View allAll Photos Tagged Baptized
" And the jailer called for lights and rushed in, and trembling with fear he fell down before Paul and Silas, and brought them out and said, "Men, what must I do to be saved?"
And they said, "Believe in the Lord Jesus, and you will be saved, you and your household." And they spoke the word of the Lord to him and to all that were in his house. And he took them the same hour of the night, and washed their wounds, and he was baptized at once, with all his family. Then he brought them up into his house, and set food before them; and he rejoiced with all his household that he had believed in God".
– Acts 16:29-34, which is part of today's First Reading at Mass.
Detail from a stained glass window in St Paul's church in Jericho, Oxford. Today's sermon can be read here.
Daughtry
Magazzini Generali - Milano
13 Marzo 2014
Chris Daughtry - Vocals
Josh Paul - Bass
Brian Craddock - Guitar
Josh Steely - Guitar
Robin Diaz - Drums
Elvio Fernandes - Keyboard
Ph.Mairo Cinquetti
When the time arrived to make his fourth full-length studio album, Baptized, Chris Daughtry followed his instincts.
Motivated by intensely creative writing sessions with the likes of Martin Johnson [Boys Like Girls], Sam Hollander [Gym Class Heroes, Coheed and Cambria] and Claude Kelly [Bruno Mars, Whitney Houston], the singer, songwriter and musician quickly discovered the direction of his latest body of work.
"I needed a change," he admits. "I started hearing these new sounds over my voice, and it was so inspiring. There wasn't just one style either. It was a completely different vibe all around. I really wanted to pursue that to the fullest. This is probably one of the most inspiring records I've ever done."
In early 2013, Chris began working on what would eventually become Baptized. Early on, he made a conscious decision to approach the album from a different angle. It would've been too easy for him to simply repeat himself considering he and the band have been on quite a hot streak since their 2006 self-titled became the fastest-selling rock debut in Soundscan history. 2009's Leave This Town gave them their second consecutive No. 1 on the Billboard Top 200, while Break The Spell reached gold status in merely four weeks of release in 2011. Throughout, they achieved four No. 1 smashes at radio as well as four Grammy Award nominations and four American Music Awards wins. Meanwhile, sales exceeded 7.5 million albums and 17 million singles. Nevertheless, as an artist/band, they chose to evolve for both themselves and their fans.
In between a hectic touring schedule, Chris would fly to Los Angeles for in-studio sessions with Johnson and Hollander or Kelly.
"As fans of the band, they would do things that I normally wouldn't do, and that's why it was so exciting. I was much more open to explore a new style of writing with this album. Whether it was on keyboard, piano, or even banjo in some cases, the soundscape really felt alive. We'd write a song together and cut the vocals right then and there to capture that energy. It happened so quickly. We didn't need to overthink anything. The magic was there."
It's easy to hear, feel, and even see that magic on the first single "Waiting for Superman." Electronics glimmer along with a soft acoustic guitar strum and resounding piano as a cinematic tale unfolds in orchestral pop fashion. It instantly takes flight with one of the vocalist's most powerful hooks yet and an inspiring story.
"It was never about a superhero per se," he reveals. "It’s about waiting for that someone in your life to step up and be what you need in that moment as a ‘rock’ or ‘strength.’ I've heard it so many times. I chose one of the biggest pop culture archetypes out there because it can mean many different things. I love the image of a girl waiting for someone to save her. Personally, it stems from my own experiences with my teenage daughter and wife. They were my muses."
The track "Battleships," sails into new territory. An immersive beat bounces along with the warm production as he delivers an irresistible anthem meant for arenas. In order to test this fresh flavor, he ran it by his toughest critics.
He smiles, "My parents love our music, but they're mainly into country. After I played them 'Battleships,' I expected my dad to say, 'Well, that's different!' Instead, he looked at me and said, 'Man, that's a hit!'
The lyrics find him veering down an uncharted lane as well. "It's not a breakup song—which we've been the ambassadors for over the past six years," Daughtry chuckles. "It's about butting heads with the one you love. You don't want to fight, but it happens. You're both going to stand your ground, but you're really fighting for each other."
Perhaps the most shining example of Chris’ evolution is the rollicking and raucous "Long Live Rock & Roll". Acoustic guitar and banjo charge forward at full steam as he name checks everyone from Elton John and Billy Joel to Mötley Crüe and Guns 'N Roses, even lamenting "Van Hagar" in the process.
"It was so far out of my normal comfort zone," he says. "Everything has always been so serious in the past, but rock 'n' roll is meant to be fun. I wanted to cut loose and have a good time. We went places I'd never been musically."
At the same time, the kinetic "I'll Fight" brandishes a youthful vibrancy, while the title track, “Baptized,” builds from a Western-style dobro hum into a bombastic refrain. In many ways, the title encapsulates Chris’ ethos completely.
"I always wanted to call the album Baptized, because it felt like a new chapter," he declares. "It's a bold statement."
He's ready to proclaim that statement in front of packed venues around the world alongside longtime bandmates Josh Paul [bass], Brian Craddock [guitar], Josh Steely [guitar], Robin Diaz [drums] and new addition Elvio Fernandes [keyboards]. Outside of music, he continues to give back to various charities. He even holds an ambassadorship with DC Comics’ We Can Be Heroes campaign, fighting hunger in underdeveloped countries.
At the end of the day, Baptized certainly signals a rebirth for Chris and the band. "I want fans to keep an open mind about it," he concludes. "The songs are very much what I do lyrically and melodically. I've always been a sucker for a great melody. That's what songwriting is all about. Can people relate to this? Is it real? Is it honest? That's what everyone should take away. It's real and authentic. This is where I am right now."
Newly Baptized received the Light of Christ.
Easter Vigil Mass
Baptism RCIA 2020/2021 Mandarin
Celebrant: Father Martin Then, CDD and Father Andrew Wong, CDD
National Shrine Grotto of Our Lady of Lourdes at Mount Saint Mary's University in Maryland. The National Shrine Grotto of Our Lady of Lourdes, a Catholic shrine devoted to Our Blessed Mother Mary, is a place of worship, pilgrimage, evangelization and reconciliation.
This beautiful mountain shrine features one of the oldest American replicas of the Lourdes shrine in France, built about two decades after the apparition of Mary at Lourdes in 1858, and attracts hundreds of thousands of pilgrims each year from all over the world. It offers the occasion for a deepening conversion, a step forward in the journey to God, with Mary as the model for that journey.
Daughtry
Magazzini Generali - Milano
13 Marzo 2014
Chris Daughtry - Vocals
Josh Paul - Bass
Brian Craddock - Guitar
Josh Steely - Guitar
Robin Diaz - Drums
Elvio Fernandes - Keyboard
Ph.Mairo Cinquetti
When the time arrived to make his fourth full-length studio album, Baptized, Chris Daughtry followed his instincts.
Motivated by intensely creative writing sessions with the likes of Martin Johnson [Boys Like Girls], Sam Hollander [Gym Class Heroes, Coheed and Cambria] and Claude Kelly [Bruno Mars, Whitney Houston], the singer, songwriter and musician quickly discovered the direction of his latest body of work.
