#Christian Ruppe

[forward-in-joy]

The Heart of Compassion

Compassionate God,

your generous presence

is always attuned to hurting ones.

Your listening ear is bent

toward the cries of the wounded.

Your heart of love

fills with tears for the suffering.

-- Joyce Rupp

[gregor-samsung]

«Sul finire del Sedicesimo secolo la volta celeste si alzava, come la vediamo noi ancora oggi, non di venti metri come nel planetario, ma circa a non più di trenta chilometri sopra di noi, come un’inflessibile costruzione. Sopra questa fortezza celesta troneggiava il malefico Dio, la cui vista penetrava in tutti gli errori degli uomini, che puniva senza pietà con la guerra, la peste, gli incendi. La volta celeste, che sosteneva i palazzi e i giardini di Dio, cingeva come un guscio d’uovo la Terra liberamente sospesa nel vuoto. «A questo punto entrò in scena Giordano Bruno e ruppe il guscio dell’uovo cosmico aprendo lo sguardo meravigliato e felice dell’umanità sull’infinità dello spazio. Le stelle fisse non erano più i bottoni dorati inchiodati all’immobile parete celeste, ma divennero barche dorate che si muovevano liberamente nell’etere a grande distanza le une dalle altre. Tutta la magnificenza dei palazzi divini si era volatilizzata. Se fossi un grande artista come lei», disse lo zoologo volgendosi ora al pittore, «progetterei un affresco imponente che, come contraltare del Giudizio Universale di Michelangelo, raffiguri Giordano Bruno sul rogo. Ma le fiamme, che devono bruciarlo, salgono verso il cielo e incendiano la volta celeste come fosse una misera quinta teatrale. Si vedrebbero quindi la città di Dio con i suoi opulenti palazzi crollare, dissolvendosi nel fumo e nella cenere, e insieme ad essi cadrebbero vittime dell’eterna distruzione angeli e santi. In lontananza, le stelle dell’Orsa Maggiore, come sfere luminose, apparirebbero in segno di vittoria.»

Jakob von Uexküll, L'immortale spirito nella natura, traduzione dal tedesco di Nicola Zippel, Castelvecchi (collana I Timoni), 2014. [Libro elettronico]

[Edizione originale: Der unsterbliche Geist in der Natur, Christian Wegner Verlag, Hamburg; testo pubblicato in tre parti fra il 1938 ed il 1947]

[fallinginreversefanblog]

Falling In Reverse live in Nashville/TN, 2/17/2024

Falling In Reverse has continued the tour after canceling Huntington/WV. They played next in Nashville, Tennesse, on Feb 17th, 2024. Guess how was the show? Dope as always. I feel like I will need to prove this at some point.

Via Twitter

A chose a multiple songs video to show the stage performance with the vibes:

Via Instagram

Awesome photography of Ronnie Radke on Bridgestone Arena's stage:

Via Instagram

And the YouTube links, as usual:

More photography, some of them real good even though they're fan made ones.

Via Instagram

On the day of the concert, rhythm guitarist Christian Thompson was having his birthday. He turned 36. After the show many people congratulated him. Happy belated birthday, Christian! He mentioned it on his Instagram.

"My birthday was a fun one."

Via Christian Thompson's Instagram account

Falling In Reverse will play in Lexington, Kentucky next, on Feb 19th, 2024, in the Rupp Arena. Wish the whole band health and endurance for the last weeks of the tour ❤️

[wutbju]

And Bob Jones III announced the BJU honorary for 2023 at ~35:00:

Mr. President, our honoree was born in Arizona, grew up on a Navajo Indian Reservation where his mother served as missionary. After graduating from BJU, where he was greatly influenced by Doctor Richard Rupp and Dr. Earl Nutz of the Bible Faculty and Cecil Tune, his aviation instructor, under whom he earned his pilot's license, which has been valuable in his ministry to those who live on reservations. His summers while a BJU student were spent at Camp Ironwood in California and the Roloff Homes in Texas with men who struggled with addiction.

After getting a Bachelors of Arts in Practical Christian Training from this institution in 1984, he returned to Arizona to the ministry he has never left. He serves as a missionary to Native Americans at Regeneration Reservation in southeastern Arizona. He founded and continues to pasture Regeneration Baptist Church while serving as president of the Regeneration Mission Board. Our honoree and his wife Kathy, along with several other missionaries, all Bob Jones University grads and including their son Nathan, minister in a variety of ways including a home and Christian education for Apache children at the reservation to build redemptive relationships within the local community. He has served as volunteer with the fire department and the county Search and Rescue.

His family earned Black Belts in martial arts, which have opened numerous doors for ministry. Their summer camps, comprised of horsemanship, martial arts and rock climbing, have opened other doors to the hearts of young people. For four decades, he and his team continued to make evangelistic visits to preach to those in tribal jails. They use biblically based recovery materials, which they have written especially for the Native American community. Our honoree serves on the Apache Bible Committee, tasked with translating God's Word into the heart language of Apache people. Currently, he and his team are working at recording the entire New Testament in Western Apache. At the request of tribal leadership, our honoree hosts a weekly radio program that reaches over 30,000 people onto Apache reservations. He established and coordinates a partnership of Native American leaders called Today's Native, which are committed to developing evangelistic and discipleship resources. This platform of reaching Native Americans and indigenous people groups with the Gospel consists of audio, video and print resources. They have reached each of the Nation’s 574 tribes and have placed the Gospel in more than 125,000 native homes. Additionally, he is Vice President of the Roloff Evangelistic Enterprises, where he has been a board member for over 30 years, and since 2016, he has overseen the Family Altar radio program emanating from that ministry and is heard daily nationwide and in many foreign countries. Scott and his wife Kathy, a 1984 graduate from BJU with a Bachelor of Arts in Christian Missions, have four children and one granddaughter.

