Audio podcast here In this show: the 20th century events were largely planned.
- Strategy to weaken Germany laid out in Mackinder Doctrine
- The counter culture was government influenced, even instigated.
- Plato’s cave: we are run by Oligarchs
Audio podcast here . Perhaps no one has done more in-depth research than Hugh Turley on the murder and cover-up of Vince Foster, Hillary Clinton's long time friend, lawyer, colleague, and lover.
Youtube here. Audio podcast here . Many of you likely cringe at including all those other words along with “conspiracy theorist.” And that’s exactly why Jay is, in my opinion, one of the pre-eminent thinkers of our day. We live in a very corrupt generation, and unless some people are willing to start dealing with facts in a rational manner and take the risk of a lost paycheck—or being called names—the rest of us will continue to live under a cloud of deception and manipulation.
Audio podcast here . Ware knew Lewis a bit personally, greeted him regularly on the Magdalene campus, and visiting the Socratic Club where Lewis was chairman. He did not interact with Tolkien personally but attended one of his lectures, which was, for Ware, not very well organized or well delivered.
We white people are just so used to thinking of blacks and Africans from a colonial perspective, where the people from the dark continent have been so blessed the past 200 years to learn from their white conquerers. But Ethiopia (the only African country not to be colonized, pushing back two Italian invastions in both 1899 and 1935) is not like all the other African countries where Christianity coincides with white invasion.
This is what binds society together. This is what makes men productive instead of wastrels, whether in the form of gamblers and substance abusers or country club narcissists. Without the image of a helpless Christ, we are reduced to pre-Christian goals of conquering and enslaving to support our self-centered vision of life.
My Dad went to Dallas Theological Seminary with Hal Lindsey, whose mega-bestseller The Late Great Planet Earth launched end times madness into mainstream culture in the 1970s.
My mother was not a big fan. Lindsey lived nearby, the nerdy single guy who came by for dinner. If she made a batch of cookies, Hal seemed to eat them all. He dressed shabbily, had crooked teeth and unkempt hair, and he talked a lot about his weird end times papers.
I spoke for a few minutes last Sunday at the church where I grew up, Grace Church in Roanoke, Virginia. You can listen to it here.
(2nd in a series of 3 tributes to Gordon Wetmore. 1st is here)
It's one thing to ask a friend to do you a favor. It's another thing to ask him for cold hard cash. But I was headed up the elevator again to Gordon Wetmore's cool studio to see if he would consider making an investment in a movie script venture I was working on.
I was also working on a documentary project, and maybe if he didn't bite on the feature film venture he might give me some cash for the documentary.
Gordon wasn't rich. He did pretty well. But he loved to tell about what every guy did when he had the casual conversation about his career.
"How much do you charge?"
"Oh, it averages around $20,000 per painting."
"How many portraits do you paint a year?"
"Oh, around 50."
Gordon then explained how the guy would pause and point his eyes toward his forehead while he quickly calculated.
"Happened every time," he laughed. "What they didn't understand is that the agent gets 40 percent, the tax man gets a huge chunk, and business expenses take another big slice." But he got such a kick out of watching each and every guy fantasize about getting into portraiture.
Gordon Wetmore was born and raised in Memphis. He was the oldest of his mother's several children from two men: Gordon's father, who died young, and Gordon's stepfather.
His mother was apparently something of a character and is likely where he got much of his aplomb. He gave me one anecdote about her when she was in her 80's, I believe. She had been taking piano lessons for a while and decided to put on a performance and sent out formal invitations. To Gordon's shock, a huge crowd arrived, and his mother, dressed to the nines, performed like she was 20.
As a young man, Gordon moved to Chattanooga, attended the university in town, and
worked as a part time youth pastor at First Presbyterian Church, allowing him to make acquaintance with the town's prominent families early on, not a bad idea for a budding portrait artist.
He actually moved to to the area as Gordon Street, using the surname of his stepfather. Wisely, he changed it back to Wetmore, as senior Chattanoogans will remember that one of the city's most prominent citizens—the owner of Wheland Foundry—was also named Gordon Street.
For a while, Gordon Wetmore served as the artist for one of the local TV stations back when television was just getting going. He would draw for them as they commented on various topics, something similar to those court scenario drawings you see for cases where cameras are not allowed.
Then he got into portraiture. He told me he tried to quit on two different occasions, and actually did for awhile. During one interim he was a school teacher. But somehow he got back into the art world, a great blessing for him and the rest of us.
Gordon married Connie. He was a longtime bachelor but was finally smitten by this gentrified Brooklander with several generations of sophistication. Gordon never doubted that Connie's class was a key to his success in the art world.
Gordon was a devoted husband. He never spoke a bad word about her. Gordon knew all my dirt, and when the fraternity of men or sorority of girls gets together to compare notes, you tend to get the lowdown. He simply loved his wife and their three daughters—Amy, Alexandra, and Abigail.
