MARLON BRANDO was on the cover of Sgt. Pepper’s probably because of this one quote from the 1953 film “THE WILD ONE” : “What are you rebelling against, Johnny?”, he answers “Whaddaya got?”
The Beatles: Revolution (live)
Published on Sep 5, 2013
I have dedicated several posts to this series on the Beatles and I don’t know when this series will end because Francis Schaeffer spent a lot of time listening to the Beatles and talking and writing about them and their impact on the culture of the 1960’s. In this series we have looked at several areas in life where the Beatles looked for meaning and hope but also we have examined some of the lives of those writers, artists, poets, painters, scientists, athletes, models, actors, religious leaders, musicians, comedians, and philosophers that were put on the cover of Sergeant Pepper’s Lonely Hearts Club Band album. We have discovered that many of these individuals on the cover have even taken a Kierkegaardian leap into the area of nonreason in order to find meaning for their lives and that is the reason I have included the 27 minute episode THE AGE OF NONREASON by Francis Schaeffer. In that video Schaeffer noted, ” Sergeant Pepper’s Lonely Hearts Club Band…for a time it became the rallying cry for young people throughout the world. It expressed the essence of their lives, thoughts and their feelings.”
Sergeant Pepper’s Lonely Hearts Club Band Albumreally did look at every potential answer to meaning in life and to as many people as the Beatles could imagine had the answers to life’s big questions. One of the persons on the cover did have access to those answers and I am saving that person for last in this series on the Beatles.
How Should We then Live Episode 7 small (Age of Nonreason)
The legendary actor’s turn as a rebellious biker in 1953’s The Wild One was a touchstone for ‘50s teenagers like the Beatles, perhaps even more than they consciously knew. The group named itself in honor of Buddy Holly’s Crickets—but in the Beatles Anthology documentary, McCartney recounts seeing The Wild One again several years ago and noticing for the first time that one of the movie’s motorcycle gangs is called “The Beetles.”
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QUOTE FROM THE FILM “THE WILD ONE” : “What are you rebelling against, Johnny?”, he answers “Whaddaya got?”
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FRANCIS SCHAEFFER asserted, ” Sergeant Pepper’s Lonely Hearts Club Band…for a time it became the rallying cry for young people throughout the world.”
Why did Francis Schaeffer spend so much time talking about the Beatles? Schaeffer knew the impact they had a such large amount of young people. That is why I have spent so much time talking about them too on my blog. What was the difference in the message given to young people in the 1960’s versus the earlier decades? That question is easy to answer. Yes, many young people did rebel in the 1960’s but some of them have come back to serve the Lord as Ken has in the story told below:
When I was 13 years old I got three gifts that I recall for Christmas. A thick dark blue sweater, a large package of underwear, and a Bible. The tradition in the Pullen household forty-eight years ago was to open gifts on Christmas Eve. After a special supper. Something we rarely got to eat because of the cost.
Then my parents would drag it out as I, as the oldest, and my two sisters were antsy in anticipation of what gifts we were going to get. They were never extravagant — we weren’t those kind of people. My parents did the best they could. My mother stayed at home and took care of the house and us three children, and my father worked as a mailman.
After supper, after everything had to be cleaned, washed and put away — and there was no automatic dishwasher. I washed the dishes and my sister next in age dried them. Then we all put them away where they belonged. My mother attended to cleaning up the stove and putting away any leftovers.
Then, once enough time had passed according to my parents, we were permitted to begin opening gifts. We’d sort them out, each person handing something to someone else until all the gifts were near the person they were for. My parents would usually instruct us as to which one to save for last, as it was the special one they had picked out for us that particular year. And we always saved the one they said to open last to be the last.
There was no TV blaring. No cell phones to constantly check the illuminated little screens of. Christmas carols played on an old console stereo. 33 and 1/3 rpm round sheets of black vinyl. Tennessee Ernie Ford, LP’S which contained various singing artists, Elvis Presley, Messiah by the Mormon Tabernacle Choir, Perry Como, Nat King Cole — of course, Andy Williams, and many compilation LP’S consisting of themes and various recording artists.
After we opened our gifts, which usually consisted of between three to five wrapped boxes each year, and we had thanked our parents, and we had cleaned up all the wrapping paper, ribbons, and bows, we would spend some time with what we received while my mother prepared my favorite part of the night, which was to set out a wonderful munchies snack table. A really nice one. Again, with some foods we only got to eat on Christmas Eve. There was always a platter of really fine lunchmeats — when the quality was so much better than it is these days, and that isn’t just nostalgia talking — and all sorts of wonderful savory and sweet things to eat.
We’d gather around the table when my mother announced everything was set — and she always made everything from scratch as far as deserts, or savory hot dishes on the table. No frozen, pre-made, heat ‘n serve, thaw ‘n serve, oh let’s pop it in the microwave gross and disgusting modern-day foods. No. Everything made by hand, in house — scratch made.
It was wonderful.
My father would pray aloud once we were all seated, and we’d calmly and quietly begin to reach and gather and ask for the foods we wanted to eat. It was one night of the year when the family had wonderful conversation around the table and we laughed a lot.
On December 25th, 1966, when I was 13 years old, the last gift I was handed and told to open last was a Bible.
On the presentation page it read: Presented to Kenneth Pullen by Mother and Dad, Date 12-25-66.
It was a compact yet hefty wonderful Bible. Published by Christian Herald Association, The Authorized King James Version — The Holy Bible containing the old and new testaments translated out of the original tongues and with the former translations diligently compared and revised.
It contained sixty-four “Master Art” Illustrations. Wonderful Old World Master prints made from original paintings by some of the worlds most talented artists. Events not usually thought of, preached about, or spoken of in these times — events such as; The Creation of Light, by Martin — Noah Derided by Ham, by Lumi — Ester Entertains Ahasuerus, by Franck — The Cup Found in Benjamin’s Sack, by Bacchiacca — and on and on with a total of sixty-four wonderful master art illustrations.
On the first inside blank page my father wrote;
“What doth the Lord, thy God require of thee, but to fear the Lord thy God, to walk in all His ways, and to love Him, and to serve the Lord thy God with all thy heart and with all thy soul, to keep the commandments of the Lord and His statutes, which I command thee this day for thy good.”
Moses counseling Israel — Deuteronomy 10: 12-13
In 1966 as a thirteen-year old American kid I was spending most of my time listening to The Beatles “Revolver” album which was released in August of that year. And as much modern music as I could ingest.
John Lennon, Paul McCartney, George Harrison, and Ringo Starr in 1966
Revolver album cover
I was beginning to rebel. To be totally enamored of and drawn in by modern American culture. And at that time in history culture was literally exploding. I worked part-time babysitting the next door neighbor’s baby, I did that every single weekend as the next door neighbor’s were young — in their early 20’s for the wife, late 20’s for the husband — and a number of days throughout the week I walked to the nearby stables of another neighbor and cleaned horse stalls, re-strawed the stalls, feed the horses — they owned a number of horses themselves and also boarded over 20 horses — and I got paid .50 cents an hour to do this job. Got paid more per hour babysitting.
So I had my own pocket money all the time as a young kid of 13.
No allowance. My parents were truly taken aback and dumbfounded to hear of other kids actually being paid by their parents!
I grew up very strict. My parents became very conservative fundamentalist believers when I was around six years old. We did not have a TV. No Christmas tree — because it was pagan [and it truly is pagan and has absolutely nothing to do with the birth, life, death, teachings, or resurrection of God come to earth in the form of man, Jesus the Lord and Saviour].
But I was rebelling. Big time. The times they were a changin’.
War in Vietnam. Burgeoning of New Age thought and ideas going from the dormant seed stage to taking root and exploding in growth and influence.
Loosening or mores and morals. The sexual revolution was in full bore mode.
Young people were gathering, coming together in a theme, and doing something a lot different than recent young people had participated in. Violence increased. The cry was for peace and there was no peace [and there never will be and anyone who thinks there will be is totally delusional].
The times they were a changin’.
And when I unwrapped that Holy Bible as my last gift, my special gift — I totally forget what I had asked for that I thought I needed so much and wanted more than anything [within reason, we were not like the children of today who give no thought to economy or cost and only what they want no matter what] but when I unwrapped that Holy Bible my heart fell and I was sorely disappointed.
We were already going to church 2 times a week. All day on Sunday’s and all evening long on Wednesday’s. Except for my mother’s immediate family relatives [none of whom belonged to the church my parents did, although my mothers mom did belong to the same church], and the neighbor’s next door, and people from my parents church we didn’t see or visit anyone else. And the people we visited the most were people from my parents church. All the time.
So my heart dropped. I didn’t want a Bible! What was I going to do with a Bible!
And my father was so thrilled he had bought me this Bible, and he made sure he said, “Open the cover and read the first page, what I wrote to you on the first blank page!”
And I did.
Gee, thanks, dad.
I was listening to the sounds of the revolution unfolding each day — The Beatles, The Rolling Stones, The Who, Jefferson Airplane, Frank Zappa and the Mothers of Invention, Bob Dylan, and Jimi Hendrix had just released his first single in the UK.
I wasn’t interested in reading a Bible.
I was already sitting through Bible class prior to Sunday morning services, and then we’d go upstairs and have the first Sunday service. Songs would be sung — no rock band. No organ. No piano. The congregation sang. Period. And a minister would get up and preach for at least 30 to 40 minutes, sometimes longer, and then after the minister preached in English more songs would be sung, and then a different minister would get up and preach in either Hungarian, or Serbian, or German.
There were a lot of immigrants and folk’s from the Old World, Europe at my parents church.
For the past few days I had my mind pricked regarding that Bible I received on December 25th, 1966, and what my father had inscribed on the first blank page.
I didn’t know why that Bible was on my mind, but it was. It would come into my thoughts about 2, sometimes 3 times a day.
I had no idea where it was. I knew I still possessed it, but did not know its whereabouts.
I was checking one of the bookshelves late tonight — looking for a food / cookbook one of my instructors from when I was enrolled in culinary school has written. I wanted to make sure of the title and subject, as I am in the process of taking an online cooking course which she just happens to be teaching.
And I looked to the stack of books I knew hers was in, and on top of the stack was a Bible. A Bible of my wife’s, which she never reads [a topic for an entire series of articles, but we will not venture there at this point] and seeing that Bible made me look to my left, where I know other Bibles are on the bookshelf. Bibles I had acquired over the years, long, long ago, but I no longer reference of use them because of their particular translations, which I no longer desire to read and do not believe to be good translations.
And there, there right in the middle of the stack of about 5 Bibles I saw the old, beaten, tattered, covered in places with black electrical tape Bible my mother and father gave me that Christmas Eve 48 years ago.
And I refilled my iced green tea — which I brew myself by the gallon — and I pulled that old Bible from its place and set it on the kitchen counter, and I just opened it up and it opened to 1 Corinthians 9. And I began reading 2 verses I had underlined [for there came a time I no longer viewed that Bible with disdain, and a few years later, like when I was about 21, 22 years old I began to read that Bible and began to underline passages which I believed were important to underline at the time.]
This is what was underlined;
Know ye not that they which run in a race run all, but one receiveth the prize? So run, that ye may obtain. And every man that striveth for the mastery is temperate in all things. Now they do it to obtain a corruptible crown; but we an incorruptible.
I therefore so run, not as uncertainly; so fight I, not as one that beateth the air: But I keep under my body and bring it into subjection: lest that by any means, when I have preached to others, I myself should be a castaway.
Apostle Paul writing to the church in Corinth — 1 Corinthians 9: 23-27
And these God-breathed inerrant words struck my heart.
I need, we all need to run the race to win, to obtain the incorruptible crown. But in so doing we must be temperate in all things, as an example. Not in following rules or living as a robot — to be holy because God and Jesus Christ are holy and we are to live and strive to be pleasing and acceptable unto Them, and if we desire to get closer to Them we cannot have any part of the world and its sin, because God our Father and Jesus Christ our Lord and Saviour can have no part of sin. Our sin repels Them. Our obedience and love and abiding by their instruction attracts.
And if we do not bring ourselves into subjection, bring our bodies, our hearts, our minds under control and subjection to the ways and instruction of the Lord our God, and we tell others of God? And Jesus? And the way? Yet we do not abide by such and we are not in subjection? Then we are to be cast away. Period. Inerrant word of God.
I also looked through that old Bible I received as my special gift on 12-25-66 and read some of the things I inscribed on the many blank front pages. About 99% of what is inscribed are Bible verses which struck me to the point of rewriting them in the front of this Bible by my own hand.
But there are two things said, or written by men of that time. Christian men at that time. And this is what I inscribed on 2 of those once blank front pages;
“Christians must not let the world defile them. If the world sees us as conforming to its standards and its relativism, it will not listen to what we say. It will have no reason to.”
Francis A. Schaeffer
The gift of that wonderful, now creased and torn and leather cover cracked Bible of 48 years ago is the greatest gift I could receive this night.
I realize I have not been living the word. I have been lax. I have lived in error. I have not been living as I preach. I have not been living as I ought according the to inerrant word of God. There is no excuse and to make any only leads me to more ruin and being cast away! I need, as a great thirst of a man parched, I need the Living Water of the word of God! More and more, and to live it! Not merely read it!
And I must allow the Spirit of God to dominate — DOMINATE — in the rightful role in my heart, in my mind, in my life. So I am not cast away, and I can live as the true salt of the earth, enhancing the true word of God, spreading its true purifying flavor! And that I must be a light unto the world, separate of and from this world, a peculiar person, a true disciple of Yeshua, Jesus the Lord, Messiah, and Saviour, so that those I come in contact with can see the light within me — and thus glorify the Father!
It may have taken a while.
But I finally got here.
Both my parents are dead in the flesh, but thank you mom, and thank you dad. You knew the perfect gift I needed for my life, in order to truly have LIFE! I must now surrender and allow the Spirit of God to work in me to be how the Lord needs to form me, hone me, sharpen me, mold me, cast me, fire me, refine me — so that I am not, and cannot be confused as being of this world. Seeing that I live a life pleasing to God, so that I am not castaway, and so that I win the race and receive the incorruptible crown!
If Ken was 13 in 1966 then he is coming up in the next couple of years on his 64th birthday. He should appreciate this song from the Beatles:
When I’m Sixty-Four- The Beatles
Uploaded on Jan 22, 2009
When I’m Sixty-Four
The Beatles
Sgt. Pepper’s
Lyrics
When I get older losing my hair,
Many years from now,
Will you still be sending me a valentine
Birthday greetings bottle of wine?
If I’d been out till quarter to three
Would you lock the door,
Will you still need me, will you still feed me,
When I’m sixty-four?
oo oo oo oo oo oo oo oooo
You’ll be older too, (ah ah ah ah ah)
And if you say the word,
I could stay with you.
I could be handy mending a fuse
When your lights have gone.
You can knit a sweater by the fireside
[ Find more Lyrics at http://www.mp3lyrics.org/aK ]
Sunday mornings go for a ride.
Doing the garden, digging the weeds,
Who could ask for more?
Will you still need me, will you still feed me,
When I’m sixty-four?
Every summer we can rent a cottage
In the Isle of Wight, if it’s not too dear
We shall scrimp and save
Grandchildren on your knee
Vera, Chuck, and Dave
Send me a postcard, drop me a line,
Stating point of view.
Indicate precisely what you mean to say
Yours sincerely, Wasting Away.