I might add that as an example of his persevering commitment to God's calling, I remember visiting Scott in the mid 1980s, near the inception of his ministry. [He said that] they would consider their ministry to have been a success if they had seen only four Navajo families get saved, become disciples and remain on the reservation to live transformed, biblically sanctified lives without spiritual or moral failure among their people. Today, for Scott's unrelenting efforts to bring the Gospel of Christ to an often overlooked group of people through a lifetime of dedicated ministry, Dr. Pettit, it is my purpose to present to you, my friend Scott Murphy, as recipient of Doctor of Humanities.

Where do we begin? Bob Jones University has supported Lester Roloff in all his iterations from the beginning. WMUU carried his radio show. Bob Jr. spoke at his funeral. Bob III made affirming statements at the time:

And the proof of Lester Roloff's abuse is everywhere:

And the abuse of indigenous children is rampant and still coming to light.

Why, why, why is Bob Jones University endorsing these kinds of practices still in 2023?

This is Bob Jones University. This. Right here. On Steve Pettit's watch, btw.

[officialyourdailyinspiration]

Chris Rupp is no stranger to a cappella music. He gained worldwide recognition for his role in the group Home Free, which won NBC’s popular show The Sing Off...

[leonbloder]

How Jesus Saves The World

The other day, I saw a thought-provoking post on social media from an avowed atheist I follow.  

I started following him a few years ago out of curiosity. Then, to my surprise, I discovered that some of his posts resonated with me and helped me ask excellent questions about my faith. 

I'm going to show the content of the post: 

Maybe our problem on this planet is that people expect someone else to come solve their problems instead of doing it themselves.

This is an honest and appropriate critique.  But while I am sure that many expressions of the religions listed in the post are "so heavenly minded, they aren't any earthly good," there are also some that are much more balanced. 

I can only speak to Christianity because that is my tradition.  

I currently lead a particular congregation that looks toward a day when the world will be made right but also does everything imaginable to make it as right as possible now. 

Granted, there are plenty of Christian traditions that go a different direction and, in my opinion, get led astray by bad theology.  It's an easy trap to fall into when the world seems so out of joint.  

It also absolves adherents from responsibility and, sadly, can turn them into self-serving isolationists when it comes to their faith.  We are seeing this happen in Christianity here in the U.S. at an alarming rate. 

Recently, I read a fantastic quote from author Joyce Rupp about this very thing: 

We can’t just sit on the roadside of life and call ourselves followers of Jesus. We are to do more than esteem him for his generous love and dedicated service. We do not hear Jesus grumbling about the challenges and demands of this way of life. We do not see him “talking a good talk” but doing nothing about it. He describes his vision and then encourages others to join him in moving those teachings into action. 

I also need to say this: 

Putting our faith into action to do our best to live as Jesus would have us live in our world isn't an example of "woke" Christianity; it is Christianity- at least Christianity as it should be. 

You see, you can long for a day when the shalom of God, as described by Jesus, will permeate all of Creation, and you can also work to bring that shalom to the world to fulfill that longing right here, right now. 

The vision of my church is Love God, Love Everybody, which represents this balance.  You show your love for God by loving everybody that God loves.  And if you can't bring yourself to truly love everybody that God loves, you might not love God as much as you think. 

And so we follow Jesus rather than sit on the roadside.  We put our faith into action to do everything we can to bring hope to the hopeless, healing for the broken, and inclusion for those left on the outside.  

We don't need to pine for a future savior---our savior, our rescuer, our example, has already saved, rescued, and shown those who follow him how to live.  

May it be so.  And may the grace and peace of our Lord Jesus Christ be with us now and forever. Amen. 

[coghive]

Tickets Now Available For “Tomlin UNITED Tour” Third Leg

Concert tickets for the “Tomlin UNITED Tour” launching on November 3 in Knoxville, Tenn. are available TODAY at TomlinUNITED.com. Multi-platinum selling and multi-award-winning artists Chris Tomlin and UNITED will launch the third leg of their highly successful ‘Top 10 Worldwide Tour’ (Pollstar) as they continue to welcome thousands of worshippers each night to one of the biggest Christian concert events of 2022. The fall leg will visit a dozen major cities across the U.S. including St. Louis, Seattle, Salt Lake City, Indianapolis, Charlotte and more. Music critics claimed the “Tomlin UNITED Tour” was ‘more than a concert- it was a worship experience for the performers and audience’ and ‘many were so overcome by the music they were brought to tears. The outpouring of emotion was awesome to witness.’

“Something powerful happens when we come together, all the streams of the church, to worship in Unity and One voice… it’s more than a concert, it’s an opportunity for us to join in the eternal praise,” shared Chris. “My prayer and belief for these nights with United is that everyone in the building, myself, the attendees, the musicians, the crew, each person working at the venue – everyone – is met by God right where they are in life and has an encounter that reminds us of the hope we all have in Him.” “In light of what our world has collectively been through in the last couple of years and the journey we have personally been through, being able to gather and worship together has been something that has brought much joy and encouragement,” shared Jonathon Douglass of UNITED. “That’s why we are so looking forward to continuing the journey of this tour to share and experience who God is and how he is present with each and every one of us right now! We look forward with great expectation to these nights with a great faith that God is going to move in our lives and bring joy and encouragement personally to everyone who joins with us!” https://youtu.be/0jZlH2eV0Rg With a combined hope that this tour will help reunite the church, Tomlin and UNITED remained focused on launching the tour throughout an 18-month delay due to the COVID-19 pandemic. Premier Productions is the national tour promoter and World Vision will serve as the tour sponsor. On September 9, Chris will release his next full-length project, Always. The title track was released to Christian radio this spring and made its live debut on the “Tomlin UNITED Tour” earlier this year. The official live video for “Always” was filmed live from Chris’ annual “Good Friday Nashville” concert event and premiered exclusively with Facebook. UNITED released their new full-length studio album earlier this spring, Are We There Yet? “Tomlin UNITED Tour” - 11-3     Knoxville, TN            Thompson-Boling Arena - 11-4     Lexington, KY           Rupp Arena - 11-5     St. Louis, MO            Chaifetz Arena - 11-9     Seattle, WA                Angel of the Winds Arena - 11-10   Boise, ID                     ExtraMile Arena - 11-11   Salt Lake City, UT    Maverick Center - 11-12   Loveland, CO            Budweiser Events Center - 11-14   Tulsa, OK                  BOK Center - 11-15   Wichita, KS               INTRUST Bank Arena - 11-16   Des Moines, IA          Wells Fargo Arena - 11-18   Indianapolis, IN        Gainbridge Fieldhouse - 11-20   Charlotte, NC            Spectrum Center Read the full article

[maybe-seggy-will-be-our-always]

undefined

How is Leon the most and least humble person at the same time? Learn more about it in this very lengthy and very much not really requested translated transcript of the newest NHL interview starring Leon Draisaitl, Tim Stütze and Marco Sturm. Please don't be mean I tried best.