"I needed a change," he admits. "I started hearing these new sounds over my voice, and it was so inspiring. There wasn't just one style either. It was a completely different vibe all around. I really wanted to pursue that to the fullest. This is probably one of the most inspiring records I've ever done."
In early 2013, Chris began working on what would eventually become Baptized. Early on, he made a conscious decision to approach the album from a different angle. It would've been too easy for him to simply repeat himself considering he and the band have been on quite a hot streak since their 2006 self-titled became the fastest-selling rock debut in Soundscan history. 2009's Leave This Town gave them their second consecutive No. 1 on the Billboard Top 200, while Break The Spell reached gold status in merely four weeks of release in 2011. Throughout, they achieved four No. 1 smashes at radio as well as four Grammy Award nominations and four American Music Awards wins. Meanwhile, sales exceeded 7.5 million albums and 17 million singles. Nevertheless, as an artist/band, they chose to evolve for both themselves and their fans.
In between a hectic touring schedule, Chris would fly to Los Angeles for in-studio sessions with Johnson and Hollander or Kelly.
"As fans of the band, they would do things that I normally wouldn't do, and that's why it was so exciting. I was much more open to explore a new style of writing with this album. Whether it was on keyboard, piano, or even banjo in some cases, the soundscape really felt alive. We'd write a song together and cut the vocals right then and there to capture that energy. It happened so quickly. We didn't need to overthink anything. The magic was there."
It's easy to hear, feel, and even see that magic on the first single "Waiting for Superman." Electronics glimmer along with a soft acoustic guitar strum and resounding piano as a cinematic tale unfolds in orchestral pop fashion. It instantly takes flight with one of the vocalist's most powerful hooks yet and an inspiring story.
"It was never about a superhero per se," he reveals. "It’s about waiting for that someone in your life to step up and be what you need in that moment as a ‘rock’ or ‘strength.’ I've heard it so many times. I chose one of the biggest pop culture archetypes out there because it can mean many different things. I love the image of a girl waiting for someone to save her. Personally, it stems from my own experiences with my teenage daughter and wife. They were my muses."
The track "Battleships," sails into new territory. An immersive beat bounces along with the warm production as he delivers an irresistible anthem meant for arenas. In order to test this fresh flavor, he ran it by his toughest critics.
He smiles, "My parents love our music, but they're mainly into country. After I played them 'Battleships,' I expected my dad to say, 'Well, that's different!' Instead, he looked at me and said, 'Man, that's a hit!'
The lyrics find him veering down an uncharted lane as well. "It's not a breakup song—which we've been the ambassadors for over the past six years," Daughtry chuckles. "It's about butting heads with the one you love. You don't want to fight, but it happens. You're both going to stand your ground, but you're really fighting for each other."
Perhaps the most shining example of Chris’ evolution is the rollicking and raucous "Long Live Rock & Roll". Acoustic guitar and banjo charge forward at full steam as he name checks everyone from Elton John and Billy Joel to Mötley Crüe and Guns 'N Roses, even lamenting "Van Hagar" in the process.
"It was so far out of my normal comfort zone," he says. "Everything has always been so serious in the past, but rock 'n' roll is meant to be fun. I wanted to cut loose and have a good time. We went places I'd never been musically."
At the same time, the kinetic "I'll Fight" brandishes a youthful vibrancy, while the title track, “Baptized,” builds from a Western-style dobro hum into a bombastic refrain. In many ways, the title encapsulates Chris’ ethos completely.
"I always wanted to call the album Baptized, because it felt like a new chapter," he declares. "It's a bold statement."
He's ready to proclaim that statement in front of packed venues around the world alongside longtime bandmates Josh Paul [bass], Brian Craddock [guitar], Josh Steely [guitar], Robin Diaz [drums] and new addition Elvio Fernandes [keyboards]. Outside of music, he continues to give back to various charities. He even holds an ambassadorship with DC Comics’ We Can Be Heroes campaign, fighting hunger in underdeveloped countries.
At the end of the day, Baptized certainly signals a rebirth for Chris and the band. "I want fans to keep an open mind about it," he concludes. "The songs are very much what I do lyrically and melodically. I've always been a sucker for a great melody. That's what songwriting is all about. Can people relate to this? Is it real? Is it honest? That's what everyone should take away. It's real and authentic. This is where I am right now."
Daughtry
Magazzini Generali - Milano
13 Marzo 2014
Chris Daughtry - Vocals
Josh Paul - Bass
Brian Craddock - Guitar
Josh Steely - Guitar
Robin Diaz - Drums
Elvio Fernandes - Keyboard
Ph.Mairo Cinquetti
When the time arrived to make his fourth full-length studio album, Baptized, Chris Daughtry followed his instincts.
Motivated by intensely creative writing sessions with the likes of Martin Johnson [Boys Like Girls], Sam Hollander [Gym Class Heroes, Coheed and Cambria] and Claude Kelly [Bruno Mars, Whitney Houston], the singer, songwriter and musician quickly discovered the direction of his latest body of work.
"I needed a change," he admits. "I started hearing these new sounds over my voice, and it was so inspiring. There wasn't just one style either. It was a completely different vibe all around. I really wanted to pursue that to the fullest. This is probably one of the most inspiring records I've ever done."
In early 2013, Chris began working on what would eventually become Baptized. Early on, he made a conscious decision to approach the album from a different angle. It would've been too easy for him to simply repeat himself considering he and the band have been on quite a hot streak since their 2006 self-titled became the fastest-selling rock debut in Soundscan history. 2009's Leave This Town gave them their second consecutive No. 1 on the Billboard Top 200, while Break The Spell reached gold status in merely four weeks of release in 2011. Throughout, they achieved four No. 1 smashes at radio as well as four Grammy Award nominations and four American Music Awards wins. Meanwhile, sales exceeded 7.5 million albums and 17 million singles. Nevertheless, as an artist/band, they chose to evolve for both themselves and their fans.
In between a hectic touring schedule, Chris would fly to Los Angeles for in-studio sessions with Johnson and Hollander or Kelly.
"As fans of the band, they would do things that I normally wouldn't do, and that's why it was so exciting. I was much more open to explore a new style of writing with this album. Whether it was on keyboard, piano, or even banjo in some cases, the soundscape really felt alive. We'd write a song together and cut the vocals right then and there to capture that energy. It happened so quickly. We didn't need to overthink anything. The magic was there."
It's easy to hear, feel, and even see that magic on the first single "Waiting for Superman." Electronics glimmer along with a soft acoustic guitar strum and resounding piano as a cinematic tale unfolds in orchestral pop fashion. It instantly takes flight with one of the vocalist's most powerful hooks yet and an inspiring story.
"It was never about a superhero per se," he reveals. "It’s about waiting for that someone in your life to step up and be what you need in that moment as a ‘rock’ or ‘strength.’ I've heard it so many times. I chose one of the biggest pop culture archetypes out there because it can mean many different things. I love the image of a girl waiting for someone to save her. Personally, it stems from my own experiences with my teenage daughter and wife. They were my muses."
