New Testament Stories My Daddy Told Me, April, 2015

April, 2015

New Testament Stories My Daddy Told Me

PAUL AND APOLLOS (Acts 18:18-28)

By Wayne S. Walker

     Paul stayed in Corinth a good while.  When he finally set sail for Syria, Aquila and Priscilla went with him.  They stopped in Cenchrea, where Paul had his hair cut off because he had taken a vow.  Sometimes, Christians from a Jewish background in the first century continued to observe certain customs from the Old Testament law on an individual basis without making them religious rites or demanding them of others.  Next, they came to Ephesus, where he went into the synagogue and reasoned with the Jews.  They asked him to remain there.

Paul replied that he needed to leave soon in order to keep the coming feast in Jerusalem, another Jewish custom that Paul wanted to observe.  So he left Aquila and Priscilla there and sailed for Caesarea.  From there, he went up and greeted the church, probably in Jerusalem, and then returned to Antioch of Syria.  After spending some time there, he began his third preaching trip by going into Galatia and Phrygia to strengthen the disciples in those regions.

Meanwhile, Aquila and Priscilla remained in Ephesus.  During that time, a Jew named Apollos, originally from Alexandria in Egypt, came to Ephesus.  He was an eloquent speaker and very knowledgeable in the Scriptures.  He had been instructed in the way of the Lord and began to speak in the synagogue.  Everything which he said about the things of the Lord was true, but his knowledge extended only to the baptism of John.

Therefore, when Aquila and Priscilla heard him, they took Apollos aside privately and helped him to understand the way of God more accurately.  Being fervent in spirit, Apollos want to cross over the Aegean Sea to Achaia, where Corinth was located, and preach there.  The brethren at Ephesus wrote letters to the disciples in Greece, encouraging them to receive him.  When he arrived, he helped the church a great deal by refuting the Jews and showing from the Scriptures that Jesus is the Christ or Messiah.

Questions

  1. When Paul left Corinth, who went with him?
  2. What did Paul have done in Cenchrea?
  3. Why did Paul need to leave Ephesus so quickly?
  4. After returning to Antioch, which preaching trip did Paul then begin?
  5. Who came to Ephesus and began to speak in the synagogue?
  6. In what particular subject was his knowledge of the Lord’s way deficient?
  7. How did Aquila and Priscilla help this individual?
  8. When this man wanted to preach in Achaia, what did the brethren in Ephesus do for him?
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April, 2015, Monthly Meditation

LIFTING UP HANDS

by Wayne S. Walker

     “Lift up your hands in the sanctuary, and bless the LORD” (Psalm 134:2).  The Bible makes many references to the lifting up of hands.  Concerning this verse, Charles H. Spurgeon, who says that the Psalm was an exhortation by the returning pilgrims to arouse the priests to pronounce a blessing upon them and thus teaches us to pray for those who are continually ministering before the Lord, wrote, “In the holy place they must be busy, full of strength, wide-awake, energetic, and moved with holy ardour.  Hands, heart, and every part of their manhood must be upraised, elevated, and consecrated to the adoring service of the Lord.  As the angels praise God day without night, so must the angels of the churches be instant in season and out of season.”

I have heard, though I cannot confirm it, that the lifting up of hands was a common motion of greeting to show that one did not have any weapons.  We have all probably seen some movie or television show where the police are bearing down on someone who immediately holds his hands up to show that he is not armed or will not take any retaliatory action.  Somehow, it must have become a custom associated with worship.  Spurgeon quoted Samuel Eyles Pierce who said, “The lifting up of the hands was a gesture in prayer, it was an intimation of their expectation of receiving blessings from the Lord, and it was also an acknowledgment of their having received the same.”