Christian Rupp: Servus [sorry but it’s just a form of greeting I don’t want to translate] to our German NHL call today with three first round picks who have all been drafted in the first round [I know this is repetitive but I thought it was funny]. I am excited for this great group! Leon Draisaitl of the Edmonton Oilers, Tim Stützle of the Ottawa Senators and Marco Sturm, Assistant Coach of the LA Kings. Thank you for agreeing to this format and thank you for being here. First question, of course, Leon: You broke Marco Sturm’s record and are now sole German top scorer in the NHL. Since this has been a few days ago now did you get the chance to fully realize/internalize this fact?

Leon Draisaitl: Yeah, I think that the media and you are maybe making a bigger deal out of it than I myself to be honest. No question, of course this means a lot to me but as I have said enough times already I have way too much respect for Sturmi and all the other outstanding German hockey players we’ve had in the NHL. So I don’t want to make a thing out of it that it isn’t.

C. R.: It’s always „Dream Big“ – have big plans as a young player and dream big. Is that something you can even dream of, being the best German player in the NHL?

L.D.: Yes, I mean dreaming of something like that is always nice, that was probably no different for Sturmi and now for Timmi as well. We all dream of something that big playing in the streets as small kids. Coming out on top is of course super special to me, that is out of question. But as I said, there’s always something to work on and to improve and that is what I am trying to do here.

C.R.: Marco, your record had been standing for a long time. Leon now broke it at the young age of 25. Is he a worthy successor?

M.S.: By all means, yes! It took me 15 years to reach that point and Leon did it in only four. That beats everything! But [I didn’t catch what he said here but I guess something along the lines of an elaborate form of „that“] was only a matter of time. Leon won’t be the first and last one. Tim will be the next one, also only a matter of time. I am happy about this and am gladly passing on that title to Leon. He is completely different and plays in an entirely different league than I did. It’s only the beginning for him, I am sure there are many more points to come.

C.P.: And with Tim Stützle, the next one is already on his way. He’s diligently collecting points in his rookie year. Regardless, Tim, for you. What’s it like for you seeing the/your count written out especially now that you got to know how hard it is to score and collect points in the NHL. How bis is this number for you?

Tim Stützle: Yes, I will have to be honest and say I noticed that every time we played Leon. Especially in the defensive zone it isn’t the easiest thing but mostly it was incredibly fun playing against the best players in the world every day. And again, especially in our league [I think he’s talking about the Canadian division here], playing against Edmonton with Leon and Connor who, which is no secret, belong to the two best players in the league and the world and particularly with Marco, who has collected many, many points. It’s supercool seeing German hockey getting better and better.

C.P.: I’ll throw this question back at Leon. You played against him a few times now this season. What did you notice about Tim Stützle’s game, what did you like about it?

L.D.: Everything! I mean, playing in the league already at his age and so to say helping your team win or playing a big role on the power play right away, that isn’t quite that easy. I think we all know this. Timmi is probably experiencing that himself right now, that the league can be hard [on you] and is quick to bring you back down to earth. Plainly, because it is the best league there is with the best players there are but I’m gonna say, playing this continuously good in his first year as an 18 year old is an impressive achievement.

T.S.: *laughs* Thank you!

L.D.: *grinning* Of course!

C.P.: I can spot a shelf in the background. Leon, did you already receive your trophies? You did win a few in the pre-season, did they arrive already? Do they have a spot already?

L.D.: Nah, I don’t have the real ones here yet. I haven’t even seen them yet to be honest. I got smaller ones, how do you call them in German, replica trophies. Yeah, it is pretty cool. They are downstairs and I guess are functioning as chewing toys for my dog right now. But the real ones, as I said, I haven’t even seen yet.

C.P.: Marco! Of course we want to talk a bit about you as well. You are assistant coach of the LA Kings. How are you looking back on the season?

M.S.: Yeah well, as everyone knows we are in the midst of a rebuild right now. We are right at the start which is never easy. Patience is the most important feat in this phase. Many older players are now gone, a few still remain. The youngest players aren’t quite there yet, that’s why we still need to exercise patience and work hard. Particularly with the younger players. Then, hopefully, we’ll be able to take the next step next season or in the summer and maybe we’ll receive some new players. A player or maybe multiple players who will help us.

C.P.: We have all been anxiously watching/awaiting the 2020 Draft. LA Kings with Marco Sturm, I am sure Tim Stützle would have been a good fit there as well. Now, to be frank, with Tim in the room. How often did you regret not selecting Tim Stützle?

M.S.: I don’t have any influence on this process but I had my hopes, of course. Regrettably, nobody heard me, that’s how it goes and I only learned we were picking Byfield the day of the draft. But Byfield, I’ll have to say, he played the last 5 games up here and he will, too, become an outstanding player in the league. Maybe a bit different to Tim but personally I had hopes Tim would end up playing for/with us.

C.P.: Tim, it keeps getting better for your team, you are on a streak right now. Are you sad the season will be over already for you?

T.S.: In the beginning, of course, we weren’t quite that good. But we are in the middle of a rebuild as well and we have a lot of young players. But the last games it clicked for us and I think we won seven out of nine games. We feel comfortable and have a lot of fun playing together and as a young team we savor every day.