Give me your answer, fill in a form
Mine for evermore
Will you still need me, will you still feed me,
When I’m sixty-four?
At the height of the Beatles’ youth and fame, an artist imagined what the Fab Four would look like “When [They’re] Sixty-Four.” Unfortunately only two of them made it to age 64, as George Harrison and John Lennon died at the ages of 58 and 40, respectively.
The artist got it right, kind of. George Harrison looks like a conquistador and Paul McCartney is more trim in real life. John Lennon resembles a circus ringmaster while Ringo’s facial hair looks less than desirable. Poor Ringo, he’s had more than oneunfortunate moustache moment but he’s never attempted the absolute disaster that is known as the soul patch.
What do you think?
Imagined:
Reality:
H/T to Retronaut for the image.
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How Should We then Live Episode 7 small (Age of Nonreason)
J.I.PACKER WROTE OF SCHAEFFER, “His communicative style wasnot that of a cautious academic who labors for exhaustive coverage and dispassionate objectivity. It was rather that of an impassioned thinker who paints his vision of eternal truth in bold strokes and stark contrasts.Yet it is a fact that MANY YOUNG THINKERS AND ARTISTS…HAVE FOUND SCHAEFFER’S ANALYSES A LIFELINE TO SANITY WITHOUT WHICH THEY COULD NOT HAVE GONE ON LIVING.”
Francis Schaeffer in Art and the Bible noted, “Many modern artists, it seems to me, have forgotten the value that art has in itself. Much modern art is far too intellectual to be great art. Many modern artists seem not to see the distinction between man and non-man, and it is a part of the lostness of modern man that they no longer see value in the work of art as a work of art.”
Many modern artists are left in this point of desperation that Schaeffer points out and it reminds me of the despair that Solomon speaks of in Ecclesiastes. Christian scholar Ravi Zacharias has noted, “The key to understanding the Book of Ecclesiastes is the term ‘under the sun.’ What that literally means is you lock God out of a closed system, and you are left with only this world of time plus chance plus matter.” THIS IS EXACT POINT SCHAEFFER SAYS SECULAR ARTISTS ARE PAINTING FROM TODAY BECAUSE THEY BELIEVED ARE A RESULT OF MINDLESS CHANCE.
The Beatles are featured in this episode below and Schaeffer noted, ” Sergeant Pepper’s Lonely Hearts Club Band…for a time it became the rallying cry for young people throughout the world.”
How Should We then Live Episode 7 small (Age of Nonreason)
Sgt. Pepper’s Lonely Hearts Club Band – The Beatles
Published on Apr 25, 2013
Sgt. Pepper’s Lonely Hearts Club Band / With A Little Help From My Friends
“Sgt. Pepper’s Lonely Hearts Club Band” 1967
The Beatles- A Day in the Life
Uploaded on Aug 24, 2009
A Day in the Life is a song by the English rock band The Beatles written by John Lennon and Paul McCartney, based on an original idea by Lennon. It is the final track on the group’s 1967 album Sgt. Pepper’s Lonely Hearts Club Band. Since its original album release, “A Day in the Life” has been released as a B-side, and also on various compilation albums. It has been covered by other artists including The Fall, Bobby Darin, Sting, Neil Young, Jeff Beck, The Bee Gees, Mae and since 2008, by Paul McCartney in his live performances. Rolling Stone magazine ranked it the 26th greatest song of all time.
There is some dispute about the inspiration for the first verse. Many believe that it was written with regard to the death of Tara Browne, the 21-year-old heir to the Guinness fortune and close friend of Lennon and McCartney, who had crashed his Lotus Elan on 18 December 1966 when a Volkswagen pulled out of a side street into his path in Redcliffe Gardens, Earls Court. In numerous interviews, Lennon claimed this was the verse’s prime inspiration. However, George Martin adamantly claims that it is a drug reference (as is the line “I’d love to turn you on” and other passages from the song) and while writing the lyrics John and Paul were imagining a stoned politician who had stopped at a set of traffic lights.
The description of the accident in “A Day in the Life” was not a literal description of Browne’s fatal accident. Lennon said, “I didn’t copy the accident. Tara didn’t blow his mind out, but it was in my mind when I was writing that verse. The details of the accident in the song — not noticing traffic lights and a crowd forming at the scene — were similarly part of the fiction.”
The final verse was inspired by an article in the Daily Mail in January 1967 regarding a substantial number of potholes in Blackburn, a town in Lancashire. However, he had a problem with the words of the final verse, not being able to think of how to connect “Now they know how many holes it takes to” and “the Albert Hall”. His friend Terry Doran suggested that they would “fill” the Albert Hall.
McCartney provided the middle section of the song, a short piano piece he had been working on independently, with lyrics about a commuter whose uneventful morning routine leads him to drift off into a reverie. He had written the piece as a wistful recollection of his younger years, which included riding the bus to school, smoking and going to class. The line “I’d love to turn you on”, which concludes both verse sections, was, according to Lennon, also contributed by McCartney; Lennon said “I had the bulk of the song and the words, but he contributed this little lick floating around in his head that he couldn’t use for anything.”
Lucy in the Sky with Diamonds- The Beatles
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Sgt. Pepper’s Lonely Hearts Club Band Vocal Complete
My absolute favorite albums are Rubber Soul and Revolver. On both records you can hear references to other music — R&B, Dylan, psychedelia — but it’s not done in a way that is obvious or dates the records. When you picked up Revolver, you knew it was something different. Heck, they are wearing sunglasses indoors in the picture on the back of the cover and not even looking at the camera . . . and the music was so strange and yet so vivid. If I had to pick a favorite song from those albums, it would be “And Your Bird Can Sing” . . . no, “Girl” . . . no, “For No One” . . . and so on, and so on. . . .
Their breakup album, Let It Be, contains songs both gorgeous and jagged. I suppose ambition and human frailty creeps into every group, but they delivered some incredible performances. I remember going to Leicester Square and seeing the film of Let It Be in 1970. I left with a melancholy feeling.
The Beatles Helter Skelter
Uploaded on Aug 2, 2007
A picture of the beatles with the song helter skelter.
Charles Manson – The man who killed the 60’ies (Documentary)
Charles Manson Helter Skelter 1969-2013
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‘Helter Skelter’
Mark and Colleen Hayward/Getty Images
Main Writer: McCartney Recorded: July 18, September 9
and 10, 1968 Released: November 25, 1968 Not released as a single
With the raucous “Helter Skelter,” the Beatles set out to beat a heavy band at its own game. McCartney had taken issue with a review of the Who’s 1967 single “I Can See for Miles” that referred to the song as “a marathon epic of swearing cymbals and cursing guitars.” “It wasn’t rough [or full of] screaming,” he said of the song. “So I thought, ‘We’ll do one like that, then.'”
The Beatles recorded “Helter Skelter” on a night when, as engineer Brian Gibson recalled, “they were completely out of their heads.” Lennon played out-of-tune bass and saxophone, and Starr was serious when he screamed, “I’ve got blisters on my fingers!”
Despite its association with Charles Manson — “Helter Skelter” was written in blood at the site of one of the Manson Family murders — the title has an innocent meaning: A “helter skelter” is a playground slide. “I was using the symbol as a ride from the top to the bottom — the rise and fall of the Roman Empire,” McCartney said. “This was the demise, the going down.”
The Beatles – Live at the Grugahalle Essen, 25 June 1966
Bravo Beatles Blitztournee in Germany 1966
51
‘If I Needed Someone’
K & K Ulf Kruger OHG/Redferns
Writer: Harrison Recorded: October 16 and 18, 1965 Released: June 20, 1966 Not released as a single
This twangy jewel was the result of a remarkable exchange of influences between the Beatles and one of their favorite new bands, L.A.’s psychedelic folkies the Byrds. When guitarist Roger McGuinn saw Harrison playing a cherry-red Rickenbacker 360/12 guitar in A Hard Day’s Night, he recalled, “I took my acoustic [12-string] and five-string banjo down to the music store and traded them in for an electric 12-string.” Lennon and McCartney attended one of the Byrds’ first British shows in early 1965, and that August, on a day off from their U.S. tour, McCartney and Harrison attended a Byrds recording session in L.A.
Two months later, Harrison paid McGuinn the ultimate compliment with “If I Needed Someone,” a striking blend of cool dismissal and crystalline riffing adapted from McGuinn’s lead lick in “The Bells of Rhymney,” from the Byrds’ debut album, Mr. Tambourine Man. “George was very open about it,” says McGuinn, who was then going by his given name, Jim. “He sent [the record] to us in advance and said, ‘This is for Jim’ — because of that lick.”
Appears On:Rubber Soul
Paul McCartney & Wings – Got To Get You Into My Life [‘1979]
Uploaded on Mar 7, 2008
This concert took place on 29th december ‘1979 in London…it was charity concert intended to help pour people in Kampuchea
The Beatles – Got To Get You Into My Life
THE BEATLES
LYRICS:
I was alone, I took a ride,
I didn’t know what I would find there
Another road where maybe I could see another kind of mind there
Ooh, then I suddenly see you,
Ooh, did I tell you I need you
Every single day of my life
You didn’t run, you didn’t lie
You knew I wanted just to hold you
Had you gone, you knew in time, we’d meet again
For I had told you
Ooh, you were meant to be near me
Ooh, and I want you hear me
Say we’ll be together every day
Got to get you into my life
What can I do, what can I be,
When I’m with you I want to stay there
If I’m true I’ll never leave
And if I do I know the way there
Ooh, then I suddenly see you,
Ooh, did I tell you I need you
Every single day of my life
Got to get you into my life
Got to get you into my life
I was alone, I took a ride,
I didn’t know what I would find there
Another road where maybe I could see another kind of mind there
Then suddenly I see you,
Did I tell you I need you
Every single day…
Artist; The Beatles
Album: Revolver
Year: 1966
Song: Got To Get You Into My Life
50
‘Got to Get You Into My Life’
Keystone/Getty Images
Main Writer: McCartney Recorded: April 7, 8 and 11, May 18, June 17, 1966 Released: August 8, 1966 Not released as a single
A drug song masquerading as a love song, “Got to Get You Into My Life” was written after McCartney’s first experiments with marijuana. “It’s actually an ode to pot,” he explained, “like someone else might write an ode to chocolate or a good claret.”
Lennon described the song as the Beatles “doing our Tamla/Motown bit.” But at first, “Got to Get You Into My Life” was an acoustic number. An early take (available on Anthology 2) has McCartney singing in falsetto where the brass eventually shows up in the chorus.
The horns were a remnant of the band’s idea to record Revolver in Memphis. They had long emulated the bass and drum sounds found on American soul records, so they recruited guitarist Steve Cropper of Booker T. and the MG’s to produce and dispatched Brian Epstein to scout potential recording locations. All the studios wanted an exorbitant fee to host the Beatles, so they ended up back at Abbey Road.
Appears On:Revolver
The Beatles – The Night Before
Uploaded on Dec 12, 2009
“The Night Before” scene from the Beatles “Help!” movie.
49
‘The Night Before’
Fiona Adams/Redferns
Main Writer: McCartney Recorded: February 17, 1965 Released: August 13, 1965 Not released as a single
For any other band, a pop gem as magnificent as “The Night Before” would have turned into a career-making hit single, if not the foundation of a legend. But for the Beatles, it was just another great album track, slipping through the cracks as they sped from A Hard Day’s Night through Help! on their way to Rubber Soul. The band was writing and cutting masterpieces faster than fans could even absorb them.
The band’s love of Motown was never more apparent, resulting in a hard-driving twist number that could have passed for prime Marvin Gaye at his most uptempo. In his double-tracked lead vocal, McCartney yowls about a lover’s betrayal, while Lennon plays a rollicking electric-piano riff. “That sound was one of the best [we] had got on record,” said McCartney.
In the movie Help!, the Beatles perform the song on England’s Salisbury Plain, in the shadow of Stonehenge. Harrison mimes the terse, stabbing guitar solo — but it was McCartney who played it on the record.
Wallace Berman (1926–1976) was born in Staten Island, New York, and moved to Los Angeles as a child. He enrolled at the Jepson Art Institute and at Chouinard Art Institute, but did not finish studies at either; instead he became entrenched in the city’s jazz and Beat scenes. In 1949 he began to make assemblage sculptures. He showed these at the Ferus Gallery in 1957, but the exhibition was closed prematurely by the L.A. Police Department’s vice squad. Disheartened, Berman moved his family to the Bay Area, where he established the makeshift Semina Gallery and continued his loose-leaf magazine Semina, before returning to L.A. in 1961. In 1964, Berman began to make Verifax collages, embarking on a path that he would follow for over a decade, until his death in Topanga Canyon in 1976.
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Wallace Berman (Los Angeles artist) Most of my discoveries are from a few years ago so to have so many additions within one week is remarkable progress. We may succeed in tracking down some (hopefully all) of the others but they are surely becoming more difficult? Oddly enough, I am more confident of finding the more obscure images, like the Petty Girls, than those of legendary figures such as Marilyn Monroe. That could take a while
Jim’s close-up of this part of the cover includes the best views so far of Aldous Huxley (to the left of Dylan Thomas), Wallace Berman (next to Tony Curtis) and, beside him, Tommy Handley (with cap) and Dr. David Livingstone (moustache). Below them are the partially-obscured Tyrone Power and the equally-elusive Larry Bell:
Wallace Berman (February 18, 1926 – February 18, 1976) was an American visual and assemblage artist. He has been called the “father” of assemblage art[1] and a “crucial figure in the history of postwar California art”.[2]
Wallace Berman was born in Staten Island, New York in 1926. In the 1930s his family moved to Boyle Heights, Los Angeles.[3] Berman was discharged from high school for gambling in the early 1940s and became involved in the West Coast jazz scene. Berman wrote a song with Jimmy Witherspoon.[4] He attended classes at Jepson Art Institute and Chouinard Art Institute in the 1940s. For a few years from 1949 he worked in a factoryfinished furniture. It was at the factory where he began creating sculptures from wood scraps. This led to him becoming a full-time artist by the early 1950s, and an involvement in the Beat Movement. He moved from Los Angeles to San Francisco in late 1957 where he mostly focused on his magazine Semina, which consisted of poetry, photographs, texts, drawings and images assembled by Berman. In 1961 he came back to L.A., then moved to Topanga Canyon in 1965. He started creating his series of Verifax Collages in 1963 or 1964.[1] Director Dennis Hopper, a collector of Berman’s work, gave Berman a small role in his 1968 film Easy Rider.[5] He produced work until his sudden death in a car accident caused by a drunk driver,[6] in 1976.[1] Interestingly, Berman had said to his mother as a child he would die on his 50th birthday, and indeed he did die February 18, 1976…his fiftieth birthday. ref. Lost and Found California, Four decades of assemblage art, Corcoran, Wayne, Pence, 1988 pg.119.
“His art embodied the kind of interdisciplinary leanings and interests that, in time, would come to help characterize the Beat movement as a whole.”
