Alistair Begg on Spirituality of The Beatles (With Audio)

(Editor’s note: Since recording this interview I’ve read Steve Turner’s “Hard Days Write: The Stories Behind Every Beatle’s Song.” It is worth the time and money and if you link to buy it from our site, we get a commission from Amazon. Just hit product link below! Please sit back and enjjoy the transcript and Audio of this interview.)

Well, good afternoon, ladies and gentlemen, boys and girls, this is Dick Staub, your beloved host. And I want to thank you for joining me on this fine afternoon. Our next guest is known to most of you as the host of Truth for Life. He is the pastor of the Parkside Church, where he is known as many things including a great communicator. He is also the author of a wonderful book, Made For His Pleasure, published by Moody. R.C. Sproul calls him a modern-day Bravehart, with a magnificent obsession with the God-centered life. But what many of you may not know is that Alistair Begg (foto right) was greatly influenced by The Beatles. And today we’re welcoming him for a theology and culture discussion of The Beatles.

Q. And it’s great to have you with us this afternoon.
A. Thanks a lot Dick. It’s a thrill to be here.

Q. How did your own fascination with The Beatles begin? How did this start in
your life?
A. Probably because my parents told me I wasn’t allowed to listen to them.

Q. Where were you when you heard your first Beatles song?
A. Glasglow, Scotland.

Q. Okay.
A. They actually came and played in a-in an Odeon cinema in the center of Glasgow.

Q. Did you go?
A. No, because I-I was banned from it. I wasn’t allowed within-I wasn’t allowed
within ten miles of it. And I think, as with most kids, that just increases the sense of fascination. I mean, the more you’re told, This is something you need to stay away from, the more you’re drawn to it.

Q. Now, how would you have been age-wise in relation to them?
A. Twelve. I mean, 12 in ’64. Eleven for Please Please Me in ’63.

Q. Okay. He’s got them all nailed, folks. One of the things that you and I have
been talking about this afternoon is whether The Beatles simply reflected culture or whether they were shaping culture. And you’ve concluded that they did a lot of shaping.
A. Well, I think so, you know, because if you take the progression that came
from the whole development of the music alone. Every-everything that they did pushed the frontiers out again. And it wasn’t only true in terms of the-the way in which they were recording material or the way in which they were writing melody lines, but it was actually in the lyrical content as well. If you-if you think about, for example, what Elvis Presley was singing about, or what Chuck Berry was doing, or The Everly Brothers, it was all about, you know, love and different things like that. And they got into a whole new business the further they went. So, yeah, I think to a great degree, for good or for ill, they were shaping culture.

Q. Now, one of the kind of undergirding philosophies of this show is that if we want to be influential in culture we need to understand culture, we need to understand our faith, and we need to understand the relationship of our faith to culture. And so I believe that there is great value in listening to the artists of the day. And I’ve told you that recently we’ve done a number of different artists on the show, Alanis Morissette, and others, to try to understand what’s being said. Why is it important to understand what The Beatles were saying during that era in order to really understand culture at that time?
A. Well, simply because they were¢â‚¬¦ First of all, they were on the forefront of a
generation’s thinking. And they were, at the same time, able to articulate things and were given a voice. And without fully understanding it themselves, originally, they found themselves the mouthpiece of a generation. And so they were actually interpreting some of the angst or some of the excitement or some of the hopes or the fears of their-of the-the teenagers in mothers and fathers homes they didn’t understand. I mean, we’ll come to that later maybe with, for example, She’s Leaving Home

Q. Yeah.
A. ¢€œwhere they were able to capture in an instant an experience that many
parents were going through, and still do.

Q. Now, folks, when I talk about theology and culture I am saying that an artist who is not a Christian still has a theology, still has a worldview, still has a view of who God is, who man is, who human beings are, what our destiny is, what our purpose is, and often even a view of salvation, what it means to be saved in-in life and culture. When you think about The Beatles and we’re going to take some time this afternoon, folks, to try to understand a bit about their worldview and-and their theology what are some of the themes that start to emerge?
A. Well, I think obviously, right at the very beginning, you’ve got these four
boys who haven’t really got a clue what’s going on. And they-they start to sing about something that they could do with, and that is money. And if, for example, you think if we can maybe even play a little bit of Money, but I think that’s where it all begins for them.