In 1 Timothy 2:8 Paul wrote, “I desire therefore that the men pray everywhere, lifting up holy hands, without wrath and doubting.”  In many denominational worship services, it is common to see people holding up their hands and swaying during prayer and even singing.  As in the washing of feet by Jesus in John 13 and the holy kiss of Romans 16:16, the thing being commanded here is not the action itself but the attitude that it represents—holiness, having nothing of an ulterior nature behind us.  If for whatever reason a person might choose to hold up his hands in prayer, one would be hard pressed to say that it is unscriptural, but there is no passage of scripture which teaches that it is necessary or that one sins without doing it.  Rather, he must spiritually lift up holy hands by coming to God in an attitude of humility.

Between 12 & 20: An Interview With Some Homeschooled Teens

Here is an interview with 6 different homeschooling teens. Erin Chianese, mother of 2 now-grown homeschooled daughters conducted this interview with the trained eye of a mother of teenage girls.

Between 12 & 20: An Interview With Some Homeschooled Teens By Erin Chianese

As parents, the decision to homeschool is ours. We know in our hearts that it is best for our children and our families. Of course, there are nagging doubts to any important decision, especially when it goes against the grain of the surrounding society. I used to call homeschooling our family’s “grand experiment.” I used to wish I had a crystal ball to find out the results of our venture. One of the most informative homeschooling conference sessions I have been to is a Teen Panel. Listening to teens discuss their own lives can dispel some of the fears of how our own grand experiments will turn out.

Here is an interview with six young adults to learn their thoughts on homeschooling. They were homeschooled most or all of their lives. They practiced different homeschooling styles and are embarking on different paths.

Read More at:
http://www.homeschoolnewslink.com/blog/?p=807

John Barry and the Midnight Cowboy Theme

johnbarry

     John Prendergast Barry (November 3, 1933–January 30, 2011) was an English composer and conductor of film music who  arranged and performed the “James Bond Theme” to the first film of the James Bond movies, 1962’s Dr. No, and also composed the soundtracks for eleven of the next fourteen films in the series between 1963 and 1987.  Barry was born John Barry Prendergast, on November 3, 1933, in York, England, the son of an English mother and an Irish father. His mother was a classical pianist. His father, John Xavier “Jack” Prendergast, from Cork, was a projectionist during the silent film era, who later owned a chain of cinemas across northern England.  As a result of his father’s work, Barry was raised in and around cinemas in northern England and he later stated that his childhood background of being brought up in the theatres owned by his father influenced his musical tastes and interests as a result.  Barry was educated at St Peter’s School, York, and also received composition lessons from Francis Jackson, Organist of York Minster.

Serving in the British Army for two years in Cyprus, Barry spent his national service playing the trumpet. After his army service, he took a correspondence course with jazz composer Bill Russo, and working as an arranger for the Jack Parnell and Ted Heath’s Orchestra, he formed his own band in 1957, the John Barry Seven, with whom he had some hit records on EMI’s Columbia label, including “Hit and Miss”, the theme tune he composed for the BBC’s Juke Box Jury program, and a cover of the theme for the United Artists western The Magnificent Seven. By 1959 Barry was gaining commissions to arrange music for other acts.  The career breakthrough for Barry was the BBC television series Drumbeat, when he appeared with the John Barry Seven. He was employed by EMI from 1959 until 1962 arranging orchestral accompaniment for the company’s singers, including Adam Faith. When Faith made his first film, for the juvenile delinquency drama Beat Girl (1960), Barry composed, arranged and conducted the score, his first.

Barry’s achievements caught the attention of the producers of a new film called Dr. No (1962). Barry was hired and the result was one of the most famous signature tunes in film history, the “James Bond Theme.”   When the producers of the Bond series engaged Lionel Bart to score the next James Bond film From Russia with Love (1963), they discovered that Bart could neither read nor write music.  The producers remembered Barry’s arrangement of the James Bond Theme and his composing and arranging for several films with Adam Faith.   This was the turning point for Barry, and he subsequently won five Academy Awards and four Grammy Awards, with scores for, among others, Born Free (1966) which put him in the front ranks of popular film composers, The Lion in Winter (1968), Midnight Cowboy (1969), and Somewhere in Time (1980). In 1975 Barry moved to California. He subsequently lived for many years in the United States, mainly in Oyster Bay, NY, in Centre Island on Long Island, from 1980.  Barry suffered a rupture of the oesophagus in 1988, following a toxic reaction to a health tonic he had consumed. The incident rendered him unable to work for two years and left him vulnerable to pneumonia.