The track "Battleships," sails into new territory. An immersive beat bounces along with the warm production as he delivers an irresistible anthem meant for arenas. In order to test this fresh flavor, he ran it by his toughest critics.
He smiles, "My parents love our music, but they're mainly into country. After I played them 'Battleships,' I expected my dad to say, 'Well, that's different!' Instead, he looked at me and said, 'Man, that's a hit!'
The lyrics find him veering down an uncharted lane as well. "It's not a breakup song—which we've been the ambassadors for over the past six years," Daughtry chuckles. "It's about butting heads with the one you love. You don't want to fight, but it happens. You're both going to stand your ground, but you're really fighting for each other."
Perhaps the most shining example of Chris’ evolution is the rollicking and raucous "Long Live Rock & Roll". Acoustic guitar and banjo charge forward at full steam as he name checks everyone from Elton John and Billy Joel to Mötley Crüe and Guns 'N Roses, even lamenting "Van Hagar" in the process.
"It was so far out of my normal comfort zone," he says. "Everything has always been so serious in the past, but rock 'n' roll is meant to be fun. I wanted to cut loose and have a good time. We went places I'd never been musically."
At the same time, the kinetic "I'll Fight" brandishes a youthful vibrancy, while the title track, “Baptized,” builds from a Western-style dobro hum into a bombastic refrain. In many ways, the title encapsulates Chris’ ethos completely.
"I always wanted to call the album Baptized, because it felt like a new chapter," he declares. "It's a bold statement."
He's ready to proclaim that statement in front of packed venues around the world alongside longtime bandmates Josh Paul [bass], Brian Craddock [guitar], Josh Steely [guitar], Robin Diaz [drums] and new addition Elvio Fernandes [keyboards]. Outside of music, he continues to give back to various charities. He even holds an ambassadorship with DC Comics’ We Can Be Heroes campaign, fighting hunger in underdeveloped countries.
At the end of the day, Baptized certainly signals a rebirth for Chris and the band. "I want fans to keep an open mind about it," he concludes. "The songs are very much what I do lyrically and melodically. I've always been a sucker for a great melody. That's what songwriting is all about. Can people relate to this? Is it real? Is it honest? That's what everyone should take away. It's real and authentic. This is where I am right now."
Photo © Tristan Savatier - All Rights Reserved - License this photo on www.loupiote.com/18430691
Share this photo on: facebook • twitter • more...
Orthodox Byzantine art in Rilsky monastery (Bulgaria)
Saint John the Baptist (Prophet Yahya the Baptizer, for the muslims) holding his own head in a plate
What is the meaning of the hand sign?
If you like this photo, follow me on instagram (tristan_sf) and don't hesitate to leave a comment or email me.
Daughtry
Magazzini Generali - Milano
13 Marzo 2014
Chris Daughtry - Vocals
Josh Paul - Bass
Brian Craddock - Guitar
Josh Steely - Guitar
Robin Diaz - Drums
Elvio Fernandes - Keyboard
Ph.Mairo Cinquetti
When the time arrived to make his fourth full-length studio album, Baptized, Chris Daughtry followed his instincts.
Motivated by intensely creative writing sessions with the likes of Martin Johnson [Boys Like Girls], Sam Hollander [Gym Class Heroes, Coheed and Cambria] and Claude Kelly [Bruno Mars, Whitney Houston], the singer, songwriter and musician quickly discovered the direction of his latest body of work.
"I needed a change," he admits. "I started hearing these new sounds over my voice, and it was so inspiring. There wasn't just one style either. It was a completely different vibe all around. I really wanted to pursue that to the fullest. This is probably one of the most inspiring records I've ever done."
In early 2013, Chris began working on what would eventually become Baptized. Early on, he made a conscious decision to approach the album from a different angle. It would've been too easy for him to simply repeat himself considering he and the band have been on quite a hot streak since their 2006 self-titled became the fastest-selling rock debut in Soundscan history. 2009's Leave This Town gave them their second consecutive No. 1 on the Billboard Top 200, while Break The Spell reached gold status in merely four weeks of release in 2011. Throughout, they achieved four No. 1 smashes at radio as well as four Grammy Award nominations and four American Music Awards wins. Meanwhile, sales exceeded 7.5 million albums and 17 million singles. Nevertheless, as an artist/band, they chose to evolve for both themselves and their fans.
In between a hectic touring schedule, Chris would fly to Los Angeles for in-studio sessions with Johnson and Hollander or Kelly.
"As fans of the band, they would do things that I normally wouldn't do, and that's why it was so exciting. I was much more open to explore a new style of writing with this album. Whether it was on keyboard, piano, or even banjo in some cases, the soundscape really felt alive. We'd write a song together and cut the vocals right then and there to capture that energy. It happened so quickly. We didn't need to overthink anything. The magic was there."
It's easy to hear, feel, and even see that magic on the first single "Waiting for Superman." Electronics glimmer along with a soft acoustic guitar strum and resounding piano as a cinematic tale unfolds in orchestral pop fashion. It instantly takes flight with one of the vocalist's most powerful hooks yet and an inspiring story.
"It was never about a superhero per se," he reveals. "It’s about waiting for that someone in your life to step up and be what you need in that moment as a ‘rock’ or ‘strength.’ I've heard it so many times. I chose one of the biggest pop culture archetypes out there because it can mean many different things. I love the image of a girl waiting for someone to save her. Personally, it stems from my own experiences with my teenage daughter and wife. They were my muses."
The track "Battleships," sails into new territory. An immersive beat bounces along with the warm production as he delivers an irresistible anthem meant for arenas. In order to test this fresh flavor, he ran it by his toughest critics.
He smiles, "My parents love our music, but they're mainly into country. After I played them 'Battleships,' I expected my dad to say, 'Well, that's different!' Instead, he looked at me and said, 'Man, that's a hit!'
The lyrics find him veering down an uncharted lane as well. "It's not a breakup song—which we've been the ambassadors for over the past six years," Daughtry chuckles. "It's about butting heads with the one you love. You don't want to fight, but it happens. You're both going to stand your ground, but you're really fighting for each other."
Perhaps the most shining example of Chris’ evolution is the rollicking and raucous "Long Live Rock & Roll". Acoustic guitar and banjo charge forward at full steam as he name checks everyone from Elton John and Billy Joel to Mötley Crüe and Guns 'N Roses, even lamenting "Van Hagar" in the process.
"It was so far out of my normal comfort zone," he says. "Everything has always been so serious in the past, but rock 'n' roll is meant to be fun. I wanted to cut loose and have a good time. We went places I'd never been musically."
At the same time, the kinetic "I'll Fight" brandishes a youthful vibrancy, while the title track, “Baptized,” builds from a Western-style dobro hum into a bombastic refrain. In many ways, the title encapsulates Chris’ ethos completely.
"I always wanted to call the album Baptized, because it felt like a new chapter," he declares. "It's a bold statement."
He's ready to proclaim that statement in front of packed venues around the world alongside longtime bandmates Josh Paul [bass], Brian Craddock [guitar], Josh Steely [guitar], Robin Diaz [drums] and new addition Elvio Fernandes [keyboards]. Outside of music, he continues to give back to various charities. He even holds an ambassadorship with DC Comics’ We Can Be Heroes campaign, fighting hunger in underdeveloped countries.