Q. Let’s listen to that.

The best things in life are free,
But you can keep em for the birds and bees,
Now gimme money,
That’s what I want.
That’s what I want.
That’s what I want.
That’s what I want.

Q. Hm. So there you go.
A. That pretty well says it, doesn’t it? I mean, it’s not a difficult lyric to
understand and not exactly brilliant poetry. I mean, I love that line, that’s what I wa-a-a-a-a-a-nt, that’s what I want, you know? And finally it was-it was only until about 1969 that a girl said to John Lennon, Did you ever try writing a song that has words in it with more than one syllable? And he said, Hey, that’s a good idea. And so he tried it. But, you know, there you’ve got four-four boys, I mean Paul obviously had more resources than the other three and they-they-they’re trying to rake up enough petrol money to get to their next gig. And so they just sing-they sing out of their hearts. You know, it would be great to have a bit of cash. And indeed when they came to the States, in the first instance, and they were interviewed, I remember seeing the interview. And one of these reporters asked Ringo Starr if what he thinks he might do now that they’ve made some money. And you know, he says, Oh, I don’t know. I think I might like to have a hairdresser’s shop, you know? And he could-he could never have conceived of the volumes of cash that they were actually thinking about. It took them by surprise. But it was expressive of where they were.

Q. The money thing is an interesting thing because here’s a generation that on the one hand is kind of rejecting materialism and so forth. And you find this kind of inconsistency within the progression of the lyrics and the ideology of The Beatles because money was kind of important. You told me, though, that when it came to money, for instance, that John Lennon was extremely generous. He gave money away.
A. Yeah. He was-he was a problem to people around him. And when you read the biographies that have been done of Lennon, no matter who’s writing them or what they’re trying to say in them, one of the things that comes across is the fact of his almost embarrassing level of generosity. You know, he would¢â‚¬¦ Someone would come over and say, My, that’s a lovely thing, you know. And they would walk away with it. He bought his aunt a home. And he bought somebody a home. And there’s a wonderful story that took place up in the north of Scotland that not many people know about.

Q. Yeah. Tell me that story.
A. Well, he crashed his car up in Scotland soon after he had married Yoko Ono. And as a result of that he was hospitalized. They ran the car into a ditch. And so here he is way in the-in the wilds of Scotland in a tiny, wee country hospital. And the local minister comes to make his rounds. And in one of the beds sits Lennon, you know, with his hair way down his back. And the-the man, bless his heart, duly goes up and introduces himself and says who he is. And he actually, I believe, from those who were part of this man’s congregation, had a wonderful opportunity to talk with him beyond the level of superficial things. And a couple of days later Lennon was stitched up and packed off and he left. And within a week or ten days the local minister was seen driving around the town in this lovely new car. And apparently what had happened was that Lennon, when he was discharged from the hospital, had gone to the local garage and had written a check and asked the-the garage owner to call the minister and offer to him any car of his choice at Lennon’s expense. And that was an indication again of this heart.

Q. Wow. We’ll be back with more of Alistair Begg on The Beatles, coming up
right after this. Don’t go away. We’ll be right back.
Well, this is Dick Staub back with you. And we’re talking with Alistair Begg this afternoon. We’ve got another set of lyrics here. Listen to these lyrics , folks.
Da da da da da da da da,
Da da da da da da da da,
If there’s anything that you want,
If there’s anything I can do,
Just call on me and I’ll send it along
With love from me to you.

Q. Hm. What do we hear happening here?
A. Well, you know, this is-this is a theme that never goes away in The Beatles
lyrics. I mean, it’s an expression of humanity. It’s there in-in the Song of Solomon, it’s there in the book of Genesis, that written into the very heart of man is this distinction between male and female and the love that and fascination that the male would have for the female. And so this is a simple love song. It was written, interestingly, on a coach journey from York-in Yorkshire down to Shroesbury in February of ’63, and it was played for the very first time the next night in the Odeon cinema in Lancashire, not far from Liverpool. And McCartney was concerned that his father would listen to it, interestingly enough. He wanted his dad to hear it because although he felt the melody line was good, he was concerned that the lyrics might be “a little complicated.” And I guess it’s hard to imagine now when you think of Pearl Jam’s sort of¢â‚¬¦

Q. Evidently his father spoke in less than one syllable words.
A. That’s exactly-that’s exactly right. And apparently he was gratified because
his father pronounced it “a nice little tune.”