C.P.: What are the plans for the upcoming weeks? Has Toni Söderholm called?

T.S.: Yeah, I will have to see. There will be talks with trainers and management about what is best for me. There are still some remaining problems with my hand and I will have to get another surgery. That’s why we will have to wait and see.

C.P.: Marco you lay the foundation for players wanting and enjoying to play for Team Germany, at worlds for example, again. What is your stance on [I again did not catch what he was saying] of German hockey?

M.S.: Generally I think we caught up nicely in the past years. As you mentioned already, if you want players, especially the ones playing in the NHL to [here probably something along the line of „to come play for Team Germany“] you it has to be fun. It is a long season for the boys and if they then go on and play another tournament on top of that, that is not easy and because of that it has to be fun and that was what I had been trying to achieve back in my days. German hockey needs the [NHL] boys to get ahead. And as I said, back in my day, the boys always liked playing here [Team Germany] and we always were successful.

C.P.: The list of German NHL players speaks for itself here, it is quite long and with Leon at the head, how do you rank the German national team, especially if all NHL players were to join. Particularly with the Olympics on the table as well. What are Germany’s chances of keeping up with the top nations?

L.D.: Yes, I think we do have a pretty decent team. Of course it’s always important to stay realistic if it’ll be enough going up against the USA or Canada. That is something we will have to see but I believe we have a lot of players that have the ability to compete on that level and that a few NHL players will be present as well, hopefully all of them. I think we have a very very good team.

C.P.: Sadly, we have almost reached the end of our Zoom call today. I will making my rounds one last time. Tim, what are your summer plans?

T.S.: I think I will most definitely spend my summer in Mannheim. I will practice with the [„Fitnesstrainer“ so I guess just coaches/trainers] and some Adler players. I think it will be a good summer for me because I want to work on a lot of things and grow stronger [generally, just improve is meant here I think]. I think it will be best for me to be there [Mannheim].

C.P.: And you Marco? Will you stay in Landshut and then later, will you be returning to the LA Kings?

M.S.: After the first few meetings it is, I think, clear that I will stay here for the upcoming years. I like it here and working together with [the bosses], it is fun. But then for me it is the same as it is for Tim and Leon. I will most probably stay with family and friends in Landshut for a few months before it is time to get back to business again.

C.P.: I don’t think I have to ask about your goal, Leon. I would describe it as a quite big and silver thing [I don’t have a good translation here, the expression was „etwas größerer Silberling“].

L.D.: Yeah of course! I hope we’ll remain in the game for as long as possible and come out at the very top in the end. That is the dream and the goal of course. Then, as the other two have already said, I  will spend the summer mainly in Europe and will prepare for the next season there.

C.P.: So for you this, so to say, means Köln is calling in the summer even if it is a shortened one?

L.D.: [In my opinion this was said hesitantly] Yeah, mostly in Köln.

C.P.: I wish you all the best for your athletic projects, stay healthy  and thank you for joining this exclusive NHL.com.de [he said that so I dunno] Zoom call.

*Everyone says their goodbyes*

[fierysword]

Many people (ironically people who call themselves biblical literalists) argue that Lady Wisdom/Sophia does not represent a female aspect of God and is “just a metaphor” or “just a literary device”. Here’s why I disagree:

She’s a spirit, per Isaiah 11:1-3, Eph 1:17, and Wisdom 7:7-8.

God made the world through her (Prov 3:19), just as God made the world through the Word (Psalm 33:6) the latter of which Christians interpret as an actual being (Jesus).

She says things that can only be attributed to God, e.g. "whoever finds me, finds life" (Proverbs 8:35).

She was conceived/birthed by God (Prov 8:22-24), similar to how Christ was begotten (John 3:16). Of course, Wisdom being conceived/birthed is likely allegorical because it's unlikely God was ever without Wisdom. The allegory just means that God is Wisdom's source.

Sophia is an emanation of God (Wisdom 7:25).

Ecclesiasticus 24:5-6 (about Sophia having ownership of the sea, earth, and all people) sounds kinda weird if she's just an abstract personification.

Her actions are often conflated with those of God, the Spirit (Prov 1:23, Isaiah 11:1-3, Wisdom 9:17, Eccl 24:3-5), the Christ (1 Corinthians 1:30), and the Creator (Wisdom 7:21). Sophia could thus be seen as present in every member of the Godhead, and also perhaps the glue that ties them together (that is Love - as St Hildegard said, Wisdom and Love are one).

As Joyce Rupp at U.S. Catholic describes, early Christians venerated Sophia and viewed her as a member of the Trinity. In fact, the guy who coined the term “Trinity” considered Sophia a member. I don't think something is necessarily true just because early Christians believed it, but this does debunk the idea that Sophia as an aspect of God is just feminist wishful thinking. People 2,000 years ago were very far from feminist as we understand it today.

Literal interpretations of Prov 8:22-36 were a major defense that early Christians used to support the divinity of Christ in light of the strict monotheism of the Hebrew Bible. It is likely Christ never would have been accepted as divine if Prov 8:22-36 was not taken literally.

[insilencewaits]

He is Risen! (Easter Prayer) … You have risen!You have removed the stone that blocks the springs of life and hope.

[misslacito]

Fiesta Mercedes-Benz post Oscar 2019

Fiesta Mercedes-Benz post Oscar 2019

Seguimos con las fiestas posteriores a los Oscar. En este caso se trata de la organizada por Mercedes-Benz USA. La marca de coches tiene su propia fiesta para ver la gala cómodamente. Se celebró en el Four Seasons Los Angeles de Beverly Hills. Una cita bastante escasa de famosos, las cosas como son. Veamos!