Barry composed the theme for the TV series The Persuaders! (1971), also known as The Unlucky Heroes.  He also wrote the scores to a number of musicals, including the 1965 Passion Flower Hotel with lyrics by Trevor Peacock’ the successful 1974 West End show Billy with lyrics by Don Black; and two major Broadway flops, Lolita, My Love (1971), with Alan Jay Lerner as lyricist, and The Little Prince and the Aviator (1981), again with lyricist Don Black.  Some of his later films include the first remake of King Kong (1976), Out of Africa (1985), and Dances with Wolves (1990). In 1999 Barry was made an Officer of the Order of the British Empire (OBE) at Buckingham Palace for services to music.  In 2001, the University of York conferred an honorary degree on Barry, and in 2002 he was named an Honorary Freeman of the City of York. During 2006, Barry was the executive producer on an album entitled Here’s to the Heroes by the Australian ensemble The Ten Tenors. Barry and Black also composed one of the songs on Shirley Bassey’s 2009 album, The Performance. Barry died of a heart attack on January 30, 2011 at his Oyster Bay home, aged 77.

The following work by John Barry is contained in my collection:

Midnight Cowboy (1969): Theme (Everybody’s Talkin’).

—material selected, adapted, and edited from several different sources

the radical pro-homosexual agenda in public schools

Here is something you ought to read.  How did we go from a majority opposing so-called same sex marriage, an oxymoron if there ever was one, a few years ago to what we are presently being told which is that surveys show that a majority now favor it?  One factor is a generation or two of pro-radical homosexual agenda having been poured into the heads of our children in public schools.  Surveys show that some 80% of children raised in Bible-believing households end up rejecting Bible principles after 12 years of public school indoctrination.  If you still feel that  sending your children to public schools is worth the risk, at least make sure you know what they are being introduced to and taught in their school’s curriculum.

http://www.hannity.com/articles/news-476261/maine-schools-first-grade-curriculum-reading-13499580/

Harvey Schmidt and The Fantastics

SCHMIDT_Harvy

     Harvey Lester Schmidt (born September 12, 1929) is an American composer for musical theatre and illustrator, who is best known for composing the music for the longest running musical in history, The Fantasticks, which ran off-Broadway from 1960 – 2002, with songs like “Try to Remember,” “Much More,” “Soon It’s Gonna Rain,” and “They Were You.”.  Schmidt was born in Dallas, TX, on September 12, 1929, the son of a Methodist minister, and raised in Texas, in the area around Houston. A fan of radio, movies, and theater from an early age, Schmidt’s imagination was captured by these forms of entertainment and their ability to evoke powerful reactions from audiences. As a filmgoer in his teens, he was dazzled by some of the best of what Hollywood had to offer and was particularly fascinated by the designs and the use of space that he saw in the early films of Vincente Minnelli. His interest in music was encouraged by his mother, who was a piano teacher. He was a natural pianist and able to play anything by ear, but also suffered from a mild dyslectic condition that limited his formal training — he couldn’t read music. Schmidt’s most obvious talent as a youth was his artistic ability, which impressed his teachers as well as his friends.

