 1983). “Paul McCartney:Pipes Of Peace (Parlophone)”. NME. Available at Rock’s Backpages (subscription required).
  7. Jump up^ Nicol, Jimmy (October 1993). “Re-releases: Paul McCartney The Paul McCartney Collection“. Q. p. 119.
  8. Jump up^ Rolling Stone 19 January 1984
  9. Jump up^ Randall, Mac; Brackett, Nathan; Hoard, Christian (eds) (2004). The New Rolling Stone Album Guide (4th edn). New York, NY: Simon & Schuster. p. 526. ISBN 0-7432-0169-8.
  10. Jump up^ Sounes, Howard (2010). Fab: An Intimate Life of Paul McCartney. London: HarperCollins. p. 390. ISBN 978-0-00-723705-0.
  11. ^ Jump up to:a b c Kent, David (1993). Australian Chart Book 1970–1992. St Ives, N.S.W.: Australian Chart Book. ISBN 0-646-11917-6.
  12. Jump up^ “Paul McCartney – Pipes of Peace – austriancharts.at”(ASP) (in German). Retrieved 7 February 2012.
  13. Jump up^ “Top Albums/CDs – Volume 39, No. 15” (PHP). RPM. 10 December 1983. Retrieved 3 May 2012.
  14. Jump up^ “dutchcharts.nl Paul McCartney – Pipes of Peace”(ASP). dutchcharts.nl. MegaCharts. Retrieved 7 February2012.
  15. Jump up^ “InfoDisc : Tous les Albums classés par Artiste > Choisir Un Artiste Dans la Liste” (PHP) (in French). infodisc.fr. Retrieved 7 February 2012.
  16. ^ Jump up to:a b “Hit Parade Italia – Gli album più venduti del 1983”(in Italian). hitparadeitalia.it. Retrieved 7 February 2012.
  17. ^ Jump up to:a b Oricon Album Chart Book: Complete Edition 1970-2005. Roppongi, Tokyo: Oricon Entertainment. 2006.ISBN 4-87131-077-9.
  18. Jump up^ “charts.org.nz Paul McCartney – Pipes of Peace” (ASP).Recording Industry Association of New Zealand. Retrieved7 February 2012.
  19. Jump up^ “norwegiancharts.com Paul McCartney – Pipes of Peace” (ASP). VG-lista. Retrieved 7 February 2012.
  20. ^ Jump up to:a b Salaverri, Fernando (September 2005). Sólo éxitos: año a año, 1959–2002 (1st ed.). Spain: Fundación Autor-SGAE. ISBN 84-8048-639-2.
  21. Jump up^ “swedishcharts.com Paul McCartney – Pipes of Peace”(ASP). Retrieved 7 February 2012.
  22. Jump up^ “Paul McCartney – Pipes of Peace – hitparade.ch”(ASP) (in German). Retrieved 7 February 2012.
  23. Jump up^ “Chart Stats Paul McCartney – Pipes of Peace”. The Official Charts Company. Archived from the original (PHP)on 29 December 2012. Retrieved 7 February 2012.
  24. Jump up^ “Allmusic: Pipes of Peace: Charts & Awards: Billboard Albums”. allmusic.com. Retrieved 7 February 2012.
  25. Jump up^ “Album Search: Paul McCartney – Pipes of Peace” (in German). Media Control. Retrieved 7 February 2012.
  26. Jump up^ “Les Albums (CD) de 1983 par InfoDisc” (PHP) (in French). infodisc.fr. Retrieved 29 January 2012.
  27. Jump up^ “UK best albums 1983”. Retrieved 27 November 2010.
  28. Jump up^ “RPM Top 100 Albums of 1984”. RPM. Retrieved29 January 2012.
  29. ^ Jump up to:a b 1984年アルバム年間ヒットチャート “Japanese Year-End Albums Chart 1984” (in Japanese). Oricon. Retrieved27 November 2010.
  30. Jump up^ “UK best albums 1984”. Retrieved 27 November 2010.
  31. Jump up^ Nielsen Business Media, Inc. “1984 Billboard Year-End”. Billboard. Retrieved 27 May 2013.
  32. Jump up^ “Canadian album certifications – Paul McCartney – Pipes of Peace”. Music Canada. Retrieved 7 February 2012.
  33. Jump up^ “British album certifications – Paul McCartney – Pipes of Peace”. British Phonographic Industry. Retrieved7 February 2012. Enter Pipes of Peace in the fieldKeywords. Select Title in the field Search by. Select albumin the field By Format. Select Platinum in the field By Award. Click Search
  34. Jump up^ “American album certifications – Paul McCartney – Pipes of Peace”. Recording Industry Association of America. Retrieved 7 February 2012. If necessary, click Advanced, then click Format, then select Album, then click SEARCH

External links[edit]

Preceded by
Infidels by Bob Dylan
Norwegian VG-lista Chart number-one album
(6 weeks)
Succeeded by
Cheek to Cheek by Jahn Teigen and Anita Skorgan

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