27. Christina Ochoa.

(more…)

[beautifulfaaces]

Male Germans Masterlist

2000s

Anand Batbileg

Casper von Bülow

Danilo Kamperidis

Louis Daniel

Lukas von Horbatschewsky

Michelangelo Fortuzzi

Nick Julius Schuck

Tristan Göbel

Zethphan D. Smith-Gneist

90s

Aaron Hillmer

Anselm Bresgott

Arda Görkem

Bless Amada

Bruno Alexander

Chris Veres

Damian Hardung

Daniel Bamdad

David Kross

David Meier

Emilio Sakraya

Fabian Buch

Jannis Niewöhner

Jeremias Meyer

Jonas Ems

Jonathan Elias Weiske

Levin Henning

Linus Wördemann

Lion Wasczyk

Louis Held

Louis Hofmann

Ludwig Simon

Marcel Becker-Neu

Maximilian Mundt

Moritz Jahn

Pablo Grant

Paul Lux

Paul Triller

Samy Abdel Fattah

Zoran Pingel

80s

Albrecht Schuch

Alexander Dreymon

Alexander Fehling

Andre Hamann

Benjamin Griffey

Benjamin Sadler

Benno Fürmann

Constantin von Jascheroff

Dennis Andres

Fahri Yardim

Flula Borg

Frederick Lau

Friedrich Mücke

Golo Euler

Jeff Wilbusch

Kostja Ullmann

Mateusz Dopieralski

Roy Peter Link

Stefan Ruppe

Thando Walbaum

Tim Oliver Schultz

Tino Mewes

Tom Schilling

Yvonne Yung Hee Bormann

Yung Ngo

70s

Baki Davrak

Ben Braun

Benjamin Sadler

Benno Fürmann

Christian Ulmen

Clemens Schick

Cress Williams

Florian David Fitz

Ken Duken

Michael Fassbender

Timo Jacobs

60s

Charles Rettinghaus

Milton Welsh

50s

Christian Tramitz

Christoph Waltz

Unknown Birthdate

Florian Appelius

Ludger Bökelmann

Quang Anh Le

[softstereo]

CONCURSO PROJETAR.ORG - BIERGARTEN DE BLUMENAU - 021 - PREMIADO COMO MENÇÃO HONROSA 

Por Arthur Mendes, Christian Rupp, Kauê Amaral, Lais Alexandria e Vinícius Soares

Archdaily 

Zupi

ARCO

IDEAFIXA

PROJETAR.ORG

[blackkudos]

Marian Anderson

Marian Anderson (February 27, 1897 – April 8, 1993) was an American singer of classical music and spirituals. Music critic Alan Blyth said: "Her voice was a rich, vibrant contralto of intrinsic beauty." She performed in concert and recital in major music venues and with famous orchestras throughout the United States and Europe between 1925 and 1965. Although offered roles with many important European opera companies, Anderson declined, as she had no training in acting. She preferred to perform in concert and recital only. She did, however, perform opera arias within her concerts and recitals. She made many recordings that reflected her broad performance repertoire, which ranged from concert literature to lieder to opera to traditional American songs and spirituals. Between 1940 and 1965 the German-American pianist Franz Rupp was her permanent accompanist.

Anderson became an important figure in the struggle for black artists to overcome racial prejudice in the United States during the mid-twentieth century. In 1939, the Daughters of the American Revolution (DAR) refused permission for Anderson to sing to an integrated audience in Constitution Hall in Washington, DC. The incident placed Anderson into the spotlight of the international community on a level unusual for a classical musician. With the aid of First Lady Eleanor Roosevelt and her husband Franklin D. Roosevelt, Anderson performed a critically acclaimed open-air concert on Easter Sunday, April 9, 1939, on the steps of the Lincoln Memorial in the capital. She sang before an integrated crowd of more than 75,000 people and a radio audience in the millions.

Anderson continued to break barriers for black artists in the United States, becoming the first black person, American or otherwise, to perform at the Metropolitan Opera in New York City on January 7, 1955. Her performance as Ulrica in Giuseppe Verdi's Un ballo in maschera at the Met was the only time she sang an opera role on stage.

Anderson worked for several years as a delegate to the United Nations Human Rights Committee and as a "goodwill ambassadress" for the United States Department of State, giving concerts all over the world. She participated in the civil rights movement in the 1960s, singing at the March on Washington for Jobs and Freedom in 1963. The recipient of numerous awards and honors, Anderson was awarded the Presidential Medal of Freedom in 1963, the Congressional Gold Medal in 1977, the Kennedy Center Honors in 1978, the National Medal of Arts in 1986, and a Grammy Lifetime Achievement Award in 1991.

Early life and career

Marian Anderson was born on February 27, 1897, in Philadelphia, to John Berkley Anderson (c. 1872–1910) and the former Annie Delilah Rucker (1874–1964). Her father sold ice and coal at the Reading Terminal in downtown Philadelphia and eventually opened a small liquor business as well. Prior to her marriage, Anderson's mother had briefly attended the Virginia Seminary and College in Lynchburg and had worked as a schoolteacher in Virginia. As she did not obtain a degree, Annie Anderson was unable to teach in Philadelphia under a law that was applied only to black teachers and not white ones. She therefore earned an income caring for small children. Marian was the eldest of the three Anderson children. Her two sisters, Alice (1899–1965, later spelled Alyse) and Ethel (1902–1990), also became singers. Ethel married James DePreist and their late son, James Anderson DePreist was a noted conductor.

Anderson's parents were both devout Christians and the whole family was active in the Union Baptist Church in South Philadelphia. Marian's aunt Mary, her father's sister, was particularly active in the church's musical life and, noticing her niece's talent, convinced her to join the junior church choir at the age of six. In that role she got to perform solos and duets, often with her aunt Mary. Marian was also taken by her aunt to concerts at local churches, the YMCA, benefit concerts, and other community music events throughout the city. Anderson credited her aunt's influence as the reason she pursued her singing career. Beginning as young as six, her aunt arranged for Marian to sing for local functions where she was often paid 25 or 50 cents for singing a few songs. As she got into her early teens, Marian began to make as much as four or five dollars for singing; a considerable amount of money for the early 20th century. At the age of 10, Marian joined the People's Chorus under the direction of singer Emma Azalia Hackley, where she was often given solos. On March 21, 1919, during a March Festival of Music, she was a lead singer in a concert by the Robert Curtis Ogden Band and Choral Society at Egyptian Hall in Philadelphia's John Wanamaker department store.