So Gordon, a great family man with a house on Signal Mountain and three beautiful kids, wasn't necessarily in a position to write big checks. You hate to risk a friendship and ask a guy for money, but that's what I was determined to do.
What I had going for me is that Gordon had created a legacy for helping others reach success in their careers, just as he had. The blurbs on Facebook after his death recounted scores, as many as a hundred stories of people whom Gordon had helped, encouraged, and advised in their quest toward artistic success.
This natural inclination of Gordon's eventually led to his becoming Founding Chairman of the Portrait Society of America, the largest of its kind in the world. He was still chairman when he died. With over 3,000 members today, a large portion of that group meets annually to observe and learn from the greatest portrait artists in the world.
It wasn't easy, Gordon told me. We talked about the process. I had started a couple of non-profits myself. One succeeded, one failed. The failure had to do with bickering among the board members. A contentious person here, a prima donna there, and before you know it the thing collapses. Gordon loved to hear me recount the tale. He had a boat load of similar stories. His first crack at founding a portrait society also failed.
Now, the deck was stacked against Gordon from the beginning. Artists are the opposite of association-corporation types. It's like herding cats. It speaks to Gordon's tremendous gifts of diplomacy that he could gather together some of the world's greatest artists in his second attempt at a portrait society and grow it into the world's largest.
Gordon's stories fascinated me. I ended up accepting his offer to attend one of their national conferences. I went to several over the years. It was truly a thing of beauty to see artists acting more like a flock of birds than a herd of cats, offering advice, encouraging one another. No doubt the chief model for this behavior was Gordon himself. The real key, besides his superb sense of grace and tact, was his willingness to not be first. Gordon was not the guy up front giving exhibitions. He pushed for the other great artists to be front and center, while he watched and took notes on how to become a better artist himself.
This trait of being a unifier, a diplomat, a man who loved any and all—who wanted everyone together in one spirit—is the flip side of Gordon's second great dimension/contradiction. Great unifiers usually shy away from strong beliefs religiously and politically. Such staunch commitments tend to divide. But those who knew Gordon well understood that his bottom line Christian beliefs were non-negotiable. Bible believing, literal translation, the fundamentals? You bet.
Politically, he was deeply conservative. He homeschooled all his kids and was quite comfortable in that culture. He worked in Barry Goldwater's campaign in 1964. Several of his friends were Birchers. But I doubt anybody in his international circle of friends and acquaintances knew much about all that. Close friends and board members of the society were people of other religions, and others sported any number of political ideologies. He didn't just tolerate these folks. He loved them dearly. His faith was not in your face. All those bite-sized eulogies of Gordon on Facebook only referred to him as a "great Christian gentleman." Because he was.
Gordon's intense Christian beliefs may have been most pronounced, ironically, when the time came to appropriately denounce and divide. At least two of the artists who messed up his first attempt at a portrait society found their way back into Gordon's successful second venture over time—because Gordon was soft-hearted and forgiving. He did not return evil with evil.
Well, such a good hearted man ought to be good for some kind of a check, I was hoping, when I brought him a cup of coffee from Greyriar's and sat down on his couch to ask about investing in my movie idea. (Of course, movie ideas have got to be one of the most ridiculous investments of all time, but whatever.) Anyway, I gave him a choice.
"Would you like to invest x-dollars in the feature film venture or x-dollars in the documentary idea?"
He told me he would think about it.
A few minutes later, he went back to his office to write a check.
"Here you go," he said. "I'm investing in both." I got double what I asked for.
And that kind of attitude is why Gordon has 100 Facebook tributes. Counting me, 101.
(2nd in a series of three tributes).
I was headed up the elevator for the umpteenth time, this trip to ask my celebrated artist friend to do me a tacky favor. I wasn't sure how it would be received.
Gordon Wetmore had painted portraits of some of the world's most famous people. Richard Nixon, Princess Grace, Norman Vincent Peale. A long list.
A portrait artist is a sole proprietor, a businessman, a risk-taker. You must have talent, as Gordon clearly did. But that is not enough. You must also be a promoter, a salesman, and great at customer service. Gordon was all of these.
He and I connected on the level of being self-employed. The risk aspect, the freedom, the thrill of the reward, the loneliness of having no regular colleagues—we could relate to it all. That last factor was why we both enjoyed getting together so often and catching up. I was running my own news publication when we met in the late 90's hanging out at Greyfriar's coffeeshop downtown at Jack's Alley. Because we worked our own hours, we might find ourselves at Greyfriar's at various times during the day.
I was bringing in one-tenth of his kind of revenue with my investigative reporting enterprise distributed by fax machine. It was all the news that's not fit to print, and Gordon loved reading it. But was he willing to be associated with it? I would find out when I asked him the question I came to deliver that day.