Q. A nice little tune.
A. A nice little tune, which was-was again was-was jumped on by teenagers
because it gave them, again, a voice to speak to one another

Q. Wow.
A. ¢€œin-in language that seemed to make sense.

Q. We’re kind of tracing, in some ways, some of the-the changes that they went
through as a-as a group. The next cut that you’ve asked us to play is Can’t Buy Me Love.
I’ll buy you a diamond ring my friend if it makes you feel alright,
I’ll get you anything my friend if it makes you feel alright,
¢â‚¬ËœCause I don’t care too much for money,
Money can’t buy me love.

Q. Now here we have originally money was everything, then love was
everything, and now money can’t buy me love.
A That’s right. Interestingly, in an attempt, as so often it happens it would seem
with journalists, to try and put the worst complexion possible on what was being written. An American journalist, I’m sorry to say, asked Paul in 1966 if this was actually a song about prostitution. And this kind of morbid fascination with the idea that these guys were coming from the most, sort of the bottom level of everything is a shame. And it carries over actually into the sort of fundamentalist evangelical response to music at that point in time. But to that Paul replied, Well, you know, I think the songs are open to interpretation. But that’s just pushing it a little bit too far. And clearly what they were saying was, You know, money can do a lot of stuff for you, we can fly here, go there, we’ve got nice cars, we can buy these homes and clothes and everything, but what we’ve discovered now is that when it comes to the sort of central, core events of life, the issues of genuine love, you can’t buy it.

Q. Uh-huh. You-your-your comment about fundamentalist reactions to music. Folks, in some ways it might seem safe to talk about the theology of culture when we talk about The Beatles because, for goodness sakes, they’re 20 years ago. But when we do something like Smashing Pumpkins or Alanis Morissette or Joan Osborne, it gets people very uncomfortable sometimes because they say, Well, that’s terrible music, because it’s the reaction of religious people to the music of today. And that music certainly the lyrics of a lot of today’s music is-is very troubling, it would concern anybody. But we still see in these artists today, as we did in The Beatles, kind of an early warning system of some people who have a sense, a prophetic sense, of what’s happening in the world around them and in their world. And they represent a lot of people, people for whom Christ died.
A. Absolutely. I think it’s important for us to point out that we’re not-we’re not here, at least I’m not here suggesting that The Beatles had a wonderful theology or that they had-that their worldview was perfect by any stretch of the imagination. It clearly wasn’t. It left them high and dry on just about every front eventually. But they-they weren’t simply writing cute little tunes. They were beginning to take seriously the platform that they’d been given. And that’s why so many people found them offensive because of the things that they were prepared to tackle. But it wasn’t all that. If you take, for example, a song like In My Life, which Lennon wrote, there you have the-the tender side of John Lennon coming out, a side that many people missed completely.
There are places I remember,
All my life though some have changed.
Some forever not for better,
Some have gone and some remain.
All these places have their moments,
With lovers and friends I still can recall.
Some are dead and some are living,
In my life I’ve loved them all.
But of all these friends and lovers¢â‚¬¦

A. Yeah. When they went in and got Lennon’s belongings after his untimely
death, one of the closest family friends, a guy called Eliot Mintz¢â‚¬¦ Actually, he was hired by Yoko Ono to put together an inventory of all of Lennon’s personal possessions. And he found a huge, big notebook which contained virtually all of Lennon’s handwritten lyrics for everything he’d done, including this song. And it was clear that what had happened to Lennon is that as the fame thing had come and as they had now-they had gone transatlantic, they had number one hits in America, and they’d been able to pretty well go where they wanted and do what they wanted to do, all of a sudden this nostalgia creeps into his life. And he starts to remember the places in the past. And actually it was said that he had particularly in mind two of his friends, one of them the guy that died, The Beatles guy early on, Pete Best. And so you get a tender side to John Lennon which, when he got at his most sort of vociferous in the middle of the peace thing and everything, and everybody associated him with drugs, it was always sad to me that-that people couldn’t see somehow in this guy that-that he was crying out for something. And the song became, in the words of Steve Turner, a journalist in Britain, he said that when-when he wrote this song it became far more than simply a love of recollections of Liverpool, but he said, It became a universal song about confronting the facts of death and decay. And here was a tough guy, but he kept a box of childhood momentos in his apartment, and once wrote to his Aunt Mimi asking her to send him his old Quarry Bank school tie.