When Anderson was 12, her father was accidentally struck on the head while at work at the Reading Terminal, just a few weeks before Christmas of 1909. He died of heart failure a month later at age 34. Marian and her family moved into the home of her father's parents, Grandpa Benjamin and Grandma Isabella Anderson. Her grandfather had been born a slave and had experienced emancipation in the 1860s. He was the first of the Anderson family to settle in South Philadelphia, and when Anderson moved into his home the two became very close. He died just a year after the family moved in.

Anderson attended Stanton Grammar School, graduating in the summer of 1912. Her family, however, could not afford to send her to high school, nor could they pay for any music lessons. Still, Anderson continued to perform wherever she could and learn from anyone who was willing to teach her. Throughout her teenage years, she remained active in her church's musical activities, now heavily involved in the adult choir. She joined the Baptists' Young People's Union and the Camp Fire Girls which provided her with some limited musical opportunities. Eventually the directors of the People's Chorus and the pastor of her church, Reverend Wesley Parks, along with other leaders of the black community, raised the money she needed to get singing lessons with Mary Saunders Patterson and to attend South Philadelphia High School, from which she graduated in 1921.

After high school, Anderson applied to an all-white music school, the Philadelphia Music Academy (now University of the Arts), but was turned away because she was black. The woman working the admissions counter replied, "We don't take colored" when she tried to apply. Undaunted, Anderson pursued studies privately in her native city through the continued support of the Philadelphia black community, first with Agnes Reifsnyder, then Giuseppe Boghetti. She met Boghetti through the principal of her high school. Anderson auditioned for him singing "Deep River" and he was immediately brought to tears. Boghetti scheduled a recital of English, Russian, Italian and German music at The Town Hall in New York City in April 1924 which took place in an almost empty hall and received poor reviews. In 1925 Anderson got her first big break when she won first prize in a singing competition sponsored by the New York Philharmonic. As the winner she got to perform in concert with the orchestra on August 26, 1925, a performance that scored immediate success with both audience and music critics. Anderson remained in New York to pursue further studies with Frank La Forge. During the time Arthur Judson, whom she had met through the New York Philharmonic, became her manager. Over the next several years, she made a number of concert appearances in the United States, but racial prejudice prevented her career from gaining much momentum. In 1928, she sang for the first time at Carnegie Hall. Eventually she decided to go to Europe where she spent a number of months studying with Sara Charles-Cahier before launching a highly successful European singing tour.

European fame

In 1933, Anderson made her European debut in a concert at Wigmore Hall in London, where she was received enthusiastically. She spent the early 1930s touring throughout Europe where she did not encounter the racial prejudices she had experienced in America. In the summer of 1930, she went to Scandinavia, where she met the Finnish pianist Kosti Vehanen who became her regular accompanist and her vocal coach for many years. She also met Jean Sibelius through Vehanen after he had heard her in a concert in Helsinki. Moved by her performance, Sibelius invited them to his home and asked his wife to bring champagne in place of the traditional coffee. Sibelius commented to Anderson of her performance that he felt that she had been able to penetrate the Nordic soul. The two struck up an immediate friendship, which further blossomed into a professional partnership, and for many years Sibelius altered and composed songs for Anderson to perform. He created a new arrangement of the song "Solitude" and dedicated it to Anderson in 1939. Originally The Jewish Girl's Song from his 1906 incidental music to Belshazzar's Feast, it later became the "Solitude" section of the orchestral suite derived from the incidental music.

In 1934, impresario Sol Hurok offered Anderson a better contract than she previously had with Arthur Judson. He became her manager for the rest of her performing career and through his persuasion she came back to perform in America. In 1935, Anderson made her second recital appearance at The Town Hall in New York City, which received highly favorable reviews by music critics. She spent the next four years touring throughout the United States and Europe. She was offered opera roles by several European houses but, due to her lack of acting experience, Anderson declined all of those offers. She did, however, record a number of opera arias in the studio, which became bestsellers.

Anderson, accompanied by Vehanen, continued to tour throughout Europe during the mid-1930s. She visited Eastern European capitals and Russia and returned again to Scandinavia, where "Marian fever" had spread to small towns and villages where she had thousands of fans. She quickly became a favorite of many conductors and composers of major European orchestras. During a 1935 tour in Salzburg, the conductor Arturo Toscanini told her she had a voice "heard once in a hundred years".

In the late 1930s, Anderson gave about 70 recitals a year in the United States. Although by then quite famous, her stature did not completely end the prejudice she confronted as a young black singer touring the United States. She was still denied rooms in certain American hotels and was not allowed to eat in certain American restaurants. Because of this discrimination, Albert Einstein, a champion of racial tolerance, hosted Anderson on many occasions, the first being in 1937 when she was denied a hotel before performing at Princeton University. She last stayed with him months before he died in 1955.

1939 Lincoln Memorial concert

In 1939, the Daughters of the American Revolution (DAR) refused permission for Anderson to sing to an integrated audience in their Constitution Hall. At the time, Washington, D.C., was a segregated city and black patrons were upset that they had to sit at the back of Constitution Hall. Constitution Hall also did not have the segregated public bathrooms required by DC law at the time for such events. The District of Columbia Board of Education also declined a request to use the auditorium of a white public high school.

Charles Edward Russell, a co-founder of the National Association for the Advancement of Colored People (NAACP) and chair of the DC citywide Inter-Racial Committee, convened a meeting on the following day that formed the Marian Anderson Citizens Committee (MACC) composed of several dozen organizations, church leaders and individual activists in the city, including the Brotherhood of Sleeping Car Porters, the Washington Industrial Council-CIO, American Federation of Labor, and the National Negro Congress. MACC elected Charles Hamilton Houston as its chairman and on February 20, the group picketed the board of education, collected signatures on petitions, and planned a mass protest at the next board of education meeting.