At the end of the day, Baptized certainly signals a rebirth for Chris and the band. "I want fans to keep an open mind about it," he concludes. "The songs are very much what I do lyrically and melodically. I've always been a sucker for a great melody. That's what songwriting is all about. Can people relate to this? Is it real? Is it honest? That's what everyone should take away. It's real and authentic. This is where I am right now."
Daughtry
Magazzini Generali - Milano
13 Marzo 2014
Chris Daughtry - Vocals
Josh Paul - Bass
Brian Craddock - Guitar
Josh Steely - Guitar
Robin Diaz - Drums
Elvio Fernandes - Keyboard
Ph.Mairo Cinquetti
When the time arrived to make his fourth full-length studio album, Baptized, Chris Daughtry followed his instincts.
Motivated by intensely creative writing sessions with the likes of Martin Johnson [Boys Like Girls], Sam Hollander [Gym Class Heroes, Coheed and Cambria] and Claude Kelly [Bruno Mars, Whitney Houston], the singer, songwriter and musician quickly discovered the direction of his latest body of work.
"I needed a change," he admits. "I started hearing these new sounds over my voice, and it was so inspiring. There wasn't just one style either. It was a completely different vibe all around. I really wanted to pursue that to the fullest. This is probably one of the most inspiring records I've ever done."
In early 2013, Chris began working on what would eventually become Baptized. Early on, he made a conscious decision to approach the album from a different angle. It would've been too easy for him to simply repeat himself considering he and the band have been on quite a hot streak since their 2006 self-titled became the fastest-selling rock debut in Soundscan history. 2009's Leave This Town gave them their second consecutive No. 1 on the Billboard Top 200, while Break The Spell reached gold status in merely four weeks of release in 2011. Throughout, they achieved four No. 1 smashes at radio as well as four Grammy Award nominations and four American Music Awards wins. Meanwhile, sales exceeded 7.5 million albums and 17 million singles. Nevertheless, as an artist/band, they chose to evolve for both themselves and their fans.
In between a hectic touring schedule, Chris would fly to Los Angeles for in-studio sessions with Johnson and Hollander or Kelly.
"As fans of the band, they would do things that I normally wouldn't do, and that's why it was so exciting. I was much more open to explore a new style of writing with this album. Whether it was on keyboard, piano, or even banjo in some cases, the soundscape really felt alive. We'd write a song together and cut the vocals right then and there to capture that energy. It happened so quickly. We didn't need to overthink anything. The magic was there."
It's easy to hear, feel, and even see that magic on the first single "Waiting for Superman." Electronics glimmer along with a soft acoustic guitar strum and resounding piano as a cinematic tale unfolds in orchestral pop fashion. It instantly takes flight with one of the vocalist's most powerful hooks yet and an inspiring story.
"It was never about a superhero per se," he reveals. "It’s about waiting for that someone in your life to step up and be what you need in that moment as a ‘rock’ or ‘strength.’ I've heard it so many times. I chose one of the biggest pop culture archetypes out there because it can mean many different things. I love the image of a girl waiting for someone to save her. Personally, it stems from my own experiences with my teenage daughter and wife. They were my muses."
The track "Battleships," sails into new territory. An immersive beat bounces along with the warm production as he delivers an irresistible anthem meant for arenas. In order to test this fresh flavor, he ran it by his toughest critics.
He smiles, "My parents love our music, but they're mainly into country. After I played them 'Battleships,' I expected my dad to say, 'Well, that's different!' Instead, he looked at me and said, 'Man, that's a hit!'
The lyrics find him veering down an uncharted lane as well. "It's not a breakup song—which we've been the ambassadors for over the past six years," Daughtry chuckles. "It's about butting heads with the one you love. You don't want to fight, but it happens. You're both going to stand your ground, but you're really fighting for each other."
Perhaps the most shining example of Chris’ evolution is the rollicking and raucous "Long Live Rock & Roll". Acoustic guitar and banjo charge forward at full steam as he name checks everyone from Elton John and Billy Joel to Mötley Crüe and Guns 'N Roses, even lamenting "Van Hagar" in the process.
"It was so far out of my normal comfort zone," he says. "Everything has always been so serious in the past, but rock 'n' roll is meant to be fun. I wanted to cut loose and have a good time. We went places I'd never been musically."
At the same time, the kinetic "I'll Fight" brandishes a youthful vibrancy, while the title track, “Baptized,” builds from a Western-style dobro hum into a bombastic refrain. In many ways, the title encapsulates Chris’ ethos completely.
"I always wanted to call the album Baptized, because it felt like a new chapter," he declares. "It's a bold statement."
He's ready to proclaim that statement in front of packed venues around the world alongside longtime bandmates Josh Paul [bass], Brian Craddock [guitar], Josh Steely [guitar], Robin Diaz [drums] and new addition Elvio Fernandes [keyboards]. Outside of music, he continues to give back to various charities. He even holds an ambassadorship with DC Comics’ We Can Be Heroes campaign, fighting hunger in underdeveloped countries.
At the end of the day, Baptized certainly signals a rebirth for Chris and the band. "I want fans to keep an open mind about it," he concludes. "The songs are very much what I do lyrically and melodically. I've always been a sucker for a great melody. That's what songwriting is all about. Can people relate to this? Is it real? Is it honest? That's what everyone should take away. It's real and authentic. This is where I am right now."
Daughtry
Magazzini Generali - Milano
13 Marzo 2014
Chris Daughtry - Vocals
Josh Paul - Bass
Brian Craddock - Guitar
Josh Steely - Guitar
Robin Diaz - Drums
Elvio Fernandes - Keyboard
Ph.Mairo Cinquetti
When the time arrived to make his fourth full-length studio album, Baptized, Chris Daughtry followed his instincts.
Motivated by intensely creative writing sessions with the likes of Martin Johnson [Boys Like Girls], Sam Hollander [Gym Class Heroes, Coheed and Cambria] and Claude Kelly [Bruno Mars, Whitney Houston], the singer, songwriter and musician quickly discovered the direction of his latest body of work.
"I needed a change," he admits. "I started hearing these new sounds over my voice, and it was so inspiring. There wasn't just one style either. It was a completely different vibe all around. I really wanted to pursue that to the fullest. This is probably one of the most inspiring records I've ever done."
In early 2013, Chris began working on what would eventually become Baptized. Early on, he made a conscious decision to approach the album from a different angle. It would've been too easy for him to simply repeat himself considering he and the band have been on quite a hot streak since their 2006 self-titled became the fastest-selling rock debut in Soundscan history. 2009's Leave This Town gave them their second consecutive No. 1 on the Billboard Top 200, while Break The Spell reached gold status in merely four weeks of release in 2011. Throughout, they achieved four No. 1 smashes at radio as well as four Grammy Award nominations and four American Music Awards wins. Meanwhile, sales exceeded 7.5 million albums and 17 million singles. Nevertheless, as an artist/band, they chose to evolve for both themselves and their fans.
In between a hectic touring schedule, Chris would fly to Los Angeles for in-studio sessions with Johnson and Hollander or Kelly.