Q. Hm.
A. So I-I always felt and I don’t know, this is kind of weird but I just always felt that somehow or another you had this guy who every so often just opened the door to himself ever so slightly. And every time he opened it up, it never seemed to be a Christian response to say, Hey, you know, we-we’ve got an angle on that, or we’d love to talk to you about that. It was always, you know, Hey, get out of here you long-haired nuisance, you know. You’re destroying the youth of Great Britain and corrupting the life of America. We did it in the ¢â‚¬Ëœ60s and, frankly, we’re doing it again. I mean, Cal Thomas’s piece it says, What are we going to do now? You know, shall we attempt a third party? Or should we just drop out completely and-and leave the world to go to hell? I mean, and it’s-it’s-it’s unbelievable. And what happened again is, you know, Cal is like a voice crying in the wilderness, because 25 years ago nobody encouraged anybody to be a journalist, I mean, not a secular journalist, or to be a songwriter, or to be any of those things. And so now we’re playing catch up all over again.
We’ll pick up there when we come back with Alistair Begg. A little
retrospective on The Beatles this afternoon. We’ll be right back.

Well, this is Dick Staub back with you. Our guest has been Alistair Begg. He is the-the pastor of the Parkside Church outside of Cleveland. We’ve got-we’ve got the famous refrain¢â‚¬¦
All you need is love,
All you need is love,
All you need is love, love,
Love is all you need.

Q. Hm. Now, there’s a point where the Christian faith could have touched down.
A. Or could have said something. Yeah. Could have said, now, yeah, but let’s
talk about the nature of love.

Q. Yeah.
A. That was 1967, the first world-wide simultaneous telecast that went to 26 countries. It was a 125-minute program, and since The Beatles were going to be on it they came to them and said, Write a sort of universal song. Write a song with a lyric that will be virtually understandable by every country although it will be in English.
We’ll pick up there when we come back with Alistair Begg. A little
retrospective on The Beatles this afternoon. We’ll be right back.

Q. And certainly, just a moment ago Alistair and I and by the way our guest this afternoon is Alistair Begg but one of the-one of the things that we were talking about is the way that people in the religious community reacted to The Beatles. And there was a huge furor over a-a comment that John Lennon said about being bigger than The Beatles, or being bigger than Jesus. But listen to the actual interview that-that Lennon gave to the press after that event. Listen up.I wasn’t saying The Beatles are better than Jesus or God or Christianity, I was using the name Beatles, because I can use them easier. I was using it, you know, because I can talk about Beatles. They’re a separate thing. I used them as an example especially to a close friend. But I could have said TV or cinema or anything else that’s popular. Or motor cars are bigger than Jesus. He wasn’t saying that’s a good thing.
A. No, he wasn’t. And it’s such a shame that it seemed to serve the agenda of certain people to-to misunderstand the quote. I mean, what Lennon was saying is what people might justifiably say today about all kinds of idols and icons in relationship to young people in particular. And he was in some ways bemoaning the fact. But he was acknowledging it. He was honest enough to say what has happened here is a phenomenon that is way beyond anything that we could ever have conceived of. And the response, of course, you know down in the southern states in America was not particularly attractive when they hit Dallas and all those youth pastors came out to welcome them with those bonfires. And unfortunately the bonfires comprised The-the-the Beatles albums and singles and EPs and everything else. And again, as I watched that, as a kid from Great Britain looking at the response of America to The Beatles, on the one hand you had all these people tearing their hair out, girls crying and everything else, and then you had these very strident-looking guys who were, you know, interesting characters to say the least, lambasting them. And while there were things that needed to be addressed and there always will be nevertheless I think we missed an opportunity. And later on when you see them with a maharishi yogi, and you see Harrison’s interest in mysticism, and basically our kind of ¢â‚¬Ëœ70s version of the whole New Age movement, while we can’t lay the charge at the feet of the Christians, nevertheless it is a sad thing that there was nobody there who had gained a platform to them at a time when they were willing to listen. There’s a very interesting story, actually, a true story. When they were recording Abbey Road, there was a fellow in London because I was a student in London at that time and there was a chap going around London who was a schizophrenic and who claimed that he was Jesus. He was dressed up in a robe. And he would wander around in a white robe, and he looked like he had a toga and long blonde hair and everything else. And he was seen at Hyde Park Corner, you would see him every so often at King’s Force Railway Station and stuff, and he was all peace and love and everything. He was totally nuts. Well, he showed up at a-he showed up at McCartney’s front door in St. John’s Wood. Rings the bell, McCartney answers the phone himself. Paul says, Who are you? The guys says, I’m Jesus Christ. McCartney says, I’ve been wanting to talk to Jesus Christ. Come in. Brings him in. Says, Do you want a cup of tea? The guy says, Sure. They have this conversation. He says, You want to come to the studio? So he takes him to the studio. They’re recording Abbey Road. Walks in, says to the rest of the guys, he says, Hey, he says, Jesus Christ came to my front door. Now, he was being facetious. But the interesting thing was that it was indicative, not only of the time, but of the sense of looking for something. And I think, for example, in the lyric of Nowhere Man, you’ve got that-that emptiness perfectly related.