As a result of the ensuing furor, thousands of DAR members, including First Lady Eleanor Roosevelt, resigned from the organization. In her letter to the DAR, she wrote, "I am in complete disagreement with the attitude taken in refusing Constitution Hall to a great artist ... You had an opportunity to lead in an enlightened way and it seems to me that your organization has failed."

Author Zora Neale Hurston criticized Eleanor Roosevelt's public silence about the similar decision by the District of Columbia Board of Education, while the District was under the control of committees of a Democratic Congress, to first deny, and then place race-based restrictions on, a proposed concert by Anderson.

As the controversy swelled, the American press overwhelmingly backed Anderson’s right to sing. The Philadelphia Tribune wrote, “A group of tottering old ladies, who don't know the difference between patriotism and putridism, have compelled the gracious First Lady to apologize for their national rudeness.” Even some Southern newspapers supported Anderson. The Richmond Times-Dispatch wrote, ‘’In these days of racial intolerance so crudely expressed in the Third Reich, an action such as the D.A.R.’s ban. . . seems all the more deplorable.’’

At Eleanor Roosevelt's behest, President Roosevelt and Walter White, then-executive secretary of the NAACP, and Anderson's manager, impresario Sol Hurok, persuaded Secretary of the Interior Harold L. Ickes to arrange an open-air concert on the steps of the Lincoln Memorial. The concert was performed on Easter Sunday, April 9, and Anderson was accompanied, as usual, by Vehanen. They began the performance with a dignified and stirring rendition of "My Country, 'Tis of Thee". The event attracted a crowd of more than 75,000 of all colors and was a sensation with a national radio audience of millions.

Two months later, in conjunction with the 30th NAACP conference in Richmond, Virginia, Eleanor Roosevelt gave a speech on national radio (NBC and CBS) and presented Anderson with the 1939 Spingarn Medal for distinguished achievement.

A documentary film of the event has been selected for the National Film Registry, and NBC radio coverage of the event has been selected for the National Recording Registry.

Midlife and career

During World War II and the Korean War, Anderson entertained troops in hospitals and bases. In 1943, she sang at the Constitution Hall at the invitation of the DAR to an integrated audience as part of a benefit for the American Red Cross. She said of the event, "When I finally walked onto the stage of Constitution Hall, I felt no different than I had in other halls. There was no sense of triumph. I felt that it was a beautiful concert hall and I was very happy to sing there." By contrast, the District of Columbia Board of Education continued to bar her from using the high school auditorium in the District of Columbia.

On July 17, 1943, in Bethel, Connecticut, Anderson became the second wife of a man who had asked her to marry him when they were teenagers, architect Orpheus H. Fisher (1900–86), known as King. The wedding was a private ceremony performed by United Methodist pastor Rev. Jack Grenfell and was the subject of a short story titled "The 'Inside' Story" written by Rev. Grenfell's wife, Dr. Clarine Coffin Grenfell, in her book Women My Husband Married, including Marian Anderson.

According to Dr. Grenfell, the wedding was originally supposed to take place in the parsonage, but because of a bake sale on the lawn of the Bethel United Methodist Church, was moved at the last minute to the Elmwood Chapel, on the site of the Elmwood Cemetery in Bethel, in order to allow the event to remain private.

By this marriage she had a stepson, James Fisher, from her husband's previous marriage to Ida Gould. The couple had purchased a 100-acre (0.40 km2) farm in Danbury, Connecticut, three years earlier in 1940 after an exhaustive search throughout New York, New Jersey and Connecticut. Through the years Fisher built many outbuildings on the property, including an acoustic rehearsal studio he designed for his wife. The property remained Anderson's home for almost 50 years.

On January 7, 1955, Anderson became the first African-American to perform with the Metropolitan Opera in New York. On that occasion, she sang the part of Ulrica in Giuseppe Verdi's Un ballo in maschera (opposite Zinka Milanov, then Herva Nelli, as Amelia) at the invitation of director Rudolf Bing. Anderson said later about the evening, "The curtain rose on the second scene and I was there on stage, mixing the witch's brew. I trembled, and when the audience applauded and applauded before I could sing a note, I felt myself tightening into a knot." Although she never appeared with the company again after this production, Anderson was named a permanent member of the Metropolitan Opera company. The following year she published her autobiography, My Lord, What a Morning, which became a bestseller.

In 1957, she sang for President Dwight D. Eisenhower's inauguration, toured India and the Far East as a goodwill ambassador through the U.S. State Department and the American National Theater and Academy. She traveled 35,000 miles (56,000 km) in 12 weeks, giving 24 concerts. After that, President Eisenhower appointed her as a delegate to the United Nations Human Rights Committee. The same year, she was elected Fellow of the American Academy of Arts and Sciences. In 1958 she was officially designated delegate to the United Nations, a formalization of her role as "goodwill ambassadress" of the U.S. which she had played earlier.

On January 20, 1961 she sang for President John F. Kennedy's inauguration, and in 1962 she performed for President Kennedy and other dignitaries in the East Room of the White House, and also toured Australia. She was active in supporting the civil rights movement during the 1960s, giving benefit concerts for the Congress of Racial Equality, the National Association for the Advancement of Colored People and the America-Israel Cultural Foundation. In 1963, she sang at the March on Washington for Jobs and Freedom. That same year she was one of the original 31 recipients of the newly reinstituted Presidential Medal of Freedom, which is awarded for "especially meritorious contributions to the security or national interest of the United States, World Peace or cultural or other significant public or private endeavors". She also released her album, Snoopycat: The Adventures of Marian Anderson's Cat Snoopy, which included short stories and songs about her beloved black cat. In 1965, she christened the nuclear-powered ballistic-missile submarine, USS George Washington Carver. That same year Anderson concluded her farewell tour, after which she retired from public performance. The international tour began at Constitution Hall on Saturday October 24, 1964, and ended at Carnegie Hall on April 18, 1965.