I don't remember our first conversation, but I'm sure it was excellent, because Gordon was a fantastic conversationalist, perhaps the best I've ever known. It doesn't take enormous talent to be a great conversationalist, just great discipline and self-control. Gordon, simply, made it his point to actually be interested in you. He would ask you questions about yourself. Now, a lot of people do that. But Gordon would take it that one step further, a level most people never reach. He would actually be interested in your answer and continue to ask follow up questions until the matter was satisfactorily completed.
Now, I admit it does take a certain amount of talent to be a great conversationalist. You also must have something to say in return. Gordon did. He had fascinating stories to tell and all kinds of insights on life and interesting questions to ponder. But the trick is balance. Gordon never got so caught up in his own interesting material to fail to bounce the ball back to the other person in an appropriate amount of time.
Ironically, Gordon would often chastise himself aloud for talking too much about himself. The truth is, he rarely did. His awareness of the possibility belied his commitment to listening to others first.
So it was time to head up to his studio and ask the question. With two cups of coffee in hand (my ritual whenever visiting him), I pushed the button for the tenth floor of the Chattanooga Bank Building on Broad and 8th Streets. Gordon's office/studio was one floor above the tenth by stairwell. He called it the "Penthouse,"—he always had this touch of class that wasn't too flashy. This 2,000 square foot space at the top of the building had a view of the Aquarium, downtown, and river on one side and a view of Lookout Mountain on the other. A door to the outside allowed you to enjoy the view from a small veranda. Several of his pieces from his books Ireland and The Holy Land graced the walls. Two or three giant easels with portraits in various stages sat in the corners of the studio.
Gordon always manned the back corner and was usually working there when I would pop in, always unannounced. He wouldn't just be willing to stop work and talk with me. He always greeted me with the utmost enthusiasm, a gleam in his eye, and a compliment about my person quickly to follow. This was one of Gordon's great qualities. I'd like to think it was a lot about me, but when others popped in while I was with him, he exhibited that same warm, gracious, affirming manner. With Gordon, people always trumped productivity.
According to dramatists, a great character is determined by a person's dimensions. Dimensions are basically contradictions. Gordon had a few. For instance, there was how he treated Andrew, another of our friends from the coffee shop. Andrew was a caricature artist, tall, with a face that he admitted looks like a caricature itself. At this point in life, Andrew was basically a drifter, thirty years Gordon's junior, and completely out of Gordon's league in terms of income, accomplishments, and notoriety.
But Gordon was fascinated with Andrew. Andrew had a fantastic, innate ability to garner a likeness when he drew his caricatures. (Here's Andrew's caricature of himself.) He could do it starting at age five. Gordon said getting a likeness was a great mystery. He didn't know quite how he did it with his portraits, but he knew when he got a good one.
Of course, Gordon was great at getting a likeness as well. They were both great at it, but that is where this contradiction/dimension of Gordon's kicks in. He easily could have felt competitive toward Andrew. He could have scoffed at him for being a lowly sidewalk caricature man. Instead, he admired the heck out of him and told him so.
But it wasn't just with artists. Of his many traits, I've concluded Gordon's greatest attribute was his willingness to learn. At age 70, he was not just interested, he was downright thirsty for new insights and new ideas. He listened intently and carefully to young and old, sophisticated and common, to add to his accomplishments. Yet, he could have chosen decades earlier to rest on his laurels.
We sat down on his two sofas in the studio, enjoyed some coffee, and had another great Gordon Wetmore conversation. I was ready to ask the question. For my news publication, I always reprinted a national cartoon on the front page. People loved it. But my slant was local, and I wanted to create local lampoons.
"Gordon, would you consider drawing cartoons for my publication?"
It was pretty much assumed I couldn't pay him anything. He thought about it for a minute.
"You know, I get $25,000, sometimes even $50,000, for my signature at the bottom of a drawing," he said. He then noted that I was a fairly controversial figure around town. I had just sued the mayor for failure to disclose public records.
But Gordon loved the truth, and he loved to have fun. He grinned.
"I'll try it," he said. "But you'll just get my initials at the bottom."
That was the first of several hundred cartoons we conspired on together over several years. For the love of a laugh, he put his reputation on the line. But it all worked out. Eventually, the publication grew more respectable, and the city got a new mayor, Bob Corker, who ended up as our U.S. Senator. When Gordon and I published a book of all our local lampoons, Corker himself wrote the foreword.
When I found out last week Gordon had died, I got the news from Andrew. We had both been following the sudden illness on Facebook, but he got the final word before I did and called me from New Orleans where he now lives with his new family. Andrew is devoted to Gordon and to his memory. Like me, he was sad and shocked. Like me, he loved Gordon, because Gordon loved him.
It takes a genius to herd cats, I mean artists (2nd of 3)Saying Goodbye to a Great Man (3rd of 3)
Gordon Wetmore