-Andy Brumer[4]
Berman has been called the “father” of assemblage art. He created “Verifax collages”, which consist of photocopies of images from magazines and newspapers, mounted onto a flat surface in a collage fashion, mixed with occasional solid areas of acrylic paint .[1] Berman would use a Verifax photocopy machine (Kodak) to make copies of the images which he would often juxtapose in a grid format. Berman sought influence in not only those of his Beat circle, but in Surrealism and Dada as well as the Kabbalah.[4] The influence of Kabbalah and Jewish mysticism is seen in his collages and other works such as his later inscriptions in-situ in Hebrew letters, and his only film, Aleph, a silent film that explores life, death, politics, and pop culture.[7] His involvement with the jazz scene allowed him opportunities to work with jazz musicians, creating bebop album covers for Charlie Parker.[8]
Wallace Berman and other artists with 2 undercover Vice Squad officers, looking at Wally Hedrick‘s sculptureSunflower (1952), during the now-famous LAPD obscenity arrest at Ferus Gallery in 1957.
In 1957 Wallace had his first exhibition of his artworks at the newly opened Ferus Gallery in Los Angeles. His friends were the curators/owners of the Gallery, Ed Kienholz andWalter Hopps. After the opening the L.A. vice squad got a telephone tip from an anonymous caller and during the raid they found what was deemed to be a pornographic image by Cameron Parsons entitled “Peyote Vision”[9] at the bottom of one of Wallace’s assemblage works. He would later be convicted of displaying lewd & obscene materials. At the summation in the courtroom Wallace wrote on the blackboard “There is no justice, only revenge” [10] His actor friend Dean Stockwell would pay the $150.00 fine. That would be the last public gallery show for Wallace.
Glicksman et al. Wallace Berman: Retrospective. Otis Art Institute Gallery, Los Angeles. Los Angeles: Fellows of Contemporary Art (1978).
Support the Revolution. Institute of Contemporary Art, Amsterdam. New York: Distributed Art Publishers (1992). ISBN 90-800968-3-0
Sophie Dannenmüller: “In Fac Simile Veritas, les Verifax Collages de Wallace Berman,” Les Cahiers du Musée national d’art moderne, Editions du Centre Pompidou, Paris, n° 92, summer 2005, p. 130-143
Fredman, Stephen and Michael Duncan. Semina Culture: Wallace Berman & His Circle. Santa Monica: Santa Monica Museum of Art (2005). ISBN 1-933045-10-8
Amidst the car culture and surf culture of Los Angeles, Wallace Berman lived a more rustic, Beat vibed existence, zigzagging from Topanga to Beverly Glen to Larkspur and San Francisco. His body of works contains sculpture, photography, film to early forms of mail-art. His interest in mysticism, and in the power of typography as symbols, can be seen in the Kabbalah imagery layered into his work:
In 1957, Berman had his first gallery show at the Ferus Gallery in Los Angeles. After two weeks it was shut down for alleged obscenity, and the artist was arrested by the LAPD. In his subsequent career Berman avoided the formal confines of the art world. In 1955 he created a pioneering mail art publication called SEMINA, and in 1960 he opened the Semina Gallery on a houseboat near his home in Larkspur, California.
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 […]
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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, […]
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 […]
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Schaeffer indicates the reason eastern mysticism became so popular in the USA in the 1960’s:
The younger people and the older ones tried drug taking but then turned to the eastern religions. Both drugs and the eastern religions seek truth inside one’s own head, a negation of reason. The central reason of the popularity of eastern religions in the west is a hope for a nonrational meaning to life and values.
I have dedicated several posts to this series on the Beatles and I don’t know when this series will end because Francis Schaeffer spent a lot of time listening to the Beatles and talking and writing about them and their impact on the culture of the 1960’s. In this series we have looked at several areas in life where the Beatles looked for meaning and hope but also we have examined some of the lives of those writers, artists, poets, painters, scientists, athletes, models, actors, religious leaders, musicians, comedians, and philosophers that were put on the cover of Sergeant Pepper’s Lonely Hearts Club Band album. We have discovered that many of these individuals on the cover have even taken a Kierkegaardian leap into the area of nonreason in order to find meaning for their lives and that is the reason I have included the 27 minute episode THE AGE OF NONREASON by Francis Schaeffer. In that video Schaeffer noted, ” Sergeant Pepper’s Lonely Hearts Club Band…for a time it became the rallying cry for young people throughout the world.”
How Should We then Live Episode 7 small (Age of Nonreason)
In the film series HOW SHOULD WE THEN LIVE? Francis Schaeffer shows the Beatles visiting Maharishi Mahesh Yogi in India.
THE SONG “THE WALRUS” DOES A GREAT JOB OF PRESENTING HINDUISM TO THE WORLD IN THE OPENING LINE “I am he as you are he as you are me and we are all together.”
I am he as you are he as you are me and we are all together.
See how they run like pigs from a gun, see how they fly.
I’m crying.Sitting on a cornflake, waiting for the van to come.
Corporation tee-shirt, stupid bloody Tuesday.
Man, you been a naughty boy, you let your face grow long.
I am the egg man, they are the egg men.
I am the walrus, goo goo g’joob.Mister City Policeman sitting
Pretty little policemen in a row.
See how they fly like Lucy in the Sky, see how they run.
I’m crying, I’m crying.
I’m crying, I’m crying.Yellow matter custard, dripping from a dead dog’s eye.
Crabalocker fishwife, pornographic priestess,
Boy, you been a naughty girl you let your knickers down.
I am the eggman, they are the eggmen.
I am the walrus, goo goo g’joob.Sitting in an English garden waiting for the sun.
If the sun don’t come, you get a tan
From standing in the English rain.
I am the egg man, they are the egg men.
I am the walrus, goo goo g’joob g’goo goo g’joob.Expert text pert choking smokers,
Don’t you think the joker laughs at you?
See how they smile like pigs in a sty,
See how they snide.
I’m crying.Semolina pilchard, climbing up the Eiffel Tower.
Elementary penguin singing Hari Krishna.
Man, you should have seen them kicking Edgar Allan Poe.
I am the egg man, they are the egg men.
I am the walrus, goo goo g’joob g’goo goo g’joob.
Goo goo g’joob g’goo goo g’joob g’goo.
Songwriters: LENNON, JOHN WINSTON / MCCARTNEY, PAUL JAMES
Although the Beatles wouldn’t meet the Maharishi Mahesh Yogi until two months after Pepper’s release, Harrison was already showing an interest in meditation and other aspects of Indian philosophy. Yogananda, who helped bring these practices to the West through his Self-Realization Fellowship, was a disciple of both Giri and Babaji.
George Harrison’s cover subject choices were mostly Indian holy men, including this yogi and guru who was instrumental in bringing meditation and yoga to the West. Friend and sitar teacher Ravi Shankar had given Harrison a copy of Yogananda’s book Autobiography of a Yogi in 1966, and its influence on the spiritually searching Beatle was profound.
________
Paramahansa Yogananda (5 January 1893 – 7 March 1952) pictured below:
Together with the advent of the “drug Age” was the increased interest in the West in the religious experience of Hinduism and Buddhism. Schaeffer tells us that: “This grasping for a nonrational meaning to life and values is the central reason that these Eastern religions are so popular in the West today.” Drugs and Eastern religions came like a flood into the Western world. They became the way that people chose to find meaning and values in life. By themselves or together, drugs and Eastern religion became the way that people searched inside themselves for ultimate truth.
Along with drugs and Eastern religions there has been a remarkable increase “of the occult appearing as an upper-story hope.” As modern man searches for answers it “many moderns would rather have demons than be left with the idea that everything in the universe is only one big machine.” For many people having the “occult in the upper story of nonreason in the hope of having meaning” is better than leaving the upper story of nonreason empty. For them horror or the macabre are more acceptable than the idea that they are just a machine.
Francis Schaeffer in his book HOW SHOULD WE THEN LIVE? gives us some insight into a possible answer to that question WHY WAS DRUG-TAKING AND EASTERN RELIGIONS SO POPULAR IN THE 1960’s IN USA?
The younger people and the older ones tried drug taking but then turned to the eastern religions. Both drugs and the eastern religions seek truth inside one’s own head, a negation of reason. The central reason of the popularity of eastern religions in the west is a hope for a nonrational meaning to life and values. The reason the young people turn to eastern religion is simply the fact as we have said and that is that man having moved into the area of nonreason could put anything up there and the heart of the eastern religions is a denial of reason just exactly as the idealistic drug taking was. So the turning to the eastern religions today fits exactly into the modern existential methodology, the existential thinking of modern man, of trying to find some optimistic hope in the area of nonreason when he has given up hope on a humanistic basis of finding any kind of unifying answer to life, any meaning to life in the answer of reason.
An article called “Holy Wars” was based on Francis Schaeffer’s writings primarily and it noted:
Then came the Beatles. John Lennon had declared that his group was more popular than Jesus. But they weren’t willing to stop there. They sought to supplant the true God with everything false. After the rock icons returned from India they brought with them not only the music of the Hindu guruRavi Shankar, but also his religion as taught by the Maharishi Mahesh Yogi. They were so impressed with that guru’s Transcendental Meditation woo woo that they just had to convert the whole Western World to it. The counterculturalists took it all in, hook line and sinker.
The New Mysticism What about the spread of Eastern religions and techniques within the West – things like TM, Yoga, the cults? We have moved beyond the counterculture of the sixties, but where to? These elements from the East no longer influence just the beat generation and the dropouts. Now they are fashionable for the middle classes as well. They are everywhere.
What about those who take drugs as a means of “expanding their consciousness”? This, too, is in the same direction. Your mind is a hindrance to you: “Blow it”! As Timothy Leary put it in The Politics of Ecstasy (1968): “Our favorite concepts are standing in the way of a flood tide two billion years building up. The verbal dam is collapsing. Head for the hills or prepare your intellectual craft to flow with the current.” So we see again the rejection of the mind. The verbal dam, the concepts, the intellectual craft? These must be bypassed by the “new man.”
Wherever we look, this is what confronts us: irrational experience. We must be careful not to be bewildered by the surface differences between these movements. We are not saying they are all the same. Of course there are differences. The secular existentialists, for example, disagree with one another. Then, too, secular existentialists differ with religious existentialists; the former tend to be pessimistic, the latter optimistic. Some of the movements are serious and command our respect. Some are just bizarre. There are differences. Yet, all of them represent the new mysticism! The problem with mysticism of this sort is, interestingly enough, the same problem we considered earlier in relation to all humanistic systems. Who is going to say what is right?
As soon as one removes the checking mechanism of the mind by which to measure things, everything can then be “right” and everything can also be “wrong.” Eventually, anything and everything can be allowed! Take a simple example from life: If you are asking for directions in a city, you first listen to the directions your guide is giving and then you set off. Let us say the directions are: “Take the first turn on the right, called Twenty-fourth Street; then the next turn of the left, called Kennedy Drive; and then keep going till you come to the park where you will see the concert hall just past a big lake on your right.” Armed with there directions, you go along – checking up on what you have been told: “Yes, there is Twenty-fourth Street. Yes, there is Kennedy Drive,” and so on.
In other words, you are not just told words; you are able to see if these words relate to the outside world, the world you have to operate in if you are going to get from A to B. This is where your mind is essential. You can check to see if the information you have been given is true or false.
Imagine, on the other hand, that someone said, in answer to your request for directions, “I don’t know where or what B is. It is impossible to talk about a `concert hall.’ What is a `concert hall’ anyway? We can only say of it that it is the `Unknowable.'” How completely ridiculous for you to be told, “Go any way – because this is the way”!
The trick in all these positions is to argue first of all that the End – Final Reality – cannot be spoken of (because it cannot be known by the mind) and yet to give the directions to find it. We should notice, however, that in this setting we can never ask questions ahead of time about the directions we receive. They are directions only for blindfolded experience, the blind “leap of faith.”
We cannot ask, “How will I know that it is truth or that it is the divine I am experiencing?” The answer is always, “There is no way you can be told, for it is an answer beyond language, beyond categories, but take this path [or that one, or another one] anyway.”
Thus, modern man is bombarded from all sides by devotees of this or that experience. The media only compound the problem. So does the commercialism of our highly technological societies. The danger of manipulation from these alone is overwhelming. In the absence of a clear standard, they are a force for the control of people’s minds and behavior that is beyond anything in history. In fact, there are no clear standards in Western society now; and where there is an appearance of standards, very often there is insufficient motivation to lean against the enormous pressures. And why? In part, at least, because there is an inadequate basis for knowledge and for morality.
When we add to this that modern man has become a “mystic,” we soon realize the seriousness of the situation. For in all these mystical solutions no one can finally say anything about right and wrong. The East has had this problem for thousands of years. In a pantheistic system, whatever pious statements may be made along the way, ultimately good and evil are equal in God, the impersonal God. So we hear Yun-Men, a Zen master, saying, “If you want to get the plain truth, be not concerned with right and wrong. Conflict between right and wrong is the sickness of the mind.”
Society can have no stability on this Eastern world-view or its present Western counterpart. It just does not work. And so one finds a gravitation toward some form of authoritarian government, an individual tyrant or group of tyrants who takes the reins of power and rule. And the freedoms, the sorts of freedoms we have enjoyed in the West, are lost.
We are, then, brought back to our starting point. The inhumanities and the growing loss of freedoms in the West are the result of a world-view which as no place for “people.” Modern humanistic materialism is an impersonal system. The East is no different. Both begin and end with impersonality.
Francis Schaeffer has correctly argued:
The universe was created by an infinite personal God and He brought it into existence by spoken word and made man in His own image. When man tries to reduce [philosophically in a materialistic point of view] himself to less than this [less than being made in the image of God] he will always fail and he will always be willing to make these impossible leaps into the area of nonreason even though they don’t give an answer simply because that isn’t what he is. He himself testifies that this infinite personal God, the God of the Old and New Testament is there.
Instead of making a leap into the area of nonreason the better choice would be to investigate the claims that the Bible is a historically accurate book and that God created the universe and reached out to humankind with the Bible. Below is a piece of that evidence given by Francis Schaeffer concerning the accuracy of the Bible.
TRUTH AND HISTORY (chapter 5 of WHATEVER HAPPENED TO THE HUMAN RACE?, under footnote #94)
We looked earlier at the city of Lachish. Let us return to the same period in Israel’s history when Lachich was besieged and captured by the Assyrian King Sennacherib. The king of Judah at the time was Hezekiah.
Perhaps you remember the story of how Jesus healed a blind man and told him to go and wash in the Pool of Siloam. It is the same place known by King Hezekiah, approximately 700 years earlier. One of the remarkable things about the flow of the Bible is that historical events separated by hundreds of years took place in the same geographic spots, and standing in these places today, we can feel that flow of history about us. The crucial archaeological discovery which relates the Pool of Siloam is the tunnel which lies behind it.
One day in 1880 a small Arab boy was playing with his friend and fell into the pool. When he clambered out, he found a small opening about two feet wide and five feet high. On examination, it turned out to be a tunnel reaching back into the rock. But that was not all. On the side of the tunnel an inscribed stone (now kept in the museum in Istanbul) was discovered, which told how the tunnel had been built originally. The inscription in classical Hebrew reads as follows:
The boring through is completed. And this is the story of the boring: while yet they plied the pick, each toward his fellow, and while there were yet three cubits [4 14 feet] to be bored through, there was heard the voice of one calling to the other that there was a hole in the rock on the right hand and on the left hand. And on the day of the boring through the workers on the tunnel struck each to meet his fellow, pick upon pick. Then the water poured from the source to the Pool 1,200 cubits [about 600 yards] and a 100 cubits was the height of the rock above the heads of the workers in the tunnel.