"As fans of the band, they would do things that I normally wouldn't do, and that's why it was so exciting. I was much more open to explore a new style of writing with this album. Whether it was on keyboard, piano, or even banjo in some cases, the soundscape really felt alive. We'd write a song together and cut the vocals right then and there to capture that energy. It happened so quickly. We didn't need to overthink anything. The magic was there."
It's easy to hear, feel, and even see that magic on the first single "Waiting for Superman." Electronics glimmer along with a soft acoustic guitar strum and resounding piano as a cinematic tale unfolds in orchestral pop fashion. It instantly takes flight with one of the vocalist's most powerful hooks yet and an inspiring story.
"It was never about a superhero per se," he reveals. "It’s about waiting for that someone in your life to step up and be what you need in that moment as a ‘rock’ or ‘strength.’ I've heard it so many times. I chose one of the biggest pop culture archetypes out there because it can mean many different things. I love the image of a girl waiting for someone to save her. Personally, it stems from my own experiences with my teenage daughter and wife. They were my muses."
The track "Battleships," sails into new territory. An immersive beat bounces along with the warm production as he delivers an irresistible anthem meant for arenas. In order to test this fresh flavor, he ran it by his toughest critics.
He smiles, "My parents love our music, but they're mainly into country. After I played them 'Battleships,' I expected my dad to say, 'Well, that's different!' Instead, he looked at me and said, 'Man, that's a hit!'
The lyrics find him veering down an uncharted lane as well. "It's not a breakup song—which we've been the ambassadors for over the past six years," Daughtry chuckles. "It's about butting heads with the one you love. You don't want to fight, but it happens. You're both going to stand your ground, but you're really fighting for each other."
Perhaps the most shining example of Chris’ evolution is the rollicking and raucous "Long Live Rock & Roll". Acoustic guitar and banjo charge forward at full steam as he name checks everyone from Elton John and Billy Joel to Mötley Crüe and Guns 'N Roses, even lamenting "Van Hagar" in the process.
"It was so far out of my normal comfort zone," he says. "Everything has always been so serious in the past, but rock 'n' roll is meant to be fun. I wanted to cut loose and have a good time. We went places I'd never been musically."
At the same time, the kinetic "I'll Fight" brandishes a youthful vibrancy, while the title track, “Baptized,” builds from a Western-style dobro hum into a bombastic refrain. In many ways, the title encapsulates Chris’ ethos completely.
"I always wanted to call the album Baptized, because it felt like a new chapter," he declares. "It's a bold statement."
He's ready to proclaim that statement in front of packed venues around the world alongside longtime bandmates Josh Paul [bass], Brian Craddock [guitar], Josh Steely [guitar], Robin Diaz [drums] and new addition Elvio Fernandes [keyboards]. Outside of music, he continues to give back to various charities. He even holds an ambassadorship with DC Comics’ We Can Be Heroes campaign, fighting hunger in underdeveloped countries.
At the end of the day, Baptized certainly signals a rebirth for Chris and the band. "I want fans to keep an open mind about it," he concludes. "The songs are very much what I do lyrically and melodically. I've always been a sucker for a great melody. That's what songwriting is all about. Can people relate to this? Is it real? Is it honest? That's what everyone should take away. It's real and authentic. This is where I am right now."
Daughtry
Magazzini Generali - Milano
13 Marzo 2014
Chris Daughtry - Vocals
Josh Paul - Bass
Brian Craddock - Guitar
Josh Steely - Guitar
Robin Diaz - Drums
Elvio Fernandes - Keyboard
Ph.Mairo Cinquetti
When the time arrived to make his fourth full-length studio album, Baptized, Chris Daughtry followed his instincts.
Motivated by intensely creative writing sessions with the likes of Martin Johnson [Boys Like Girls], Sam Hollander [Gym Class Heroes, Coheed and Cambria] and Claude Kelly [Bruno Mars, Whitney Houston], the singer, songwriter and musician quickly discovered the direction of his latest body of work.
"I needed a change," he admits. "I started hearing these new sounds over my voice, and it was so inspiring. There wasn't just one style either. It was a completely different vibe all around. I really wanted to pursue that to the fullest. This is probably one of the most inspiring records I've ever done."
In early 2013, Chris began working on what would eventually become Baptized. Early on, he made a conscious decision to approach the album from a different angle. It would've been too easy for him to simply repeat himself considering he and the band have been on quite a hot streak since their 2006 self-titled became the fastest-selling rock debut in Soundscan history. 2009's Leave This Town gave them their second consecutive No. 1 on the Billboard Top 200, while Break The Spell reached gold status in merely four weeks of release in 2011. Throughout, they achieved four No. 1 smashes at radio as well as four Grammy Award nominations and four American Music Awards wins. Meanwhile, sales exceeded 7.5 million albums and 17 million singles. Nevertheless, as an artist/band, they chose to evolve for both themselves and their fans.
In between a hectic touring schedule, Chris would fly to Los Angeles for in-studio sessions with Johnson and Hollander or Kelly.
"As fans of the band, they would do things that I normally wouldn't do, and that's why it was so exciting. I was much more open to explore a new style of writing with this album. Whether it was on keyboard, piano, or even banjo in some cases, the soundscape really felt alive. We'd write a song together and cut the vocals right then and there to capture that energy. It happened so quickly. We didn't need to overthink anything. The magic was there."
It's easy to hear, feel, and even see that magic on the first single "Waiting for Superman." Electronics glimmer along with a soft acoustic guitar strum and resounding piano as a cinematic tale unfolds in orchestral pop fashion. It instantly takes flight with one of the vocalist's most powerful hooks yet and an inspiring story.
"It was never about a superhero per se," he reveals. "It’s about waiting for that someone in your life to step up and be what you need in that moment as a ‘rock’ or ‘strength.’ I've heard it so many times. I chose one of the biggest pop culture archetypes out there because it can mean many different things. I love the image of a girl waiting for someone to save her. Personally, it stems from my own experiences with my teenage daughter and wife. They were my muses."
The track "Battleships," sails into new territory. An immersive beat bounces along with the warm production as he delivers an irresistible anthem meant for arenas. In order to test this fresh flavor, he ran it by his toughest critics.
He smiles, "My parents love our music, but they're mainly into country. After I played them 'Battleships,' I expected my dad to say, 'Well, that's different!' Instead, he looked at me and said, 'Man, that's a hit!'
The lyrics find him veering down an uncharted lane as well. "It's not a breakup song—which we've been the ambassadors for over the past six years," Daughtry chuckles. "It's about butting heads with the one you love. You don't want to fight, but it happens. You're both going to stand your ground, but you're really fighting for each other."
Perhaps the most shining example of Chris’ evolution is the rollicking and raucous "Long Live Rock & Roll". Acoustic guitar and banjo charge forward at full steam as he name checks everyone from Elton John and Billy Joel to Mötley Crüe and Guns 'N Roses, even lamenting "Van Hagar" in the process.
"It was so far out of my normal comfort zone," he says. "Everything has always been so serious in the past, but rock 'n' roll is meant to be fun. I wanted to cut loose and have a good time. We went places I'd never been musically."