As a citizen of Danbury, Connecticut

From 1940 she resided at a 50-acre farm, having sold half of the original 100 acres, that she named Marianna Farm. The farm was on Joe's Hill Road, in the Mill Plain section of Danbury in western Danbury, northwest of what in December 1961 became the interchange between Interstate 84, U.S. 6 and U.S. 202. She constructed a three-bedroom ranchhouse as a residence, and she used a separate one-room structure as her studio. In 1996, the farm was named one of 60 sites on the Connecticut Freedom Trail. The studio was moved to downtown Danbury as the Marian Anderson studio.

As a town resident she was set on waiting in line at shops and restaurants, declining offers to go ahead as a celebrity. She was known to visit the Danbury State Fair. She sang at the city hall on the occasion of the lighting of Christmas ornaments. She gave a concert at the Danbury High School. She served on the boards of the Danbury Music Center and supported the Charles Ives Center for the Arts the Danbury Chapter of the NAACP.

Later life

Although Anderson retired from singing in 1965, she continued to appear publicly. On several occasions she narrated Aaron Copland's Lincoln Portrait, including a performance with the Philadelphia Orchestra at Saratoga in 1976, conducted by the composer. Her achievements were recognized and honored with many prizes, including the NAACP's Spingarn Medal in 1939; University of Pennsylvania Glee Club Award of Merit in 1973; the United Nations Peace Prize, New York City's Handel Medallion, and the Congressional Gold Medal, all in 1977; Kennedy Center Honors in 1978; the George Peabody Medal in 1981; the National Medal of Arts in 1986; and a Grammy Award for Lifetime Achievement in 1991. In 1980, the United States Treasury Department coined a half-ounce gold commemorative medal with her likeness, and in 1984 she was the first recipient of the Eleanor Roosevelt Human Rights Award of the City of New York. She has been awarded honorary doctoral degrees from Howard University, Temple University and Smith College.

In 1986, Anderson's husband, Orpheus Fisher, died after 43 years of marriage. Anderson remained in residence at Marianna Farm until 1992, one year before her death. Although the property was sold to developers, various preservationists as well as the City of Danbury fought to protect Anderson's studio. Their efforts proved successful and the Danbury Museum and Historical Society received a grant from the State of Connecticut, relocated the structure, restored it, and opened it to the public in 2004. In addition to seeing the studio, visitors can see photographs and memorabilia from milestones in Anderson's career.

Anderson died of congestive heart failure on April 8, 1993, at age 96. She had suffered a stroke a month earlier. She died in Portland, Oregon, at the home of her nephew, conductor James DePreist, where she had relocated the year prior. She is interred at Eden Cemetery, in Collingdale, Pennsylvania.

Awards and honors

1939: NAACP Spingarn Medal

1963: Presidential Medal of Freedom

1973: University of Pennsylvania Glee Club Award of Merit

1973: National Women's Hall of Fame

1977: United Nations Peace Prize

1977: New York City – Handel Medallion

1977: Congressional Gold Medal

1978: Kennedy Center Honors

1980: United States Treasury Department gold commemorative medal

1984: Eleanor Roosevelt Human Rights Award of the City of New York

1986: National Medal of Arts

1991: Grammy Lifetime Achievement Award

Honorary doctorate from Howard University, Temple University, Smith College

Legacy

The life and art of Anderson has inspired several writers and artists. She was an example and an inspiration to both Leontyne Price and Jessye Norman. In 1999 a one-act musical play entitled My Lord, What a Morning: The Marian Anderson Story was produced by the Kennedy Center. The musical took its title from Anderson's memoir, published by Viking in 1956. In 2001, the 1939 documentary film, Marian Anderson: The Lincoln Memorial Concert was selected for preservation in the United States National Film Registry by the Library of Congress as being "culturally, historically, or aesthetically significant".

In 2002, scholar Molefi Kete Asante included Anderson in his book, 100 Greatest African Americans. On January 27, 2006, a commemorative U.S. postage stamp honored Anderson as part of the Black Heritage series. Anderson is also pictured on the US$5,000 Series I United States Savings Bond. On April 20, 2016, United States Secretary of the Treasury, Jacob Lew, announced that Anderson will appear along with Eleanor Roosevelt and suffragist on the back of the redesigned US $5 bill scheduled to be unveiled in the year 2020, the 100th anniversary of 19th Amendment of the Constitution which granted women in America the right to vote.

The Marian Anderson House, in Philadelphia, was added to the National Register of Historic Places in 2011.

Marian Anderson Award

The Marian Anderson Award was originally established in 1943 by Anderson after she was awarded the $10,000 Bok Prize that year by the city of Philadelphia. Anderson used the award money to establish a singing competition to help support young singers. Eventually the prize fund ran out of money and it was disbanded after 1976. In 1990, the award was re-established and has dispensed $25,000 annually.

In 1998, the prize was restructured with the Marian Anderson Award going to an established artist, not necessarily a singer, who exhibits leadership in a humanitarian area.

[rowanpepperglow]

Learned something new...

I got a friend who is getting their master's degree to become a chaplain, and she told me something interesting yesterday 😋 So (to fellow Christians), ya know the phrase: "God the Father, God the Son, God the Holy Spirit/Ghost"? God the Father is obviously God, God the Son is Jesus, but what about the Holy Spirit? Originally, the Holy Spirit was referred to as "Sophia" ✨ and represented the feminine energy of God. However, ye olde churchmen didn't want people associating anything feminine to the Lord, so the Holy Spirit is just referred to as "Holy Spirit" and is implied to be male energy, making God this Absolute Unit of Testosterone. Honestly, we need to bring that back 😊 It makes so much more sense, especially because of the whole: "We are made in God's image," (except how the heck can women be made from the image of an Absolute Unit of Testosterone???) 🙌✨ Bring back Sophia ✨🙌 EDIT: You can read about Sophia in these books 👉 "She Who Is; The Mystery of God in Feminist Theological Discourse" by Elizabeth A. Johnson "Prayers to Sophia" by Joyce Rupp