We know this as Hezekiah’s Tunnel. The Bible tells us how Hezekiah made provision for a better water supply to the city:Now the rest of the acts of Hezekiah and all his might, and how he made the pool and the conduit and brought water into the city, are they not written in the Book of the Chronicles of the Kings of Judah?(II Kings 20:20). We know here three things: the biblical account, the tunnel itself of which the Bible speaks, and the original stone with its inscription in classical Hebrew.
From the Assyrian side, there is additional confirmation of the incidents mentioned in the Bible. There is a clay prism in the British Museum called the Taylor Prism (British Museum, Ref. 91032). It is only fifteen inches high and was discovered in the Assyrian palace at Nineveh. This particular prism dates from about 691 B.C. and tells about Sennacherib’s exploits. A section from the prism reads, “As for Hezekiah, the Jew, who did not submit to my yoke, forty-six of his strong walled cities, as well as small cities in their neighborhood I have besieged and took…himself like a caged bird, I shut up in Jerusalem, his royal city. Earthworks I threw up against him,” Thus, there is a three-way confirmation concerning Hezekiah’s tunnel from the Hebrew side and this amazing confirmation from the Assyrian side.
The Bible and Archaeology – Is the Bible from God? (Kyle Butt 42 min)
This post is a continuation of our Top Ten Biblical Discoveries in Archaeology series. To see the complete series please click here. A Tough Time to be AliveOur #7 biblically significant discovery in archaeology takes us back again to the time of the #10 discovery. If you haven’t read about the Assyrian Lachish Reliefs please click here to become more familiar with the events of 8th century BC Judah.The year is 701BC. Sennacherib, the King of Assyria, has destroyed nearly every prominent town in the southern kingdom of Judah. Israel lies in ruins. Sennacherib thrusts the power of the Assyrian army toward the all-important city of Jerusalem. Jerusalem houses the God of the Jews. The defeat of Jerusalem would be a large strategic and symbolic victory.The Assyrians employ the military strategy of the siege. The army surrounds the fortified walls of a city, cut off all water and food to the city, and then they wait. The term, “siege” derives from sedere, Latin for “to sit”. Attacking armies would wait weeks, months or even years. Assyria had recently besieged nearby Samaria, destroying it after waiting 3 years. As the people in the city grew sick and weak the healthy army would then advance to destroy the city. There are usually only three outcomes of a siege: survive by finding a way to get food and water, surrender or die.Jerusalem faces certain ruin. Hezekiah, one of the few godly kings, encourages his people to trust in God. God will deliver them from Sennacherib. 2 Kings 18:7 tells us, “He rebelled against the king of Assyria and would not serve him.” In 2 Kings 18 we learn the Assyrian commander tells the people of Jerusalem, “Do not listen to Hezekiah, for he is misleading you when he says, ‘The Lord will deliver us.’ Has the god of any nation ever delivered his land from the hand of the kind of Assyria?” The Assyrians first try to convince the people of Jerusalem to overthrow Hezekiah.The head Assyrian commander tells the people of Jerusalem, “Has my master sent me to speak these words to your master and to you, and not to the men sitting on the wall, who are doomed to with you to eat their own dung and to drink their own urine?” (2 Kings 18:27) If the people of Jerusalem don’t overthrow Hezekiah they, their wives and children will be forced to desperate measures just to stay alive. The people of Jerusalem had a secret. They had been involved in one of the greatest engineering feats of the ancient world. It’s amazing what humans can accomplish when their backs are against the wall. The inhabitants of Jerusalem, facing certain death, found a secret way to get a constant source of water into Jerusalem. The Bible, in three areas, briefly mentions our #7 discovery:
“And the rest of the acts of Hezekiah, and all his might, and how he made a pool, and a conduit, and brought water into the city, are they not written in the book of the chronicles of the kings of Judah?” 2 Kings 20:20
“And when Hezekiah saw that Sennacherib was come, and that he was purposed to fight against Jerusalem, He took counsel with his princes and his mighty men to stop the waters of the fountains which were without the city: and they did help him. So there was gathered much people together, who stopped all the fountains, and the brook that ran through the midst of the land, saying, Why should the kings of Assyria come, and find much water?” 2 Chronicles 32:2-4
“This same Hezekiah also stopped the upper watercourse of Gihon, and brought it straight down to the west side of the city of David. And Hezekiah prospered in all his works.” 2 Chronicles 32:30
Hezekiah trusted in the supernatural power of God to deliver him AND he also employed immense hard work and ingenuity to keep his people alive. The Bible tells us he hid the Jerusalem water supply from the Assyrians and brought it underground into Jerusalem. This is all we know from Scripture.
Discovery
In 1838 American biblical scholar Edward Robinson shook up the archaeological world by discovering Hezekiah’s Tunnel. The tunnel was far more spectacular than anyone could have imagined. Two other tunnels had been dug in Israel out of soft chalky rock. The tunnel in Hazor is 82 feet long. The tunnel in Megiddo is 262 feet long. Hezekiah’s tunnel, in comparison, was dug through solid bed rock. What is the length of his tunnel? 1,750 feet!
The tunnel provides a constant stream of water through the city of Jerusalem. The tunnel takes water from the Gihon Spring and empties out at a place called the Pool of Siloam. The tunnel, surprisingly, does not follow the most direct route from the spring to the pool. The tunnel travels in an s-shape. If the tunnel was straight it would have only needed to have been 1070 feet, or 40% shorter. While the tunnel is far underground (appx 131 feet underground), the slope of the tunnel is precise. The tunnel slopes at a steady 0.6% grade. Once inside the tunnel another surprise is apparent. The head room within the tunnel varies considerably. The tunnel is always about as wide as a man’s shoulders. At the beginning of the tunnel the head room is pretty tight causing people to have to walk through it a bit hunched over. The last 160 feet of the tunnel, however, the ceiling soars up to 17 feet tall.
Toward one end of the tunnel, amazingly, an ancient Hebrew inscription was found on the wall. The inscription commemorates the point when two teams, digging from each end, finally met in the middle. The inscription reads:
“[…when] (the tunnel) was driven through. And this was the way in which it was cut through: While […] (were) still […] axe(s), each man toward his fellow, and while there were still three cubits to be cut through, [there was heard] the voice of a man calling to his fellows, for there was an overlap in the rock on the right [and on the left]. And when the tunnel was driven through, the quarrymen hewed (the rock), each man toward his fellow, axe against axe; and the water flowed from the spring toward the reservoir for 1200 cubits, and the height of the rock above the head(s) of the quarrymen was 100 cubits.”
Scientists have used several techniques to confirm the 8th century date of the tunnel. Some, especially those who claim the Jewish people did not have a sovereign kingdom in Jerusalem, claim the tunnel must have been created substantially more recent than 2,700 years ago. Analysis of the ancient writing; Carbon 14 dating of the plant life disrupted by the tunnel; uranium-thorium dating of the stalactites and stalagmites that grew after completion of the tunnel have all supported a date of around 700BC, the date given in the Bible for these events.
Construction of the Tunnel
How was Hezekiah’s Tunnel constructed without modern day equipment? How could two teams 131 feet underground, without GPS, meet in the middle connecting the two tunnels? How were the workers and subsequent users of the tunnel able to breathe oxygen? Why was the tunnel S-shaped and not straight? How were the workers able to maintain a precise 0.6% grade slope underground for 1,750 feet? These questions, ultimately, remain a mystery.
Over the past 150 years many theories have been offered to explain all these questions. Room is not available in this post to go into all of the theories. The wonder of it all is that the tunnel stands today, undisputed, still carrying water from the Gihon Spring to the Pool of Siloam.
Visiting the Tunnel Today
If you ever get the chance to visit Jerusalem I highly recommend you take the time, walk down the steep hill from the temple mount and walk through Hezekiah’s Tunnel. Most famous archaeological discoveries are only observable behind the glass of a museum. Hezekiah’s Tunnel is the equivalent of an amusement park. Many tours to Israel, unfortunately, do not include in the itinerary a walk through the tunnel. Others make the tunnel an optional part of the trip. Yes, if you are claustrophobic you might not like some of the portions of the tunnel. Yes, your feet may become numb as you walk through the cold spring water. Remember what was on the line for the people constructing the tunnel. Be successful or your friends, your parents, your kids, your wife may all be dead soon. Step into Hezekiah’s day and walk through the tunnel with the absolute awe of people who trusted in God and worked their heart out.
Significance
Hezekiah’s Tunnel brings to living color an amazing engineering feat at a desperate time in the history of Jerusalem. If the tunnel was 10 feet long and 5 feet underground it would still be a valuable discovery. The grandeur of Hezekiah’s Tunnel propels it to the front of the line. Few significant artifacts exist from the 8th century BC. The interaction we can have today with Hezekiah’s Tunnel is stunning.
What do you think? Join the conversation by posting a comment to this post. Do you consider Hezekiah’s Tunnel one of the Top Ten discoveries?
The Beatles are featured in this episode below and Schaeffer noted, ” Sergeant Pepper’s Lonely Hearts Club Band…for a time it became the rallying cry for young people throughout the world.”
How Should We then Live Episode 7 small (Age of Nonreason)
The Beatles – Within You Without You
Sgt. Pepper’s Lonely Hearts Club Band – 1967
Lyrics:
We were talking, about the space between us all
And the people, who hide themselves behind a wall of illusion
Never glimpse of truth, then it’s far too late, when they pass away
We were talking, about the love we could all share, when we find it
To try our best to hold it there, with our love
With our love, we could save the world, if they only knew
Try to realize it’s all within yourself no-one else can make you change
And to see you’re really only very small,
And life flows on within and without you
We were talking, about the love that’s gone so cold and the people,
Who gain the world and lose their soul
Then you may find, peace of mind, is waiting there
And the time will come when you see we’re all one,
And life flows on within and without you.
The basic tracks for “Within You Without You” featured only Harrison and a group of uncredited Indian musiciansbased in London. Producer George Martin then arranged a string section, and Harrison and assistant Neil Aspinall overdubbed the tambura. According to Prema Music, dilruba player Amrit Gajjar played on the track.[1]Hunter Davies wrote that Harrison “trained himself to write down his song in Indian script so that the Indian musicians can play them.”[2] With “Within You Without You”, Harrison became the second Beatle to record a song credited to The Beatles but featuring no other members of the group (Paul McCartney had previously done so with “Yesterday“).
“Within You Without You” is the second of Harrison’s songs to be explicitly influenced by Indian classical music (the first being “Love You To“, released on Revolver the previous year). Harrison said “I was continually playing Indian [sitar exercises] called Sargam, which are the bases of the different Ragas. That’s why around this time I couldn’t help writing tunes like this which were based on unusual scales.”[3] The song is Harrison’s only composition on Sgt. Pepper after “Only a Northern Song” was omitted from the album. Harrison wrote “Within You Without You” on a harmonium at the house of long-time Beatles’ associate Klaus Voormann (“We were talking about the space between us all, And the people who hide themselves behind a wall of illusion— never glimpse the truth”).[4]
“Within You Without You” was heavily influenced by George Harrison‘s interest in Indian music andVedanta philosophy.
The song, in the tonic (I) key of C (sped up to C# on the finished recording), is structured around an exotic Mixolydian melody over a constant C-G ‘root-fifth’ drone that is neither obviously major nor minor.[7] It opens with a very short alap played by the tambouras (0:00-0:04), then dilruba (from 0:04) while a swarmandal is gently stroked to announce the pentatonic portion of the scale.[3][8] A tabla then begins (at 0:23) playing a 16-beat tintal in a Madhya laya (medium tempo) and the dilruba plaintively backs the opening line of the verse (Bandish) or gat: “We were talking about the space between us all.” [3][8] The opening words “We were talking” are sung to an E-F-G-B♭ melody tritone interval (E to B♭) that enhances the spiritual dissonance sought to be evoked.[9] Soon an 11-piece string section plays a series of unusual slides to match the Indian music idiom where the melody is often “played legato rounded in microtones, rather than staccato as in Western music.”[8] The instrumental after the second verse and chorus involves the tabla switching from the 16 beat tintal to a 10 beat jhaptal cycle.[10] As a pointed counterpoint to the verse echoes of ancient Vedantic philosophy (“wall of illusion” “When you’ve seen beyond yourself, then you may find peace of mind is waiting there”) a sawal-jawab (musical dialogue) begins in 5/4 time between first the dilruba and Harrison’s sitar, then between the full Western string section and Harrison’s sitar, this tellingly resolving into a melody in unison and together stating the tihai that closes the middle segment.[10] Gould describes Martin’s strings as here making “their way through the bustle and drone of the Indian instruments with the slightly shaky dignity of a procession of sahibs in sedan chairs.”[11] After this, the drone is again prominent and the swarmandal plays an ascending scale, followed by a lone cello in descending scale that leads to the final verse in 16-beat tintal (“And the time will come when you see we’re all one, and life flows on within you and without you”) ending with the notes of the dilruba left hanging, until the tonal and spiritual tension is relieved by a muted use ofcanned laughter.[10]
Pollack considers that there two likely interpretations of the use of canned laughter. The first is that the presumably xenophobic Victorian/Edwardian-era audience implicit in the Sgt. Pepper band and concert concept “is letting off a little tension of this perceived confrontation with pagan elements.” The second holds that the composer is engaging in “an endearingly sincere nanosecond of acknowledgement of the apparent existential absurdity of the son-of-a-Liverpudlian bus driver espousing such other-worldly beliefs and sentiments”.[12] Two slightly different laugh tracks were used for the mono and stereo mixes. The laughter is slightly quieter than the instrumental track in the stereo version. However, it comes in more sudden and louder in the mono version.
Recording began on 15 March 1967 at Abbey Road studio 2 with Indian musicians from the Asian Music Circle, London,[13] sitting on a carpet with lights low and incense burning.[3] On 3 April 1967 George Martin’s score for eight violins and three cellos was added, attempting to imitate the slides and bends of the dilrubas.[3] The recording released on the album was sped up enough to raise the key from C to C#; an instrumental version of the song at the original speed and in the original key (and without the laugh track) appears on the Anthology 2 album.
The song was also included on the 2006 remix album Love. For this album, George Harrison’s vocal and sitar parts were mixed over McCartney’s bass and Ringo’s drum parts from “Tomorrow Never Knows,” although the opening lyric, “Turn off your mind … Relax and float downstream … It is not dying … it is not dying,” come from “Tomorrow Never Knows,” as does the set of reversed sound effects utilised in the mashup. During part of the second verse of the mashup version, the drums and bass of “Tomorrow Never Knows” are silenced, replaced by the tabla percussion parts of “Within You Without You.” Also, Harrison’s vocals are heard in the song’s intended key of C major. The blending of these two songs is considered the most effective form ofmashup on the album.[14] All of the music for Love was remixed and remastered by The Beatles’ producer Sir George Martin and his son Giles. The Love remix is one of the songs in The Beatles: Rock Band.[15] The original version has also been released as downloadable content along with the rest of the Sgt. Pepper’s Lonely Hearts Club Band album in November 2009.