At the same time, the kinetic "I'll Fight" brandishes a youthful vibrancy, while the title track, “Baptized,” builds from a Western-style dobro hum into a bombastic refrain. In many ways, the title encapsulates Chris’ ethos completely.
"I always wanted to call the album Baptized, because it felt like a new chapter," he declares. "It's a bold statement."
He's ready to proclaim that statement in front of packed venues around the world alongside longtime bandmates Josh Paul [bass], Brian Craddock [guitar], Josh Steely [guitar], Robin Diaz [drums] and new addition Elvio Fernandes [keyboards]. Outside of music, he continues to give back to various charities. He even holds an ambassadorship with DC Comics’ We Can Be Heroes campaign, fighting hunger in underdeveloped countries.
At the end of the day, Baptized certainly signals a rebirth for Chris and the band. "I want fans to keep an open mind about it," he concludes. "The songs are very much what I do lyrically and melodically. I've always been a sucker for a great melody. That's what songwriting is all about. Can people relate to this? Is it real? Is it honest? That's what everyone should take away. It's real and authentic. This is where I am right now."
This is Sabine, she's baptizin' her very own PS 28 Cuiser plane. I witness this opportunity with my good ole reliable Pentacon Six TL, the CZJ Sonnar 180mm was mounted on. I used an Ilford Delta 400 for this occasion.
Insomniac
The night is only a sort of carbon paper,
Blueblack, with the much-poked periods of stars
Letting in the light, peephole after peephole . . .
A bonewhite light, like death, behind all things.
Under the eyes of the stars and the moon's rictus
He suffers his desert pillow, sleeplessness
Stretching its fine, irritating sand in all directions.
Over and over the old, granular movie
Exposes embarrassments--the mizzling days
Of childhood and adolescence, sticky with dreams,
Parental faces on tall stalks, alternately stern and tearful,
A garden of buggy rose that made him cry.
His forehead is bumpy as a sack of rocks.
Memories jostle each other for face-room like obsolete film stars.
He is immune to pills: red, purple, blue . . .
How they lit the tedium of the protracted evening!
Those sugary planets whose influence won for him
A life baptized in no-life for a while,
And the sweet, drugged waking of a forgetful baby.
Now the pills are worn-out and silly, like classical gods.
Their poppy-sleepy colors do him no good.
His head is a little interior of grey mirrors.
Each gesture flees immediately down an alley
Of diminishing perspectives, and its significance
Drains like water out the hole at the far end.
He lives without privacy in a lidless room,
The bald slots of his eyes stiffened wide-open
On the incessant heat-lightning flicker of situations.
Nightlong, in the granite yard, invisible cats
Have been howling like women, or damaged instruments.
Already he can feel daylight, his white disease,
Creeping up with her hatful of trivial repetitions.
The city is a map of cheerful twitters now,
And everywhere people, eyes mica-silver and blank,
Are riding to work in rows, as if recently brainwashed.
Sylvia Plath
Daughtry
Magazzini Generali - Milano
13 Marzo 2014
Chris Daughtry - Vocals
Josh Paul - Bass
Brian Craddock - Guitar
Josh Steely - Guitar
Robin Diaz - Drums
Elvio Fernandes - Keyboard
Ph.Mairo Cinquetti
When the time arrived to make his fourth full-length studio album, Baptized, Chris Daughtry followed his instincts.
Motivated by intensely creative writing sessions with the likes of Martin Johnson [Boys Like Girls], Sam Hollander [Gym Class Heroes, Coheed and Cambria] and Claude Kelly [Bruno Mars, Whitney Houston], the singer, songwriter and musician quickly discovered the direction of his latest body of work.
"I needed a change," he admits. "I started hearing these new sounds over my voice, and it was so inspiring. There wasn't just one style either. It was a completely different vibe all around. I really wanted to pursue that to the fullest. This is probably one of the most inspiring records I've ever done."
In early 2013, Chris began working on what would eventually become Baptized. Early on, he made a conscious decision to approach the album from a different angle. It would've been too easy for him to simply repeat himself considering he and the band have been on quite a hot streak since their 2006 self-titled became the fastest-selling rock debut in Soundscan history. 2009's Leave This Town gave them their second consecutive No. 1 on the Billboard Top 200, while Break The Spell reached gold status in merely four weeks of release in 2011. Throughout, they achieved four No. 1 smashes at radio as well as four Grammy Award nominations and four American Music Awards wins. Meanwhile, sales exceeded 7.5 million albums and 17 million singles. Nevertheless, as an artist/band, they chose to evolve for both themselves and their fans.
In between a hectic touring schedule, Chris would fly to Los Angeles for in-studio sessions with Johnson and Hollander or Kelly.
"As fans of the band, they would do things that I normally wouldn't do, and that's why it was so exciting. I was much more open to explore a new style of writing with this album. Whether it was on keyboard, piano, or even banjo in some cases, the soundscape really felt alive. We'd write a song together and cut the vocals right then and there to capture that energy. It happened so quickly. We didn't need to overthink anything. The magic was there."
It's easy to hear, feel, and even see that magic on the first single "Waiting for Superman." Electronics glimmer along with a soft acoustic guitar strum and resounding piano as a cinematic tale unfolds in orchestral pop fashion. It instantly takes flight with one of the vocalist's most powerful hooks yet and an inspiring story.
"It was never about a superhero per se," he reveals. "It’s about waiting for that someone in your life to step up and be what you need in that moment as a ‘rock’ or ‘strength.’ I've heard it so many times. I chose one of the biggest pop culture archetypes out there because it can mean many different things. I love the image of a girl waiting for someone to save her. Personally, it stems from my own experiences with my teenage daughter and wife. They were my muses."
The track "Battleships," sails into new territory. An immersive beat bounces along with the warm production as he delivers an irresistible anthem meant for arenas. In order to test this fresh flavor, he ran it by his toughest critics.
He smiles, "My parents love our music, but they're mainly into country. After I played them 'Battleships,' I expected my dad to say, 'Well, that's different!' Instead, he looked at me and said, 'Man, that's a hit!'
The lyrics find him veering down an uncharted lane as well. "It's not a breakup song—which we've been the ambassadors for over the past six years," Daughtry chuckles. "It's about butting heads with the one you love. You don't want to fight, but it happens. You're both going to stand your ground, but you're really fighting for each other."
Perhaps the most shining example of Chris’ evolution is the rollicking and raucous "Long Live Rock & Roll". Acoustic guitar and banjo charge forward at full steam as he name checks everyone from Elton John and Billy Joel to Mötley Crüe and Guns 'N Roses, even lamenting "Van Hagar" in the process.
"It was so far out of my normal comfort zone," he says. "Everything has always been so serious in the past, but rock 'n' roll is meant to be fun. I wanted to cut loose and have a good time. We went places I'd never been musically."
At the same time, the kinetic "I'll Fight" brandishes a youthful vibrancy, while the title track, “Baptized,” builds from a Western-style dobro hum into a bombastic refrain. In many ways, the title encapsulates Chris’ ethos completely.