He’s a real nowhere man,
Sitting in his nowhere land,
Making all his nowhere plans
for nobody.
Doesn’t have a point of view,
Knows not where he’s going to,
Isn’t he a bit like you and me?
Nowhere man, please listen,
You don’t know what you’re missing,
Nowhere man, the world is at your command,

Q. So there we have Nowhere Man.
A. Yeah. The early hours of the morning he’s been trying to write a song for five
hours, he goes to his bed totally disgusted, he lies in his bed, he looks up at the ceiling, and he sees himself as a nowhere man sitting somewhere out there.

Q. Wow. We were going to go next with¢â‚¬¦
A. Eleanor Rigby.

Q. Eleanor Rigby. And let’s hear what we have to say from Eleanor Rigby.

Father McKenzie writing the words of a sermon that no one will hear,
No one comes near.
Look at him working, darning his socks in the night when there’s nobody there,
What does he care?
All the lonely people, where do they all come from?
All the lonely people, where do they all belong?
Ah, look at all the lonely people.

Q. Anybody with any spiritual antenna, how could you miss that one?
A. Well see, when I was a teenager, in my late teens we used to go around, we
had a little singing group. And we would do all these little segues between singing like that refrain and then go from there into a song that had gospel content to it. And those were the little bridges that we used to establish contact. When Jesus saw the crowd he was moved with compassion because he saw them as sheep without a shepherd. Now clearly, they didn’t have any spiritual insight.

Q. Yeah.
A. But they looked out and they said, Look at these people. I mean, look at this.

Q. Yeah. Wow.
We’ll be back with more of Alistair Begg on The Beatles, coming up right
after this. Don’t go away. We’ll be right back.
Well, this is Dick Staub back with Alistair Begg. And we’re talking this afternoon about the theology of The Beatles, what it is that they actually believed. And-and-and I remember many of us as kids and I happened to be in a very wonderful home but I thought about so many of my friends when I heard these lyrics:
She’s leaving home after living alone for so many years.

Q. I remember when that first came out about this girl, and she’s leaving home
after living alone for so many years. And her mother and father talked about it. They didn’t understand it. This theme of alienation starts really appearing and the fact that people are lonely. And-and in a certain sense I think that was reflecting some of what was going on in The Beatles’ own life. Here they’d been saying, All you need is love. And in reality the love that they had in their own life wasn’t enough.
A. Well, that’s right. And that’s where their whole worldview begins to crumble
on them. And even-even today, you know, a guy like Paul McCartney is-is-is in touch with people like Phil Keaggy, which really excites me because, you know, Phil is really turned on for Christ. And to think that now he is at least in the framework where he can hear the answer to some of these questions.

Q. One of the theological statements that they make that to me was so depressing and I’m going to slip this in real quick, we didn’t talk about it but is this phrase in the song In the End. And in the end the love you take is equal to the love you make. That was really depressing to me when I heard that because here you’ve got this kind of, well, I guess love didn’t work so maybe what it means is if I give enough love and get enough love it’ll all even out in the end, their really very nihilistic kind of philosophical theological statement near the end of-of their work together.
A. Absolutely. And see, the thing is, it’s-it’s been very acceptable for middle-
class Christians to go along and sit in very nice warm and eerie theaters and listen to Mahler, you know, and talk about the fact that Mahler was suicidal. And it’s all very okay. But somehow or anther you can’t do that in relationship to The Beatles. I agree with you. I-I think that’s absolutely right. Somebody wants to stand up and say, Hey, listen. Greater love has no man than this than a man would lay down his life for his friends. And you’ve got it a year before Lennon died, he gives an interview to Rolling Stone magazine. What about Help, they say. He said, I wrote Help in ’65, and people hailed it as another advance in rock and roll. It was the cry of my heart and nobody came to answer.