Stephen Stills was so impressed with the lyrics that he had them carved on a stonemonument in his yard.[16] John Lennon declared “Within You Without You” “one of George’s best songs.”[17]
In 1996, Dead Can Dance released Spiritchaser that includes “Indus”, a song with a melody very similar to “Within You Without You”. After the similarity was discovered, they obtained Harrison’s permission to use it and gave him partial songwriting credit after pressure from the record company.[19]
My absolute favorite albums are Rubber Soul and Revolver. On both records you can hear references to other music — R&B, Dylan, psychedelia — but it’s not done in a way that is obvious or dates the records. When you picked up Revolver, you knew it was something different. Heck, they are wearing sunglasses indoors in the picture on the back of the cover and not even looking at the camera . . . and the music was so strange and yet so vivid. If I had to pick a favorite song from those albums, it would be “And Your Bird Can Sing” . . . no, “Girl” . . . no, “For No One” . . . and so on, and so on. . . .
Their breakup album, Let It Be, contains songs both gorgeous and jagged. I suppose ambition and human frailty creeps into every group, but they delivered some incredible performances. I remember going to Leicester Square and seeing the film of Let It Be in 1970. I left with a melancholy feeling.
96
‘Within You Without You’
Michael Ochs Archives/Getty Images
Main Writer: Harrison Recorded: March 15 and 22, April 3 and 4, 1967 Released: June 2, 1967 Not released as a single
Harrison had been obsessed with the sitar since he saw one on the set of Help! in 1965. But it wasn’t until he went to India in 1966 to study with sitar master Ravi Shankar that he became truly skilled at it. Harrison often practiced eight hours a day while in India. “George’s passion for the music amazed me,” Shankar said.
“Within You Without You” was the first fruit of Harrison’s studies. Augmenting his sitar with an 11-piece string section and Indian instrumentation, it was a magnetic sermon on spirituality. “It’s one of my favorite [songs] of his,” Lennon said. “His mind and music are clear. . . . He brought that sound together.”
Harrison’s devotion to the sound and spirit of India lingered, blooming over his solo masterwork, All Things Must Pass. “Till the day I die,” Harrison told Rolling Stone in 1968, “I believe [Indian music] is the greatest music ever on our level of existence.”
Appears On:Sgt. Pepper’s Lonely Hearts Club Band
95
‘Any Time at All’
Harry Hammond/V&A Images/Getty Images
Main Writer: Lennon Recorded: June 2, 1964 Released: July 20, 1964 Not released as a single
“Any Time at All” shows how much the Beatles learned from their hero Buddy Holly. The song has all the Holly trademarks — the jangling guitars, the openhearted generosity of the lyric, the urgent emotion in the voices. It’s a pledge of 24-hour devotion to a girl, with Lennon speaking his mind in a brash way (“Call me tonight, and I’ll come to you”) that would have made Holly proud — even though Lennon himself wasn’t thrilled with the results. (He dismissed the song as my “effort at [re]writing ‘It Won’t Be Long.'”)
If the Beatles play the song like they’re in a hurry, it’s because they were — this was recorded on the last day of the sessions for A Hard Day’s Night, before they departed for a monthlong tour. (Unfortunately, the morning after they cut “Any Time at All,” Ringo collapsed with tonsillitis and pharyngitis, so they went to Denmark with a replacement drummer.) “Any Time at All” reprises a George Martin trick from “A Hard Day’s Night” by using a piano solo echoed lightly note-for-note on guitar by Harrison. Never a hit, “Any Time” became a fan favorite.
Appears On:A Hard Day’s Night
94
‘You Won’t See Me’
Stephan C. Archetti/Keystone Features/Getty Images
Main Writer: McCartney Recorded: November 11, 1965 Released: December 6, 1965 Not released as a single
On the night of November 11th, 1965, the Beatles were in a bind. The deadline for completing Rubber Soul was upon them, and they needed to record three songs that evening to wrap up the album. On top of that, McCartney was having problems with his girlfriend, Jane Asher: He was upset that the actress had moved to Bristol to join the Old Vic theater company. Out of McCartney’s anger came “You Won’t See Me,” which finds him spitting out, albeit in his nice-guy way, some of his most bitter lyrics: “Time after time, you refuse to even listen/I wouldn’t mind if I knew what I was missing,” he grouses. As cranky as the lyrics are, the music behind them is positively bouncy, buoyed by Starr’s inventive drumming and a melody and bass line that are an obvious homage to Four Tops singles such as “I Can’t Help Myself.” “To me, it was very Motown-flavored,” said McCartney later. “It’s got a James Jamerson feel.” The Beatles were in such a rush to get the song over with that they cut it in only two takes.
Appears On:Rubber Soul
93
‘Sexy Sadie’
Cummings Archives/Redferns
Main Writer: Lennon Recorded: July 19 and 24, August 13 and 21, 1968 Released: November 25, 1968 Not released as a single
Lennon left India abruptly after hearing stories about the Maharishi Mahesh Yogi’s sexual impropriety with female students. While he and Harrison were waiting for a ride out of Rishikesh, Lennon composed this biting denunciation of his guru. He later told Rolling Stone that when the Maharishi asked why the pair were leaving, he replied, “Well, if you’re so cosmic, you’ll know why.”
The initial version of “Maharishi,” as the song was originally called, was even nastier (“You little twat/Who the fuck do you think you are?”); at Harrison’s suggestion, Lennon changed the title to “Sexy Sadie.” The other Beatles were nowhere near as vehement about repudiating the Maharishi. “It’s really funny, John’s reaction to this sexual thing,” McCartney said. “It seemed a little prudish to me.” Harrison, who swore the gossip about the Maharishi’s sexual misconduct was not true, was even more sanguine: “There were a lot of flakes [in Rishikesh]. Some of them were us.”
Main Writer: Lennon Recorded: January 22, 24, 28 and 30, February 5, 1969 Released: May 18, 1970 Not released as a single
This witty jumble of words was recorded at the Beatles’ rooftop performance, with an assistant holding up Lennon’s lyrics for him as a cue. “I roll a stoney/Well, you can imitate everyone you know,” Lennon sings. It might simply be an agreeable bit of nonsense (in 1980, Lennon dismissed “Dig a Pony” as “another piece of garbage”), or it might be a dart hurled at the Beatles’ chief rivals in English rock & roll, the Rolling Stones. Lennon and McCartney wrote the Stones’ second single, 1964’s “I Wanna Be Your Man” (Lennon later wryly noted, “We weren’t going to give them anything great“), and Keith Richards had played with Lennon on the Stones’ Rock and Roll Circus in late 1968. But in an interview with Rolling Stone in 1970, Lennon’s resentment spilled out: “I would like to just list what we did and what the Stones did two months after on every fuckin’ album. Every fuckin’ thing we did, Mick does exactly the same. They are not in the same class, musicwise or powerwise — never were.”
Main Writer: McCartney Recorded: September 29 and 30, 1964 Released: June 14, 1965 Not released as a single
The fond but self-centered lyrics of “Every Little Thing” celebrate the affections of McCartney’s girlfriend, Jane Asher, alternating between vows of love and bragging about “the things she does.” McCartney wrote the song while staying with Asher and her family in London; he and Lennon added finishing touches on tour in Atlantic City. McCartney said later that he thought “Every Little Thing” was “very catchy” but not what he hoped it would be. “Like most of the stuff I did, it was my attempt at the next single,” McCartney said. “But it became an album filler.”
Recording involved nine takes over the course of two days, including one outtake that dissolved into laughter. The finished track — a heartfelt, midtempo song, with a gorgeous melodic leap in the chorus — pulls switcheroos on a couple of the usual early Beatles routines. The main writer isn’t the lead singer; Lennon’s voice dominates. And Starr reached beyond his drum kit to play the booming timpani that jumps out midchorus.
Appears On:Beatles for Sale
Richard Lindner was featured on the cover of
Sgt. Pepper’s Lonely Hearts Club Band so today’s featured artist is Richard Lindner:
Moon over Alabama 1963 Richard Lindner 1901-1978 Thyssen-Bornemisza Museum Madrid
Well, I did a little looking around and found a site that identifiesall of the individuals in the Sgt. Pepper illustration. Here’s Richard Lindner between Stan Laurel and Oliver Hardy. Directly in front of him is George Bernard Shaw.Other visual artists included in the picture are: Simon Rodia creator of the Watt’s Towers (top row just to the left of Bob Dylan), Wallace Bergman (six heads to the left of Lindner), and Larry Bell (between and slightly above John and Ringo in uniform).
Richard Lindner was born in Hamburg, Germany. His mother Mina Lindner was American and born in New York as daughter of German parents. In 1905 the family moved to Nuremberg, where Lindners mother was owner of a custom-fitting corset business and Richard Lindner grew up and studied at the Kunstgewerbeschule (Arts and Crafts School since 1940 Academy of Fine Arts). From 1924 to 1927 he lived inMunich and studied there from 1925 at the Kunstakademie. In 1927 he moved to Berlin and stayed there until 1928, when he returned to Munich to become art director of a publishing firm. He remained there until 1933, when he was forced to flee to Paris, where he became politically engaged, sought contact with French artists and earned his living as a commercial artist. He was interned when the war broke out in 1939 and later served in the French Army.
In 1941 he went to the United States and worked in New York City as an illustrator of books and magazines, making contact with New York artists and German emigrants (Albert Einstein, Marlene Dietrich, Saul Steinberg). In 1948 he became an American citizen. From 1952 he taught at the Pratt Institute, Brooklyn, from 1967 at Yale UniversitySchool of Art and Architecture, New Haven. In 1957 Lindner got the William and Norma Copley Foundation-Award. In 1965 he became Guest Professor at the Akademie für Bildende Künste, Hamburg. His paintings at this time used the sexual symbolism of advertising and investigated definitions of gender roles in the media. Richard Lindner died in 1978. He was buried at Westchester Hills Cemetery in Hastings-on-Hudson, New York.
“The artistic universe of Richard Lindner is unique: he is highly genuine, he is full of urban energy, and he is driven by weird eroticism…Richard Lindner started his career as an artist eventually at the age of 40 in New York. In this metropolitain jungle Lindner created his oeuvre: exciting and powerful images of robot like figures, amazons and heroines, harlequins of self-styled heroes – his artistic panorama of the unruly 60s and 70s of the 20th century” (sic) (Claus Clement quoted in: Richard Lindner – Paintings, Works on Paper, Graphic – Nuremberg 2001). One of Lindner’s paintings, “Boy With Machine,” 1954, appears on the cover-leaf of Deleuze’sAnti-Oedipus, and thus the image has formed part of many readers’ introduction to Deleuze’s later and more accessible philosophy.
“Who?” you say. So did I, at first. (Left:”Hit”, by Richard Lindner. 1971) I settled on writing a few lines about Richard Lindner after considering first Egon Schiele (too porny and horny for a family blog), then Lucian Freud (nudes can get so boring), and finally found something of interest in Mr. Lindner’s artwork. Investigating examples via Google Image, the style seemed kind of familiar. It had a general “feel” of The Beatles about it – think of those Yellow Submarine images. Lindner’s style seems reminiscent of much from the early 70s, even though some of his work was painted well outside that time span – perhaps it provided the inspiration for later artists.My feeling of a link to the Beatles was triumhantly justified when I happened upon some websites showing the famous cover of their Sergeant Pepper album.Richard Lindner is one of the numerous faces featured there, the cover was said to be a kind of homage to people they admired…..Lindner’s face is behind George Harrison – not immediately behind, but the next one up, and below a female face.Back to the astrology of artist du jour: Richard Lindner. He was born in Hamburg, Germany on 11 November 1901. His family moved to Nuremburg , later Lindberg studied in Munich but at the rise of Hitler and the Nazis he escaped to Paris, then in 1941 traveled to New York, where he worked as illustrator for various glossy magazines. He became an American citizen in 1948. He later taught at the Pratt Institute and Yale University.His natal chart is set for 12 noon as no time of birth is available.It’s another of those distinctive-looking charts, with all personal planets clustered within just 3 zodiac signs: Scorpio, Sagittarius and Capricorn. Two outer planets Pluto and Neptune lie roughly opposite. Some astrologers class this type of configuration as a fan or bucket pattern, the “odd” planets form the handle. In this case, because the handle planets are outer, slow-movers which relate to whole age groups, I’m not so sure this applies.What we can say about his personal planets is that though they are clustered close together, they still present a fairly well-balanced picture, element-wise and mode-wise. In a nutshell Lindner’s Sun, and Moon (whatever time of birth) in Scorpio indicate an intense character, one with the ability to see through pretense and get to the core of things. A spot of Sagittarian exaggeration from Mars seeps into all of his art – it’s his trademark in fact, along with the bright garish colors, as can be seen below. Venus Jupiter and Saturn all in Capricorn reflect a basically practical, rather than whimsical nature – and perhaps the strange flatness of his paintings comes from the Capricorn and Saturn in his nature, both link to limitation and structure. He lets himself go on color and content but limits himself in depth and perspective.In this quote his art is described as “erotically drawn” (Scorpio) “highly defined”, “mechanistic”(Capricorn/Saturn):
His work has been described by art critics as “mechanistic cubism.” Infused with personal imagination, his style has overtones of the “Cabaret-Berlin” culture of the 30’s, with flat areas of often garish colors, separated by highly defined edges. His subjects, too, seem to come from that era. His women, archetypal in this respect, are often corseted, erotically drawn in a garish and generic, rather than individuated way. Streetwalkers, continental circus women, and men in uniforms populate the Lindner landscape
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 […]
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 […]
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, […]
Eric Clapton and Jimmy Page were very good friends (both had been members of the YARDBIRDS) and Eric Clapton read Schaeffer’s book ESCAPE FROM REASON and gave it to Jimmy Page. Did Clapton also give it to his best friend George Harrison or at least talk about it to him later?
I have dedicated several posts to this series on the Beatles and I don’t know when this series will end because Francis Schaeffer spent a lot of time listening to the Beatles and talking and writing about them and their impact on the culture of the 1960’s. In this series we have looked at several areas in life where the Beatles looked for meaning and hope but also we have examined some of the lives of those writers, artists, poets, painters, scientists, athletes, models, actors, religious leaders, musicians, comedians, and philosophers that were put on the cover of Sergeant Pepper’s Lonely Hearts Club Band album. We have discovered that many of these individuals on the cover have even taken a Kierkegaardian leap into the area of nonreason in order to find meaning for their lives and that is the reason I have included the 27 minute episode THE AGE OF NONREASON by Francis Schaeffer. In that video Schaeffer noted, ” Sergeant Pepper’s Lonely Hearts Club Band…for a time it became the rallying cry for young people throughout the world.”
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How Should We then Live Episode 7 small (Age of Nonreason)
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John Lennon, Eric Clapton, Keith Richards, Mitch Mitchell, Jimi Hendrix
Uploaded on Jul 1, 2010
John Lennon (Beatles), Eric Clapton (Cream), Keith Richards (Rolling Stones), Mitch Mitchell (Jimi Hendrix Experience) – Yer Blues
Is there evidence that some of the Beatles may have been exposed to the works of Francis Schaeffer? Let me give two points of evidence concerning that. First, Eric Clapton and George Harrison were best friends up until George’s death in 2001 and it has been documented that Eric Clapton read the book ESCAPE FROM REASON by Francis Schaeffer and recommended it to friends. (Evidently Clapton has had a life long curiosity about at the Christian faith according to Dr. John Powell of Oklahoma Baptist University). Second, I personally have written letters to the other two remaining Beatles and I hope they both got a chance to read them.
I was just speaking at SoulFest(August 7-9). It’s a music festival with evangelical roots. The band Switchfoot played. I’m several things but not evangelical. Could you imagine a more uncomfortable fit for me? I was expecting the worst. What I got was two gifts: One of pure art and the other pure grace. I also got a good and necessary humbling.