"I always wanted to call the album Baptized, because it felt like a new chapter," he declares. "It's a bold statement."
He's ready to proclaim that statement in front of packed venues around the world alongside longtime bandmates Josh Paul [bass], Brian Craddock [guitar], Josh Steely [guitar], Robin Diaz [drums] and new addition Elvio Fernandes [keyboards]. Outside of music, he continues to give back to various charities. He even holds an ambassadorship with DC Comics’ We Can Be Heroes campaign, fighting hunger in underdeveloped countries.
At the end of the day, Baptized certainly signals a rebirth for Chris and the band. "I want fans to keep an open mind about it," he concludes. "The songs are very much what I do lyrically and melodically. I've always been a sucker for a great melody. That's what songwriting is all about. Can people relate to this? Is it real? Is it honest? That's what everyone should take away. It's real and authentic. This is where I am right now."
Daughtry
Magazzini Generali - Milano
13 Marzo 2014
Chris Daughtry - Vocals
Josh Paul - Bass
Brian Craddock - Guitar
Josh Steely - Guitar
Robin Diaz - Drums
Elvio Fernandes - Keyboard
Ph.Mairo Cinquetti
When the time arrived to make his fourth full-length studio album, Baptized, Chris Daughtry followed his instincts.
Motivated by intensely creative writing sessions with the likes of Martin Johnson [Boys Like Girls], Sam Hollander [Gym Class Heroes, Coheed and Cambria] and Claude Kelly [Bruno Mars, Whitney Houston], the singer, songwriter and musician quickly discovered the direction of his latest body of work.
"I needed a change," he admits. "I started hearing these new sounds over my voice, and it was so inspiring. There wasn't just one style either. It was a completely different vibe all around. I really wanted to pursue that to the fullest. This is probably one of the most inspiring records I've ever done."
In early 2013, Chris began working on what would eventually become Baptized. Early on, he made a conscious decision to approach the album from a different angle. It would've been too easy for him to simply repeat himself considering he and the band have been on quite a hot streak since their 2006 self-titled became the fastest-selling rock debut in Soundscan history. 2009's Leave This Town gave them their second consecutive No. 1 on the Billboard Top 200, while Break The Spell reached gold status in merely four weeks of release in 2011. Throughout, they achieved four No. 1 smashes at radio as well as four Grammy Award nominations and four American Music Awards wins. Meanwhile, sales exceeded 7.5 million albums and 17 million singles. Nevertheless, as an artist/band, they chose to evolve for both themselves and their fans.
In between a hectic touring schedule, Chris would fly to Los Angeles for in-studio sessions with Johnson and Hollander or Kelly.
"As fans of the band, they would do things that I normally wouldn't do, and that's why it was so exciting. I was much more open to explore a new style of writing with this album. Whether it was on keyboard, piano, or even banjo in some cases, the soundscape really felt alive. We'd write a song together and cut the vocals right then and there to capture that energy. It happened so quickly. We didn't need to overthink anything. The magic was there."
It's easy to hear, feel, and even see that magic on the first single "Waiting for Superman." Electronics glimmer along with a soft acoustic guitar strum and resounding piano as a cinematic tale unfolds in orchestral pop fashion. It instantly takes flight with one of the vocalist's most powerful hooks yet and an inspiring story.
"It was never about a superhero per se," he reveals. "It’s about waiting for that someone in your life to step up and be what you need in that moment as a ‘rock’ or ‘strength.’ I've heard it so many times. I chose one of the biggest pop culture archetypes out there because it can mean many different things. I love the image of a girl waiting for someone to save her. Personally, it stems from my own experiences with my teenage daughter and wife. They were my muses."
The track "Battleships," sails into new territory. An immersive beat bounces along with the warm production as he delivers an irresistible anthem meant for arenas. In order to test this fresh flavor, he ran it by his toughest critics.
He smiles, "My parents love our music, but they're mainly into country. After I played them 'Battleships,' I expected my dad to say, 'Well, that's different!' Instead, he looked at me and said, 'Man, that's a hit!'
The lyrics find him veering down an uncharted lane as well. "It's not a breakup song—which we've been the ambassadors for over the past six years," Daughtry chuckles. "It's about butting heads with the one you love. You don't want to fight, but it happens. You're both going to stand your ground, but you're really fighting for each other."
Perhaps the most shining example of Chris’ evolution is the rollicking and raucous "Long Live Rock & Roll". Acoustic guitar and banjo charge forward at full steam as he name checks everyone from Elton John and Billy Joel to Mötley Crüe and Guns 'N Roses, even lamenting "Van Hagar" in the process.
"It was so far out of my normal comfort zone," he says. "Everything has always been so serious in the past, but rock 'n' roll is meant to be fun. I wanted to cut loose and have a good time. We went places I'd never been musically."
At the same time, the kinetic "I'll Fight" brandishes a youthful vibrancy, while the title track, “Baptized,” builds from a Western-style dobro hum into a bombastic refrain. In many ways, the title encapsulates Chris’ ethos completely.
"I always wanted to call the album Baptized, because it felt like a new chapter," he declares. "It's a bold statement."
He's ready to proclaim that statement in front of packed venues around the world alongside longtime bandmates Josh Paul [bass], Brian Craddock [guitar], Josh Steely [guitar], Robin Diaz [drums] and new addition Elvio Fernandes [keyboards]. Outside of music, he continues to give back to various charities. He even holds an ambassadorship with DC Comics’ We Can Be Heroes campaign, fighting hunger in underdeveloped countries.
At the end of the day, Baptized certainly signals a rebirth for Chris and the band. "I want fans to keep an open mind about it," he concludes. "The songs are very much what I do lyrically and melodically. I've always been a sucker for a great melody. That's what songwriting is all about. Can people relate to this? Is it real? Is it honest? That's what everyone should take away. It's real and authentic. This is where I am right now."
Acts 2:37-42 (NLT)
Peter's words convicted them deeply, and they said to him and to the other apostles, "Brothers, what should we do?"
Peter replied, "Each of you must turn from your sins and turn to God, and be baptized in the name of Jesus Christ for the forgiveness of your sins. Then you will receive the gift of the Holy Spirit. This promise is to you and to your children, and even to the Gentiles—all who have been called by the Lord our God." Then Peter continued preaching for a long time, strongly urging all his listeners, "Save yourselves from this generation that has gone astray!"
DRAWING NOTES:
TIME OF DAY:
Verse 15 tells us that it is 9am in the morning.
LIGHTING NOTES:
CHARACTERS PRESENT:
In the foreground, from left to right: Simon/Peter, Andrew (Simon/Peter’s brother), with the back of Matthew/Levi behind him, James son of Zebedee, with the un-named female disciple in green head scarf, behind him.
In the background, there are various people in the crowd, listening to Simon/Peter & the apostles.
RESEARCH/ADDITIONAL NOTES:
I have created two versions of this scene, this is the “Sunlight version”, which concentrates on maximising the tonal contrast (light & shade) of the scene. Notice the blue (shadow) colour cast over the crowd, whilst the background wall, tree & Apostles have a strong yellow (sunlight) colour over them.