He attended the University of Texas at Austin to study art, and it was there, through his membership in a campus social organization called the Curtain Club, that he met Tom Jones, a fellow Texan, writer, frustrated actor, and, like Schmidt, a movie buff from childhood, and he started to accompany the drama students on the piano. They soon started writing musicals together, the first being a revue. He and Jones were brought together on a theater project by fellow student Word Baker, who had conceived of a piece that was a pastiche of early twentieth century theater and movie songs. The piece ended up taking its title from a Schmidt solo composition, “Hipsy-Boo.” Schmidt and Jones first collaborated successfully on Time Staggers On, a musical account of the first day of a freshman at college that was heavily influenced by On the Town, and proved extremely popular on the Austin campus. They parted company in the early ’50s, However, after serving in the Army, Schmidt moved to New York and worked as a graphic artist for NBC Television and later as an illustrator for Life, Harper’s Bazaar, Sports Illustrated, and Fortune, and by 1955, they were both in New York sharing an apartment.

All of Schmidt’s major musicals were written with Jones as his lyricist. The work the duo is known for is the musical The Fantasticks which ran off-Broadway for 42 years, from 1960 – 2002 at the Sullivan Street Playhouse in New York, for a total of 17,162 performances.   In 1956, Jones had presented Schmidt with an idea that he was trying to develop and finish since his days as a graduate student. While studying at Austin, he’d encountered Edmond Rostand’s 1890 play Les Romanesques, a parody of and homage to Shakespeare’s Romeo and Juliet.  His idea was transform Les Romanesques into a musical and Americanize the story by transposing it to a Western setting with Mexicans and cowboys under the title Joy Comes to Dead Horse.  They continued working on Joy Comes to Dead Horse for years, while trying to write songs and skits together and get their musical careers going; in the meantime, Schmidt became a nationally known illustrator and graphic artist.

Finally, in 1959, through their mutual friend Word Baker, who was also working in New York, Schmidt and Jones were offered the chance to get the musical that had been gestating for most of the decade staged at Columbia University’s Barnard College in a summer theater program run by actress Mildred Dunnock, if it could be cut to a single act. Out went the Western setting, gone was any allusion to the Mexican characters, and everything else extraneous to the original story. They were back to Rostand’s work and chose for their title the name of one of the English translations of Les Romanesques, The Fantasticks.  The team followed with the Broadway musical 110 in the Shade, a musical based on the play, The Rainmaker, by N. Richard Nash, in 1963, which ran for 330 performances on Broadway and earned a Tony Award nomination for Best Composer and Lyricist for Schmidt and Jones in 1964. I Do! I Do!, a musical adapted from Jan De Hartog’s The Fourposter,.followed in 1966, which brought Mary Martin and Robert Preston to the Broadway stage in a two-person musical and ran for 560 performances. Jones and Schmidt were nominated for the Tony Award for Best Composer and Lyricist and Best Musical.

Schmidt and Jones’s last work on Broadway was a musical entitled Celebration. The production ran for 109 performances in early 1969.  They continued to work together off Broadway, creating such works as Colette (1970), Philemon (1973), Mirette, Grover’s Corners based on Thorton Wilder’s play, Our Town, which took thirteen years to write, only to have the rights pulled by Wilder’s nephew.  Schmidt also moved into writing for film, scoring the 1972 feature Bad Company, directed by his friend Robert Benton, and a movie entitled A Texas Romance.  In 1992 Schmidt received the Tony Award, Tony Honor for “The Fantasticks,” then in its 33rd year.  Schmidt and Jones also collaborated on the 1995 feature film adaptation.   They both appeared in a revue of their songs, The Show Goes On, at the York Theatre Company in 1997. The run was extended several times and the show was recorded on the DRG label.  One of their most recent works, in 2002, was the off-Broadway musical, Roadside, based on a play by Lynn Riggs, which had been presented as a work-in-progress at Southwest Texas State University in November of 2000.  His recording, Harvey Schmidt plays Jones and Schmidt was released in 2005.   Schmidt and Jones were both inducted into the Songwriters Hall of Fame in July, 2012, and Schmidt has been inducted into the American Theatre Hall of Fame.

My collection includes the following work by Harvey Schmidt:

The Fantastics (1960): Medley.

—material selected, adapted, and edited from several different sources