FIRST GIFT: Switchfoot’s new album that they played from at the festival — “Fading West” — is the best rock and roll I’ve heard in years. I haven’t been so excited by a rock album since the day in 1967 when I was fifteen and I put “Sgt. Pepper’s Lonely Hearts Club Band” on a turntable for the first time. This was just before running away from a boarding school in the UK.
“Sgt. Pepper’s” became my personal sound track of liberation back then as “Fading West” is now.
Last night my wife Genie and I sat and listened to the album four times in a row. Then we watched the movie of the same title. We are sixty-two and sixty-three years old. We are also both old rockers who felt like we were sixteen again, only maybe a little wiser and nicer!
Genie, my wife of 44 years, was as moved as I was by the terrific music and lyrics. She grew up in the Bay Area and as a teen had the distinction of seeing the Beatles three times (!) live and the Rolling Stones four times (!) live.
Meanwhile, I was growing up in Switzerland in a mission (L’Abri Fellowship), and my “almost famous” rock-n-roll high point came when I got a job helping with the Led Zeppelin’s light show at the Montreux Jazz/rock festival. I met Jimmy Page and noticed he was reading one of my dad’s first books, ESCAPE FROM REASON. (No kidding.)
This was back in the days when Dad was a sort of hippie guru for Jesus catering to Beats, hippies and dropouts hitching across Europe. Eric Clapton had given Page the book as it turned out. (Don’t write me, neither “got saved,” and I have no idea how this story ends!)
I was trying to be “cool” that day on the light show crew… and I wasn’t too pleased to find my brief escape into the rock world from the world of my Dad’s evangelical mission was no escape from my God-world at all. He’d been giving lectures on Bob Dylan, and drug guru Timothy Leary had been a guest at L’Abri. And now I got to briefly “hang out with the band” and Dad got there first, or at least one of his books did! Sheesh! It’s hard to be cool!
…Anyway… Just before coming to my parent’s mission in 1969 – Genie was visiting a friend and knew nothing about the place — she was hanging out with the Santana drummer in California. My then teen bride-to-be Genie might as well have gone to another planet when she stumbled into Dad and Mom’s ministry. The only Billy Graham she’d ever heard of was the Fillmore West manager!
I wonder if my wife-to-be was in the Fillmore West rock palace when Dad and I were there one night in 1968 listening to the Jefferson Airplane together and some hippie handed Dad a joint? Dad passed it on down the row, not taking any himself but totally un-shocked and loving Grace Slick as much as I did… if only Jerry Falwell could have seen us then…
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(I know who Jimmy Page is since I have always been a big Led Zepplin fan and I have interesting story to tell about their best song in my view which I shared on an earlier post. )
Led Zeppelin – When The Levee Breaks
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I just wanted to point out what an impact that the short 119 page book ESCAPE FROM REASON has had. Below is a story of Paul McGuire who had never been exposed to Christianity until he read that book and it changed his whole worldview.
By Paul McGuire
My spiritual pilgrimage began at a very young age when the questions, “Who am I? What is my purpose in life?” and “What am I doing here?” haunted me and burned in my mind night and day. While other children were content to play, I was driven to ask questions about the meaning of life. Raised in New York City, I came from a liberal, educated family. Both my parents were teachers, and neither believed in God.
As a young boy, I thought science could give me the answers to my questions about life. Reading every book I could get my hands on about science and the lives of the great scientists, I often devoured ten books a week. I read about men like Albert Einstein, Nicola Tesla, Thomas Edison, Enrico Fermi, Louis Pasteur, and John Oppenheimer. Building a huge laboratory in my bedroom, I undertook amateur experiments on cryogenics and nuclear physics. Soon, however, I realized that these brilliant men did not have the answers I was looking for. Thus, at an early age I discovered the bankruptcy of scientific materialism.
After exhausting science as a means of finding the meaning of life, I next investigated the occult and Eastern religions. Biblical Christianity was not even an option for me. I had never once met a Bible-believing Christian or seen an evangelist on television, and the churches in my neighborhood were steeped in liberal theology or dead orthodoxy.
The only religion we had at home was secular humanism – the belief that there is no God and man is the center of the universe. As a result, I was raised to believe that there was no absolute right or wrong. Around the dinner table, my parents taught me that human evil was due to ignorance and that the concept of a personal God was an archaic belief any educated person should transcend. In addition, they told me that Christians were intellectually pathetic people who were “anti-love,” “anti-joy,” and “anti-sex.” Instead of promoting anything good, Christians were responsible for the crusades and the Inquisition.
One Thanksgiving evening my grandmother asked my father to pray. Instead, he launched into a thunderous tirade about how there was no reason to thank God – everything we had came from man’s hard work.
In the atheistic environment of my home, the spiritual void within me grew deeper, and I plunged headlong into the New Age philosophy and radical politics. Soon after I reached puberty, my parents divorced, ripping my world apart. My spiritual pilgrimage merged with a growing hatred of all authority and society. I was ripe to be seduced by the counterculture and the psychedelic philosophy of the ’60s which has now become the New Age Movement.
Although my mother held a secular humanist worldview, she was always full of loving concern and discipline. She spent thousands of hours reading me books and taking me to museums and libraries. Genuinely concerned about her rebellious son, my mother sent me to a psychotherapist whom she hoped would solve my problems.
I told my therapist that I wanted to know why I was alive, who I was, and what purpose there was for my life. He could not help me and only provided a listening board. In the vain hope of finding answers, I began reading Sigmund Freud, Carl Rogers, and Carl Jung. But all the leading psychological theorists seemed to contradict each other, and I was left more confused than ever.
Then the “hippie” movement with its drugs and “free love” exploded across the nation. I remember the first time I saw Timothy Leary. Wearing a white outfit and grinning like the “Cheshire Cat” from Alice In Wonderland, he said on national television “Tune in, turn on, and drop out.” This psychedelic prophet of LSDwas in distinct contrast to the people involved in organized religion. Then the Beatles recorded “Sgt. Pepper’s Lonely Hearts Club Band,” and the psychedelic invasion of drugs, Eastern religion, and promiscuous sex spread.
At the age of fifteen, I was wearing long hair and boots and demonstrating with Abbie Hoffman in New York City. I organized demonstrations and was even made an honorary member of the Black Panther Party for protesting outside a prison against the arrest of Panther leaders.
Simultaneously, I deepened my activities in Eastern mysticism and was introduced to drugs by an “honor student” in my high school. I read a book by Aldous Huxley titled Heaven and Hell and the Doors of Perception, which describes Huxley’s experimentation with hashish and mescaline as a means to enter a higher state of consciousness. This fellow student, whose father was a doctor, “turned me on” to hashish and mescaline as part of a serious scientific experiment. Together, we passed through the “doors of perception” and entered a higher realm of consciousness.
Fueled by drugs like LSD and mescaline, it was the psychedelic ’60s that ushered in the current New Age Movement. Powerful mind altering drugs like LSD blasted people into the spiritual realm and forced them to acknowledge the presence of a spiritual reality. This opened the door to the occult and the myriad practices of Eastern mysticism that gave birth to the New Age Movement.
In my own life, the use of powerful psychedelic drugs like LSD intensified my plunge into the New Age philosophy and Eastern Mysticism. Thus began an electric pilgrimage into Hinduism, Buddhism, the teachings of Don Juan, yoga, mental telepathy, altered states of consciousness, hypnotherapy, astral projection, reincarnation, the occult, devil’s weed, spirit guides, and a smorgasbord of mystical experiences. I was greatly influenced by men like Baba Ram Dass, Ken Kesey, Timothy Leary, and Stephen Gaskin.
In fact, my major at the University of Missouri was called “Altered States of Consciousness,” a brand-new accredited field within the Department of Psychology. We studied different means of entering higher states of consciousness and engaged in exercises based on Eastern mystical teaching and experiences by men like Carlos Castaneda. It was during this time of intense New Age activity that I developed spiritual powers and “cosmic consciousness.”
My professor at the University of Missouri was a practicing mystic and taught a number of courses on mental illness. He believed, as did popular psychologists like R.D. Laing, that mental illness or madness could be a means of entering higher consciousness. In this theory, insane people are considered spiritual pilgrims caught between two realities.
My professor invited gurus to teach and perform supernatural feats of levitation. Once while my professor was lecturing, I heard a distinct voice within me shout, “Surrender to the dark forces within!” At this point in my life I noticed a growing intensity in the manifestation of strong paranormal experiences. Yet at the same time, I had a growing feeling that things were getting out of control. The more bizarre things became, however, the more I believed I was moving toward “enlightenment.” I became convinced that everything happening was due to my excess “karma” burning off.
As is often the case with people involved in drugs and the occult, I experienced mixed feelings of great elation and depression. I became a kind of mystical “wildman,” hiking into the woods while on psychedelic drugs and communing with what I thought was God. But I was like a comet crashing into the atmosphere, burning more brightly as I moved through the heavens and consuming myself in flames. One evening I broke into my psychology professor’s office and wrote him an anonymous note warning him of the dangers of “the journey.”
Invasion Of The Jesus Movement
In the early ’70s, a strange thing happen at the University of Missouri: The Jesus Movement spread from the West Coast and entered the campus town of Columbia, Missouri. I remember seeing an article on the Jesus Movement in a national magazine. Reading about these Christians, who I thought were going to regress mankind into a new Dark Age with their “primitive blood-stained religion,” made me furious. I hated them because I thought they would stop the “revolution” and the establishment of the new world order based on higher consciousness.
People involved in the New Age Movement hold the very same beliefs, for their goal is to create a one-world government and unify the planet under a spiritual system of higher consciousness. Like many New Agers, I viewed Christians with all their talk of Jesus Christ being the “only way” as an anachronism and a threat to the spiritual/political revolution coming to the planet.
About this time, however, I finally came face to face with genuine Christians who moved in the supernatural flow of the Holy Spirit and had the glory of God shining on their countenances. I encountered Spirit-filled Christians everywhere and thought it was my duty to defend the faith of Eastern mysticism and the religion of “higher consciousness.” Attacking and debating believers in philosophy classes whenever they spoke out about their faith, I delighted in trying to humiliate them and prove them wrong through intellectual arguments.
In addition, I increased my “outrageous” behavior in front of Christians in an attempt to mock and ridicule them. Since I studied film, I made X-rated animation movies with Barbie dolls in an attempt to sneer at Judeo-Christian morality.
Despite my bitter hatred, a couple of true Christians began to zero in on me and share the love of Jesus Christ. Beneath all my bravado was a hurting, frightened individual reaching out for answers. At first, my mind completely rejected everything they were saying. But they continued to love me with a pure, deep, spiritual agape love. Even though I thought what they were saying was complete idiocy, I felt myself being wooed and convicted by the Holy Spirit as they talked.
For the first time in my life, I sensed God’s love for me. All my intellectual arguments were reduced to nothing as I encountered something far more real than anything I had experienced before. This was not some “trip” or mystical high. The purity and love that I felt had to be God.
Empowered by the Holy Spirit, these supernatural Christians opened up their lives to me. They cared about me as a person and loved me. They invited me to their prayer meetings and had me over for dinner. Through their personal ministry to me, I felt the arms of the living God embrace me and hug me like my father never had. As the Lord touched me deep within my heart, the hurt and bruised child locked inside me emerged and responded to His love.
Although I wasn’t yet ready to surrender, the Holy Spirit continued to work in my life. I had all kinds of intellectual questions, so my Christian friends gave me a book by Dr. Francis Schaeffer called ESCAPE FROM REASON. It changed my life. I was shocked to discover that a person could be both intelligent and a Christian. Talking about God, film, art, and philosophy in brilliant and articulate terms, Dr. Schaeffer explained contemporary culture in a way I had never understood.
Still I fought with the Holy Spirit, and the forces of darkness did not want to let me go. As these Christians prayed for me, the Holy Spirit continued to convict me. Sometimes I found myself walking alone by the highway, and, even though I was “stoned,” I would begin sobbing and weeping as Almighty God touched me.
The Hand Of Providence
One afternoon a guy named Tim invited me to a retreat in a wooded area about an hour away from the campus. I had mysteriously met Tim in the hallway of a dormitory, where he sat reading the Bible that he carried with him everywhere. He was in the hallway to meet someone else, but providentially he met me and invited me to this Christian retreat. Tim’s eyes shone with sincerity and the love of God, so I accepted his invitation.
Dressed in boots, blue jeans, and long hair, I arrived at the retreat center. A brief look at the place quickly convinced me that these people didn’t have what I was looking for. They were the kind of Christians I had seen before – religious but lacking the depth and dimension of people who have had a personal encounter with Jesus Christ.
While at the retreat center, I noted vague references to the Bible, but primarily we played games like “spin the bottle.” I was totally disgusted, for these people reinforced my worst preconceptions about Christianity. After spending the night I told Tim during breakfast that I was going to hitchhike back to the university. Tim walked me to the highway and said, “Paul, God will take care of your ride home.” Wondering if he was some kind of religious nut but hoping to humor him, I said, “Yeah, yeah sure.” Then I stuck out my thumb and tried to hitch a ride.
The first person to pick me up was a Pentecostal preacher. He and his wife talked to me about Jesus the entire ride. Stunned, I chalked it up as coincidence; after all, this was the Bible Belt. After they let me out, I stuck out my thumb and was picked up by a Bible salesman with a station wagon filled with Bibles! As we whizzed down the highway, he opened a giant Bible and began reading. With no hands on the wheel, he asked me if I wanted to receive Jesus into my life. I managed to gulp a “yes,” and he pulled off the road.
As we rolled to a stop, the thought raced through my mind, “What have I got myself into? Is this guy some kind of religious psychopath or axe murderer?” Growing up in New York City had taught me to suspect everybody’s motives and not to trust strangers.
The next thing I knew this Bible salesman was leading me in a prayer. With head bowed and hands clasped, I heard myself saying, “Jesus Christ, I ask you to forgive me of my sins. I invite you to come into my life and make me born again. In Jesus’ name. Amen.” I couldn’t believe I had said this prayer. I wasn’t even sure what sin was, although it seemed to me like an archaic concept. But I prayed in faith and meant it.
Hours later, I forgot the incident had even occurred and “partied” the night away with friends. The next day I woke up hung over and decided to visit a Christian girl named Laura. She and her boyfriend, Burgess, had spent a lot of time ministering and witnessing to me about Jesus.
As Laura and I talked, we were walking next to some giant Roman columns in the university quadrangle. I told her about my highway experience, and another girl sitting on the lawn overheard our conversation. It turned out that she was a minister’s daughter wrestling with the question of whether or not Christianity was really true. Looking at me pointblank, she said, “Do you believe that Jesus Christ was the Son of God?”
All of a sudden the words, “Yes, I believe that Jesus Christ is the Son of God!” leapt from deep within me. I was shocked. I had never said anything like that before. As I spoke, I had the most powerful spiritual experience of my life. It seemed that the sky had cracked open, and the presence of God overwhelmed me. A giant veil was lifted from my eyes as I realized God truly did exist.
I understand that I risk losing credibility by relating this experience exactly as it happened. True miracles can be cheapened by relating them in either a glib or a sensational manner. Many Christians carelessly utter the word “miracle” with such arrogance that it loses all its value. In addition, I understand that many people have had quiet but profound experiences with Jesus Christ that have just as much validity as mine.