Help, I need somebody,
Help, not just anybody,
Help, you know I need someone, help.
When I was younger, so much younger than today,
I never needed anybody’s help in any way.
But now these days are gone, I’m not so self-assured,
Now I find I’ve changed my mind, I’ve opened up the doors.
Help me if you can, I’m feeling down,
And I do appreciate you being around,
Help me get my feet back on the ground,
Won’t you please, please help me.
And now my life has changed in oh so many ways.

Q. Knowing that quote, that “this was the cry of my life and nobody came to
answer.” I mean, that-that’s really very heart-breaking.
A. Yeah. I mean, my friends think I’m kind of nuts in relationship to this but,
you know, everybody says, Where were you when Kennedy was assassinated, and everything else. You know, I-I have just riveted in my mind that scene outside the Dakota Building in New York where they finally picked Lennon up out of the ground and they-they realize that he’s gone at the hands of that kid’s bullet. Because at that point in his life Lennon was off drugs, he was into a vegetarian kick, he’d got a control of all of his eating disorders and everything else, he was-he was about as sensible as he had been in a decade. And right at the moment with his head clear you just thought you might have that chance to speak into his life in some way, it’s gone in an instant before we have a chance. And it’s just a-he’s just a picture of what we’re dealing with every day in all of our lives. I mean, the drummer in Smashing Pumpkins, same thing. Kurt Cobain, same thing. I mean, time and time and time again. And those are only big, dramatic examples of the interaction that all of us have with kids. And so I want to encourage our people, you know, to get serious about being real about the things of Jesus Christ, listening to music so that you can talk to people rather than simply sloganeering and banging the drum for the-the same old stuff.

Q. Listen to this, because I think this kind of reflects a lot of what we’ve been trying to say this afternoon in terms of understanding both the message of The Beatles and the messengers themselves.

People need the Lord,
People need the Lord,
When will we realize,
That we must give our lives,
For people need the Lord.

Yesterday, all my troubles seemed so far away,
Now it looks as though they’re here to stay,
Oh, I believe in yesterday.
Suddenly, I’m not half the man I used to be,

Q. We¢â‚¬¦ When you and I first talked about this, this was when you were on tour with your book, Made For His Pleasure, and I told you about the segment, and you says, Well, if you ever want to do The Beatles, you know, I want to do The Beatles. And I’ve noticed¢â‚¬¦ We had the author on of the book, The Day Paul Met John, it’s the story about the day they met. And people called in. And half the people said, I loved The Beatles and I’m so glad you’re talking about them. Other people called in and said, This was the worst time of my life. I was on drugs, I was screwed up. And so how do we take all of this music and the-the-the emotion of it and connect it to a legacy that we should put in the perspective of our own life and faith today?
A. Well, I think it’s very, very important that what we’re not saying in this is this is a, you know, these guys had it and let’s all go out and buy their albums and listen to them and tune in. Because I recognize that for some people this drags up memories that they would rather forget. Therefore, for them they shouldn’t get into it. For others of us, of course, who were able to come through it clean, then it doesn’t hold the same temptations. And so I think there is great value in seeing what they did as a-as a window through which we can view 30 years of-of western culture.

Q. Now, when you look at their worldview and you say, This is what Christianity
provides that they needed, and you can hear they needed it from their lyrics, what are some of the things that leap out at you?
A. Well, they were looking for peace. And Jesus said that in me you will have peace. But you wouldn’t come to me when you looked at Jerusalem. He looks at Los Angeles, Chicago, Cleveland and says the same thing. If only you had known what makes for peace. Love. Herein is love not that we loved God but that he loved us and gave himself as an atoning sacrifice for our sins. I mean, all those essential cries of the human heart are met in the person and work of the Lord Jesus.

Q. Hm. And that is really the place that they needed to go and they never did. And that’s the legacy of The Beatles is that they both shaped a culture and reflected a culture, but ultimately they were reflecting and shaping a culture that needed God, just like every other culture. And we find God through Jesus Christ. Alistair, this has been most interesting.
A. Thanks a lot. The long and windy road they took, unfortunately, never led
them to the door of faith, but there’s still time for three of them.

Q. Yeah, absolutely. Folks, that’s going to do it for this hour of The Dick Staub Show.
Don’t go away. We’ll be right back.

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