But for me to minimize or reduce what happened to more logical terms just to make it more plausible would be inaccurate. I felt as if every dream I had ever had within the depths of my soul came true in an instant. Literally caught up in the Holy Spirit, I felt I was floating for weeks. Although I was higher than I had ever been in my entire life, I knew that the experience was genuine and pure.
Everything I had searched for in Eastern mysticism, human relationships, and the New Age Movement, I now found in Jesus Christ. This was not just another higher state of consciousness, an “upper story leap” without rational content, or a mystical trip. Nothing about this was artificial or mystical.
One could easily misconstrue my involvement in the New Age Movement and my encounter with Jesus Christ as the path of someone hopping from experience to experience lacking rational and verifiable content. Let me assure you that when I began my spiritual journey I did so as a scientist and a skeptic.
The contrast between mystical experiences and my encounter with Jesus Christ was as different as night and day. All of the New Age and Eastern mystical experiences I was involved in had an illusory quality no matter how real they seemed at the time. Jesus Christ was not just another “experience.” My newfound relationship with Him conveyed a reality so strong that I knew I had found God.
PAUL’S PERSONAL TESTIMONY ABOUT HOW HE ESCAPED THE NEW AGE MOVEMENT AND HOW JESUS CHRIST RESCUED HIM FROM DECEPTION?
How Should We then Live Episode 7 small (Age of Nonreason)
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Eric Clapton and George Harrison
Eric Clapton and George Harrison had been friends since the early 1960s, when George was in the biggest band in the world and Clapton was still trying to make a name for himself. So, as a close family friend, it was to Eric Clapton that George Harrison’s wife Patti Boyd turned when her marriage to the former Beatle hit the rocks. Things quickly took a turn for the inevitable, and after years of sneaking around behind George’s back, the pair finally came clean about the affair they’d been having. A bitter feud developed between the rockers, with Clapton documenting his worries in the song Layla. The animosity didn’t last long though as Harrison is rumoured to have performed at the pair’s wedding in 1979.
She was George Harrison’s “Something” and Eric Clapton’s “Layla.”
What was it about the British model Pattie Boyd that inspired two of rock music’s most talented and famous men to write such emotional songs about her?
“I wish I knew,” Boyd said in an interview with ABC News’ Elizabeth Vargas. “Like, I wish I could tell you. I don’t know.”
Boyd, who also inspired Clapton to write “Bell Bottom Blues” and “Wonderful Tonight,” hasn’t spoken very much about her relationship with either man.
But now, at age 63, she has written a memoir detailing her life with rock royalty, called “Wonderful Tonight.”
Harrison Was ‘Absolutely Adorable’
Harrison met 19-year-old Boyd in 1964 on the set of the film “A Hard Day’s Night,” where she was acting in a small role.
Harrison was smitten with her and said, “Will you marry me?” She laughed, and he replied, “Well, if you won’t marry me, will you have dinner with me tonight?”
She turned him down, saying she was already having dinner with a boyfriend.
Boyd rethought the decision, though, and soon broke up with that boyfriend. She was called back to the set of the movie a few days later, and this time she said yes when Harrison asked her out. The two fell in love and married in 1966.
“I thought he was absolutely adorable,” Boyd said of the Beatle. “He was very, terribly good looking, but really funny as well and just enchanting.”
Harrison and Boyd shared a passionate and stormy marriage for 11 years, a relationship that inspired what many consider one of the greatest love songs ever, “Something.”
“I remember him playing this melody quite a lot, and then some time later, he wrote lyrics for it,” Boyd said. “And I didn’t realize until after he’d recorded it and he told me that he’d written it for me. … I was thrilled. I couldn’t believe it. It was wonderful.”
‘I’m in Love With Your Wife’
By the time that song was composed in 1968, however, the couple’s marriage was falling apart. Amid the turmoil, Boyd received a declaration of love from her husband’s good friend Eric Clapton.
Clapton wrote the song “Layla,” pouring out his feelings for his unrequited love. She remembered hearing the song for the first time.
“He said, ‘I’ve got something for you to hear,’ and he put it on in a cassette machine and played it,” Boyd said. “And I said, ‘Oh, gosh, this is unbelievable!’ And he said, he was just looking at me and saying, ‘This is for you, I’ve written it for you.'”
Even though Boyd stayed with Harrison for five more years, she met often with Clapton. Harrison once caught them at a party, talking alone, and asked what was going on.
Clapton said to him, “I have to tell you, man, that I’m in love with your wife.”
That night, she went home with Harrison. But the next time she saw Clapton, he again declared his love, and said that if she didn’t go with him, he would take “this” — pulling a packet of heroin from his pocket.
Clapton made good on his promise and spent the next four years holed up at his house, doing heroin.
‘Did I Make the Right Decision?’
Meanwhile, a number of factors were contributing to Boyd’s unhappiness with Harrison. She writes about the stress of not being able to have children, Harrison’s insistence she practically give up modeling after their marriage, his “obsessiveness” over his spiritual practices, drugs and his string of infidelities.
The final straw for Boyd was Harrison’s affair with Ringo Starr’s wife Maureen. In 1974 she told Harrison she was leaving him.
Paul McCartney & John Lennon 1968 Full Interview
Uploaded on Sep 26, 2009
I uploaded this a while ago on my old profile but it got deleted here it is enjoy
Paul McCartney & John Lennon 1968 Full Interview
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My letter I wrote to Paul McCartney recently:
Dear Paul,
I read a while back that your good friend Eric Clapton read the book ESCAPE FROM REASON by Francis Schaeffer and gave it to Jimmy Page. I was amazed by that but since it dealt with the generation of the 1960’s turning to drugs for answers I guess it made sense. Let me encourage you to read that book also and in this short letter I wanted share a review of this book ESCAPE FROM REASON, FRANCIS A. SCHAEFFER, Escape from Reason, Francis A. Schaeffer, Inter-Varsity Press (1968), 94 pages, $8.00.
What is man, and what is the meaning of life? In his book, Escape from Reason, the Christian philosopher, Francis A. Schaeffer attempts to trace the thought of man from Thomas Aquinas through his then present 1960s . Schaeffer shows that when man attempts to know God apart from scripture he ends up where he is today, a naturalist, which is the ground of evolutionism. Naturalism is the idea that space, matter, time…the stuff that we can see and observe, is all that exists. There is no such thing as God or any other supernatural entity. Naturally, if there is no God, if there is nothing spiritual, no soul of man…then man is nothing more than an animal. As Schaeffer puts it, “…on the basis of all reason, man as man is dead. You have simply mathematics, particulars, mechanics. Man has no meaning, no purpose, no significance. There is only pessimism concerning man as man” (46-47). The result of this conclusion of modern man is all of the crazy stuff that exists in modern popular culture and the arts. One example Schaeffer gives is the paintings of Picasso but there are plenty more examples of this sort of thing in modern art. JH
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When you get down to it the book ESCAPE FROM REASON is truly about What is man, and what is the meaning of life? Can a man or a woman find lasting meaning without God? Three thousand years ago, Solomon took a look at life “under the sun” in his book of Ecclesiastes. Christian scholar Ravi Zacharias has noted, “The key to understanding the Book of Ecclesiastes is the term ‘under the sun.’ What that literally means is you lock God out of a closed system, and you are left with only this world of time plus chance plus matter.”
Let me show you some inescapable conclusions if you choose to live without God in the picture. Schaeffer noted that Solomon came to these same conclusions when he looked at life “under the sun.”
Death is the great equalizer (Eccl 3:20, “All go to the same place; all come from dust, and to dust all return.”)
Chance and time have determined the past, and they will determine the future. (Ecclesiastes 9:11-13 “I have seen something else under the sun: The race is not to the swift
or the battle to the strong, nor does food come to the wise or wealth to the brilliant or favor to the learned; but time and chance happen to them all. Moreover, no one knows when their hour will come: As fish are caught in a cruel net, or birds are taken in a snare, so people are trapped by evil times that fall unexpectedly upon them.”)
Power reigns in this life, and the scales are not balanced(Eccl 4:1; “Again I looked and saw all the oppression that was taking place under the sun: I saw the tears of the oppressed—
and they have no comforter; power was on the side of their oppressors— and they have no comforter.” 7:15 “In this meaningless life of mine I have seen both of these: the righteous perishing in their righteousness, and the wicked living long in their wickedness. ).
Nothing in life gives true satisfaction without God including knowledge (1:16-18), ladies and liquor (2:1-3, 8, 10, 11), and great building projects (2:4-6, 18-20).
There is no ultimate lasting meaning in life. (1:2)
By the way, the final chapter of Ecclesiastes finishes with Solomon emphasizing that serving God is the only proper response of man. Solomon looks above the sun and brings God back into the picture in the final chapter of the book in Ecclesiastes 12:13-14, “ Now all has been heard; here is the conclusion of the matter: Fear God and keep his commandments, for this is the whole duty of man. For God will bring every deed into judgment, including every hidden thing, whether it is good or evil.”
The answer to find meaning in life is found in putting your faith and trust in Jesus Christ. The Bible is true from cover to cover and can be trusted. In 1978 I heard the song “Dust in the Wind” by Kansas when it rose to #6 on the charts. That song told me that Kerry Livgren the writer of that song and a member of Kansas had come to the same conclusion that Solomon had and that “all was meaningless.” I remember mentioning to my friends at church that we may soon see some members of Kansas become Christians because their search for the meaning of life had obviously come up empty even though they had risen from being an unknown band to the top of the music business and had all the wealth and fame that came with that.
Livgren wrote, “All we do, crumbles to the ground though we refuse to see, Dust in the Wind, All we are is dust in the wind, Don’t hang on, Nothing lasts forever but the Earth and Sky, It slips away, And all your money won’t another minute buy.”
Both Kerry Livgren and Dave Hope of Kansas became Christians eventually. Kerry Livgren first tried Eastern Religions and Dave Hope had to come out of a heavy drug addiction. I was shocked and elated to see their personal testimony on The 700 Club in 1981 and that same interview can be seen on youtube today. Livgren lives in Topeka, Kansas today where he teaches “Diggers,” a Sunday school class at Topeka Bible Church. Hope is the head of Worship, Evangelism and Outreach at Immanuel Anglican Church in Destin, Florida.
Just like Kerry Livgren and Dave Hope you too need to put your faith in Christ alone for eternal salvation.
God loves you and offers a wonderful plan for your life.
God’s Love
“God so loved the world that He gave His one and only Son, that whoever
believes in Him shall not perish but have eternal life” (John 3:16, NIV).
God’s Plan [Christ speaking] “I came that they might have life, and might have it abundantly”
[that it might be full and meaningful] (John 10:10).
Why is it that most people are not experiencing that abundant life?
Man is sinful and separated from God.
Therefore, he cannot know and experience
God’s love and plan for his life.
Man is Sinful “All have sinned and fall short of the glory of God” (Romans 3:23).
Man was created to have fellowship with God; but, because of his own stubborn
self-will, he chose to go his own independent way and fellowship with God was broken.
This self-will, characterized by an attitude of active rebellion or passive indifference,
is an evidence of what the Bible calls sin.
Man Is Separated “The wages of sin is death” [spiritual separation from God] (Romans 6:23).
Jesus Christ is God’s only provision for man’s sin.
Through Him you can know and experience
God’s love and plan for your life.
He Died In Our Place
“God demonstrates His own love toward us, in that while we were yet sinners,
Christ died for us” (Romans 5:8).
He Rose from the Dead
“Christ died for our sins… He was buried… He was raised on the third day,
according to the Scriptures… He appeared to Peter, then to the twelve.
After that He appeared to more than five hundred…” (1 Corinthians 15:3-6).
He Is the Only Way to God
“Jesus said to him, ‘I am the way, and the truth, and the life, no one comes to
the Father but through Me’” (John 14:6).
We must individually receive Jesus Christ as Savior and Lord;
then we can know and experience God’s love and plan for our lives.
We Must Receive Christ “As many as received Him, to them He gave the right to become children
of God, even to those who believe in His name” (John 1:12).
We Receive Christ Through Faith “By grace you have been saved through faith; and that not of yourselves,
it is the gift of God; not as result of works that no one should boast” (Ephesians 2:8,9).
When We Receive Christ, We Experience a New Birth (Read John 3:1-8.)
We Receive Christ Through Personal Invitation [Christ speaking] “Behold, I stand at the door and knock;
if any one hears My voice and opens the door, I will come in to him” (Revelation 3:20).
Receiving Christ involves turning to God from self (repentance) and trusting
Christ to come into our lives to forgive our sins and to make us what He wants us to be.
Just to agree intellectually that Jesus Christ is the Son of God and that He died on the cross
for our sins is not enough. Nor is it enough to have an emotional experience.
We receive Jesus Christ by faith, as an act of the will.
Thank you again for your time and I know how busy you are.
There is no evidence that John Lennon was a believer in Christ at the time of his death but there are many stories about his search in the 1970’s into Christianity.
“Can He love me?” the former Beatle asked Oral Roberts. “I want out of hell.”
An excerpt from ‘The Gospel According to the Beatles’ by Steve Turner/ JANUARY 3, 2007
In March 1977 Yoko traveled with John Green to Catagena in Colombia to meet a witch who had been recommended to her as someone “who could do anything.” Green had to accompany her to check out the witch’s validity. Yoko paid the witch sixty thousand dollars to perform a series of rituals culminating in the sacrifice of a dove. When they returned to New York; Yoko insisted that they had to fly via Los Angeles and Alaska to avoid having to fly in a northeasterly direction because she believed this would bring her bad fortune. Next came one of the most extraordinary turnabouts in John’s life. A television addict for many years (it was his way of looking at the world since he could no longer walk around anonymously), he enjoyed watching some of America’s best-known evangelists—Pat Robertson, Billy Graham, Jim Bakker, and Oral Roberts. In 1972 he had written a desperate letter to Roberts confessing his dependence on drugs and his fear of facing up to “the problems of life.” He expressed regret that he had said that the Beatles were more popular than Jesus and enclosed a gift for the Oral Roberts University. After quoting the line “money can’t buy me love” from “Can’t Buy Me Love” he said, “It’s true. The point is this, I want happiness. I don’t want to keep on with drugs. Paul told me once, ‘You made fun of me for taking drugs, but you will regret it in the end.’ Explain to me what Christianity can do for me. Is it phoney? Can He love me? I want out of hell.”
Roberts sent him a copy of his book Miracle of Seed Faith and several letters explaining basic Christian beliefs. In the second of his letters Roberts said:
John, we saw you and the Beatles on television when you first came to America. Your talent with music was almost awesome and your popularity touched millions. Your influence became so widespread and powerful that your statement-the Beatles are more popular than Jesus- might have had some truth in it at that moment. But you know, our Lord said, I am alive for ever more. People, the Bible says, are like sheep and are often fickle, following this one day and something else the next. However, there are millions who have received Jesus Christ as their personal Savior and have been filled with the Holy Spirit. They love him. To them He is the most wonderful and popular man who ever lived because he is the Son of God and His name endures.
I thank God that you see this, John, and finally regret thinking any man or group could be more popular than Jesus. Jesus is the only reality. It is Jesus who said “I am the way, the truth, and the life.” So, you see, your statement that because of your hard background you’ve never wanted to face reality is actually really saying you’ve never wanted to face our loving Lord. What I want to say, as I tried to say in my other letter, is that Jesus, the true reality, is not hard to face. He said, “Come unto me all ye that labour and are heavy laden, and I will give you rest. … For my yoke is easy, and my burden is light.” You said, John, that you take drugs because reality frightens you. Remember as you open your life to Jesus, He will take all the fear away and give you peace. Peace that passes all understanding.
This correspondence and his exposure to TV evangelism didn’t appear to have any effect until he suddenly announced to close friends in the spring of 1977 that he’d become a born-again Christian. He had been particularly moved by the U.S. television premiere of Franco Zeffirelli’sJesus of Nazareth, starring Robert Powell as Jesus, which NBC showed in two three-hour segments on Palm Sunday, April 3, 1977. A week later, on Easter day, he took Yoko and Sean to a local church service.
Over the following months he baffled those close to him by constantly praising “the Lord,” writing Christian songs with titles like “Talking with Jesus” and “Amen” (the Lord’s Prayer set to music), and trying to convert nonbelievers. He also called the prayer line of The 700 Club, Pat Robertson’s program. The change in his life perturbed Yoko, who tried to talk him out of it. She reminded him of what he’d said about his vulnerability to strong religious leaders because of his emotionally deprived background. She knew that if the press found out about it they would have a field day with another John and Jesus story. John became antagonistic toward her, blaming her for practicing the dark arts and telling her that she couldn’t see the truth because her eyes had been blinded by Satan.
Those close to the couple sensed that the real reason she was concerned was that it threatened her control over John’s life. If he became a follower of Jesus he would no longer depend on her and the occultists. During long, passionate arguments she attacked the key points of his fledgling faith. They met with a couple of Norwegian missionaries whom Yoko questioned fiercely about the divinity of Christ, knowing that this was the teaching that John had always found the most difficult to accept. Their answers didn’t satisfy her, and John began to waver in his commitment.
In an unpublished song, “You Saved My Soul,” he spoke about “nearly falling” for a TV preacher while feeling “lonely and scared” in a Tokyo hotel. This must have referred to a trip to Japan at the end of May when he stayed at the Okura Hotel for over two months while Yoko visited relatives. Feeling isolated because of the language barrier, he locked himself away in his room for long stretches of time. At night he suffered terrifying nightmares. According to John Green, who makes no mention of the born-again period in his book, John told him, “I’d lie in bed all day [in Tokyo], not talk, not eat, and just withdraw. And a funny thing happened. I began to see all these different parts of me. I felt like a hollow temple filled with many spirits, each one passing through me, each inhabiting me for a little time and then leaving to be replaced by another.”
The image was remarkably like one suggested by Jesus and recorded in Luke 11. It’s hard to imagine that John was unfamiliar with the passage. Jesus was warning of the danger of merely ridding oneself of evil spirits without taking in the good. He says that an unclean or evil spirit, finding nowhere to rest, will return. “And when he cometh, he findeth it swept and garnished. Then goeth he, and taketh to him seven other spirits more wicked than himself; and they enter in, and dwell there: and the last state of that man is worse than the first.”
Whatever happened in Tokyo, it marked the end of his personal interest in Jesus. “You Saved My Soul” said that he “nearly” fell for the TV preacher, but that Yoko “saved me from that suicide.” So the salvation of the title refers to being saved from God, not by God. Yoko had again become the captain of his soul, the mistress of his destiny. Yet his life didn’t improve. He sank into a depression, concerned that his creativity had deserted him and that he had no real purpose in life. The only real joy he experienced came from spending time with his son, Sean.
His life was out of his control. He worried about his health and his eyesight, about making the right investments with his money, about his personal safety. The only way out, as far as he could see, was to pay for the services of people who claimed to see into the future. But then, which ones could he trust? If the advice of the tarot card reader contradicted that of the astrologer, which should he follow? Instead of the freedom he wanted when he broke away from the Beatles, he was now completely enslaved. He couldn’t travel anywhere without advice from a directionalist, do deals with anyone without knowing their star sign, or make plans for the future without consulting the I Ching.
In January 1979 he and Yoko traveled to Cairo, having heard that there was a major illicit archeological dig taking place. Both of them believed that ancient Egyptian artifacts contained magical powers, and Yoko had dedicated one of the rooms in their apartment to Egyptian artifacts. “I love Egyptian art,” she said. “I make sure I get all the Egyptian things, not for their value but for their magic power. Each piece has a certain magic power.” They stayed at the Nile Hilton and toured the pyramids, but when word got out about their intentions they were prevented from visiting the dig.
By the time Frederic Seaman became John’s personal assistant in February 1979, John’s main interest was reading books on religion, psychic phenomena, the occult, death, history, archaeology, and anthropology. Specific books Seaman can remember him asking for includedRebel in the Soul: An Ancient Egyptian Dialogue Between a Man and His Destiny, by Bika Reed;Drawing Down the Moon: Witches, Druids, Goddess Worshippers, and Other Pagans in America Today, by Margot Adler; and Practical Occultism, by (Madame) H. P Blavatsky. He also listened to a thousand dollars’ worth of taped lectures by Alan Watts.
Vacationing in Florida in the spring, he again watched Jesus of Nazareth on its by now regular Easter showing, but his reaction was completely different from the one he had had two years before. He kept joking that they should just get on with it and fast-forward to the crucifixion. Seaman, who was present with John’s sons, Sean and Julian, recalled, “John began working himself up into a tirade against Christianity, saying that it had virtually destroyed what was left of pagan culture and spirituality in Europe-a great loss to civilization.” He then announced that he was now a “born again pagan.”
Later in the year Bob Dylan recorded Slow Train Coming, a gospel album born out of personal experience. Dylan told Robert Hilburn of the Los Angeles Times that he’d recently accepted that “Jesus was real … I had this feeling, this vision and feeling. I truly had a born-again experience, if you want to call it that. It’s an over-used term. But it’s something that people can relate to.” Hilburn asked him what “born again” meant. “Born once,” he answered, “is born from the spirit below, which is when you’re born. It’s the spirit you’re born with. Born again is born with the Spirit from above, which is a little bit different.”
Slow Train Coming was a direct and challenging album. Unlike most gospel recordings, it didn’t simply praise Jesus but attacked opposition to him, whether that was religious syncretism, false saviors, or lack of commitment. It was addressed to people like John. In “Precious Angel,” the first single, Dylan sang, “Ya either got faith or ya got unbelief and there ain’t no neutral ground.’ In the title track he sang of “Fools glorifying themselves, trying to manipulate Satan.”
Dylan’s transformation took John completely by surprise. After all, Dylan had been the Beatles’ only peer and remained someone whom he deeply respected. What made it particularly galling was that everything Dylan sang about on the album was delivered with a confidence that had always seemed to elude John. Dylan seemed certain that his sins were forgiven, his eternal security was assured, and that God was actively involved in his life.
When asked in 1980 about his response to Dylan’s conversion, John was less than honest. He said he was surprised that “old Bobby boy did go that way,” but “if he needs it, let him do it.” His only objection, he said, was that Dylan was presenting Christ as the only way. He disliked this because “There isn’t one answer to anything.” This is why he favored Buddhism. It didn’t proselytize. In what can now be seen as an allusion to his own born-again period, which hadn’t yet been made public, he said, “But I understand it. I understand him completely, how he got in there, because I’ve been frightened enough myself to want to latch onto something.”
His private feelings about the conversion were expressed in his songwriting. He was particularly incensed by the track “Gotta Serve Somebody” because it opposed his view that there was no single truth. The song said, as bluntly as possible, that whatever your station in life, you were either serving God or the devil. This wasn’t an avoidable choice. John wrote a riposte titled “Serve Yourself,” arguing that no one can save you. The only person you have to serve is yourself. “He was kind of upset [about Dylan’s song] and it was a dialogue,” said Yoko in 1998. “He showed his anger but also … his sense of humour.”
Excerpted from The Gospel According to the Beatles by Steve Turner, published by Westminster John Knox Press, 2006. Used with permission.
My absolute favorite albums are Rubber Soul and Revolver. On both records you can hear references to other music — R&B, Dylan, psychedelia — but it’s not done in a way that is obvious or dates the records. When you picked up Revolver, you knew it was something different. Heck, they are wearing sunglasses indoors in the picture on the back of the cover and not even looking at the camera . . . and the music was so strange and yet so vivid. If I had to pick a favorite song from those albums, it would be “And Your Bird Can Sing” . . . no, “Girl” . . . no, “For No One” . . . and so on, and so on. . . .
Their breakup album, Let It Be, contains songs both gorgeous and jagged. I suppose ambition and human frailty creeps into every group, but they delivered some incredible performances. I remember going to Leicester Square and seeing the film of Let It Be in 1970. I left with a melancholy feeling.
7
‘Hey Jude’
Central Press/Getty Images
Main Writer: McCartney Recorded: July 29-August 1, 1968 Released: August 26, 1968 19 weeks; no. 1
“Hey Jude” was inspired by John and Cynthia Lennon’s five-year-old son, Julian. “Paul and I used to hang out quite a bit — more than Dad and I did,” Julian said. “Maybe Paul was into kids a bit more at the time.”
McCartney was visiting Cynthia after she and Lennon had broken up, and he was thinking of Julian on the drive over there. “I was going out in my car, just vaguely singing this song,” McCartney said, “and it was like, ‘Hey, Jules. . . .’ And then I just thought a better name was Jude. A bit more country & western for me.” The opening lines were “a hopeful message for Julian: ‘Come on, man, your parents got divorced. I know you’re not happy, but you’ll be OK.'”
“Hey Jude” can also be heard as McCartney’s song of consolation to himself as his relationship with Jane Asher was ending and as the Beatles’ future was growing more uncertain. The song was recorded in the middle of the White Album sessions, which were plagued by fighting within the band and increasing alienation as the individual songwriters started treating the other Beatles as sidemen on their songs — if they used them at all. McCartney, George Harrison and Ringo Starr resented the constant presence of John’s new girlfriend, Yoko Ono, in the studio. Engineer Geoff Emerick found the squabbling so unpleasant that he quit. George Martin, also exhausted from the bickering and from running between the individual Beatles recording simultaneously in separate studios, abandoned the sessions to take a vacation, leaving production of the album for several weeks to his assistant Chris Thomas. Fed up himself, Starr left the band for two weeks (the first band member to quit the Beatles).
When Lennon first heard “Hey Jude,” he loved it — he thought McCartney was singing to him, about his relationship with Ono and the strains on the Lennon-McCartney partnership. (Lennon’s contribution to the song came when McCartney pointed out a place-holder line in the fifth verse: “The movement you need is on your shoulder.” Lennon insisted he leave it as is. “That’s the best line in it!” he said.) Calling “Hey Jude” one of McCartney’s “masterpieces,” Lennon said in 1980, “I always heard it as a song to me. . . . Yoko’s just come into the picture. He’s saying, ‘Hey, Jude — hey, John.’ Subconsciously he was saying, ‘Go ahead, leave me.'”
The band hired a 36-piece orchestra for the session; the classical musicians were encouraged to sing and clap along to the song, for double their usual rate. One musician would not go along. “‘I’m not going to clap my hands and sing Paul McCartney’s bloody song,'” Martin remembered him saying. “He said his union card said he was a violinist, and he walked out of the studio. Much to everyone’s amazement.” There were other problems too: McCartney had to tell Harrison to tone down his guitar-playing, which was cluttering up the verses. (Harrison “wasn’t into what I was saying,” said McCartney. “It was bossy, but it was also ballsy of me, because I could have bowed to the pressure.”) And when it came time to record the master take, McCartney hadn’t noticed that Starr was in the bathroom. Fortunately, the drums come in so late in “Hey Jude” that Starr was able to sprint back behind his kit and come in right on time.
The ending refrain goes on for a full four minutes, even longer than the verses, which clock in at just over three minutes. The band hadn’t planned it that way, but McCartney was having too much fun ad-libbing to quit. “I just wouldn’t stop doing all that ‘Judy Judy Judy — wooow!” he said. “Cary Grant on heat!”
“Hey Jude” was the first release on the group’s Apple Records label. It spent nine weeks at Number One, holding the top spot longer than any other Beatles song. It was also the longest Beatles song up to that point, clocking in at seven minutes and 11 seconds. Martin objected to its length, claiming radio wouldn’t play the tune. “They will if it’s us,” Lennon shot back.
Writer: Harrison Recorded: April 16, May 2 and 5, July 11 and 16, August 15, 1969 Released: October 1, 1969 16 weeks; no. 3
On February 25th, 1969, his 26th birthday, George Harrison recorded three demos at EMI studios. He did two takes each of “Old Brown Shoe,” which would end up as the B side of “Let It Be,” and “All Things Must Pass,” the title song of his 1970 solo album. He also took a pass at a winsome ballad that he had written on piano during a break in the White Album sessions in 1968: “Something.” “George’s material wasn’t really paid all that much attention to — to such an extent that he asked me to stay behind after [everyone else had gone],” says engineer Glyn Johns, who recorded the demos. “He was terribly nice, as if he was imposing on me. And then he plays this song that just completely blows me away.”
Harrison initially believed the song was so catchy he must have heard it before: “I just put it on ice for six months because I thought, ‘That’s too easy!'” The opening lyric — “Something in the way she moves” — was a James Taylor song from his 1968 Apple Records debut. (Harrison had attended sessions for Taylor’s record and sang backup vocals on another song.) “In my mind,” Harrison said, “I heard Ray Charles singing ‘Something.'” Still, he didn’t necessarily think it was good enough for the Beatles.
He even gave the song to Joe Cocker, who recorded it first. When Harrison finally presented “Something” to the other Beatles, they loved it. John Lennon said “Something” was “the best track on the album.” Paul McCartney called it the best song [Harrison has] written.” “It took my breath away,” producer George Martin later said, “mainly because I never thought that George could do it. It was tough for him because he didn’t have any springboard against which he could work, like the other two did. And so he was a loner.”
The other Beatles worked on “Something” for several months, editing, arranging and rerecording it to perfection. In a reversal, Harrison became musical director, telling McCartney how to play the bass line. “It was a first,” engineer Geoff Emerick said. “George had never dared tell Paul what to do.” At the final session, Harrison shared the conductor’s podium with Martin during the string overdubs and recut his guitar solo, a sparkling combination of dirty-blues-like slide and soaring romanticism, live with the orchestra.
“Something” went to Number Three and eventually became the second-most-covered Beatles song, behind “Yesterday.” Charles would in fact sing it, on his 1971 album, Volcanic Action of My Soul. Frank Sinatra would describe it as “the greatest love song of the past 50 years” (although he often introduced it as a Lennon-McCartney composition).
“He was nervous about his songs,” Martin said of Harrison, “because he knew that he wasn’t the number-one [songwriter] in the group. He always had to try harder.” But with “Something,” the guitarist proved himself to his peers, and to the world.
The Desublimation Of Modern Art: A Theological Task – Professor Ben Quash
Published on Apr 26, 2012
Professor Ben Quash questions the place of ‘the sublime’, as defined by Immanuel Kant, in contemporary Christian art.
This talk was a part of the Gresham College conference, ‘Thinking Theologically about Modern Art’. The full conference can be accessed on the Gresham College website: http://www.gresham.ac.uk/lectures-and…
Gresham College has been giving free public lectures since 1597. This tradition continues today with all of our five or so public lectures a week being made available for free download from our website. http://www.gresham.ac.uk
Anna M. P. Freeman is mentioned at 40:08 point in the above video
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