The previous scene (called the “Colour version”) concentrates on maximising the colour of the figure’s clothing & surroundings, with more subdued tonal (light & shadow) contrasts.
Three of the people listening in the crowd also appear in a previous scene, Acts 02 - Pentecost - Scene 07 - Ridicule. They are at the front of the crowd:
1) The man in red/brown, who’s hand gestures indicated that he believed the apostles/disciples have been drinking. In this scene he is looking terrified & worried.
2) The man in grey/blue, who’s hand gestures indicated that he believed the apostles/disciples were mad! In this scene he is walking off to the left, with eyes closed, clearly unconvinced by the apostle’s words.
3) The young (unbearded) man in brown has his arms folded & is listening to what is being said.
These three men represent the three conditions everyone can experience when listening to someone talk about the gospel of Jesus the Christ: 1) conviction & acceptance, 2) disagreement & rejection, & 3) “sitting on the fence” or simply undecided, waiting to hear more.
The crowd’s various facial expressions.
I have deliberately shown a variety of reactions to the apostle’s words, on the faces of the people in the crowd. Some people are smiling (accepting of the message), some are looking interested, some are looking bemused, whilst others are neutral, or hostile to the words being spoken.
Any of the listening crowd in my cartoon illustration who has tears in his/her eyes is indicative of deep conviction at hearing the words of Simon/Peter & the other apostles.
There is a particularly strong conviction in the man who has pulled a blue cloth over his head, now there’s strong conviction!
This is all true of anyone’s actual response upon hearing the gospel of Jesus the Christ: some people welcome the “Good News” with open arms, some people are cautious & uncertain, some people are hostile to it. You can be certain of one thing: if the “Good News” of Jesus the Christ is preached, there will be some kind of reaction in the hearer!
see this cartoon & many more at www.biblecartoons.co.uk
Pieter de Hooch (Dutch: [ˈpitər də ɦoːx], also spelled "Hoogh" or "Hooghe"; 20 December 1629 (baptized) – 24 March 1684 (buried)) was a Dutch Golden Age painter famous for his genre works of quiet domestic scenes with an open doorway. He was a contemporary of Jan Vermeer in the Delft Guild of St. Luke, with whom his work shares themes and style.
De Hooch was born in Rotterdam to Hendrick Hendricksz de Hooch, a bricklayer, and Annetge Pieters, a midwife. He was the eldest of five children and outlived all of his siblings. Little is known of his early life and most archival evidence suggests he worked in Rotterdam, Delft, and Amsterdam. According to his first biographer Arnold Houbraken, he studied art in Haarlem under the landscape painter Nicolaes Berchem at the same time as Jacob Ochtervelt and was known for his "kamergezichten" or "room-views" with ladies and gentlemen in conversation. But De Hooch's work seems to continue in the spirit of Hendrik Sorgh, an older Rotterdam painter who had a special affinity for organizing figures in interiors. Beginning in 1650, he worked as a painter and servant for a linen-merchant and art collector named Justus de la Grange in Rotterdam. His service for the merchant required him to accompany him on his travels to The Hague, Leiden, and Delft, to which he moved in 1652. It is likely that de Hooch handed over most of his works to la Grange during this period in exchange for board and other benefits, as this was a common commercial arrangement for painters at the time, and a later inventory recorded that la Grange possessed eleven of his paintings.
De Hooch was married in Delft in 1654 to Jannetje van der Burch, by whom he fathered seven children. While in Delft, de Hooch is also believed to have learned from the painters Carel Fabritius and Nicolaes Maes, who were early members of the Delft School. He became a member of the painters' guild of Saint Luke in 1655 (two years after Vermeer). His daughter Anna was born in Delft on 14 November 1656. Based on the fact that his wife attended a baptism in Amsterdam in 1660, it has been determined that he moved to Amsterdam by then, though the success of the trekschuit by then meant that a trip to Amsterdam could be made easily in a day.
The early work of de Hooch was mostly composed of scenes of soldiers and peasants in stables and taverns in the manner of Adriaen van Ostade, though he used these to develop great skill in light, color, and perspective rather than to explore an interest in the subject matter.
After starting his family in the mid-1650s, he switched his focus to domestic scenes. These were possibly of his own family, though his works of well-to-do women breastfeeding and caring for children could also indicate that he had attended his mother on her rounds as a midwife.
His work showed astute observation of the mundane details of everyday life while also functioning as well-ordered morality tales. These paintings often exhibited a sophisticated and delicate treatment of light similar to those of Vermeer, who lived in Delft at the same time as de Hooch.
3 Know ye not, that so many of us as were baptized into Jesus Christ were baptized into his death?
4 Therefore we are buried with him by baptism into death: that like as Christ was raised up from the dead by the glory of the Father, even so we also should walk in newness of life.
The Historic Ebenezer Baptist Church, located at 407 Auburn Avenue, features a long history of civil rights, but is most famous for its association with Dr. Martin Luther King, Jr. It was here that Dr. King was baptized in 1936, gave his first sermon in the fall of 1947, and was ordained in February, 1948. He served as co-pastor with his father until he left to Crozer Theological Seminary in September 1948, and as Ebenezer's associate minister during his breaks from Seminary and his doctoral studies at Boston University School of Theology through early 1954. Under Dr. King, Ebenezer was often the site of meetings and rallies, including the organizational meetings that led to the founding of the Southern Christian Leadership Conference in 1957. He later returned as co-pastor with his father, serving from 1960 until his assassination in 1968. On April 9, 1968, a private funeral service, filled with 1,300 people, was held for Dr. King at Ebenezer, followed by a three-mile procession to his alma mater, Morehouse College, for a public service.
The church was founded in 1886 by its first minister, John Andrew Parker. In 1893 Reverend Adam Daniel (A.D.) Williams, the son of a slave preacher and Dr. King's maternal grandfather, became the church's second pastor. Under Williams, the church grew exponentially and moved twice before the current new church building was constructed from over an extended period of time, from 1914 to 1922, with some finishing touches not complete into the 1930's and 40's. No architect has been identified for the Late Gothic Revival design, although some oral traditions credit Rev. Williams.
In 1933, Reverend Martin Luther King, Sr., took over as Ebenezer's third pastor, a position he'd hold until his retirement in 1975. Alterations designed by Edward C. Miller in 1955-56 introduced the Christian Education Building, connected by an elevated walkway, a redesigned interior, and a baptismal pool. In 1970, Muldawer & Patterson in association with J.W. Robinson designed a new vestibule in front of the education building and made interior alterations. A four-year, 8-million restoration returning the church to its 1960's appearance was completed in 2011.
The Martin Luther King, Jr. National Historic Site, an area of about 2 blocks around Auburn Avenue, was established by the National Park Service (NPS) on October 10, 1980. The historic site includes King's gravesite; the historic Fire Station No. 6; the "I Have a Dream" International World Peace Rose Garden; and the International Civil Rights Walk of Fame.
The Martin Luther King, Jr. Historic District, an area bound roughly by Irwin, Randolph, Edgewood, and Auburn Avenues, was established in 1974 and later, in 1977 designated a national historic landmark, and expanded in 2001. The district encompasses the environs in which Martin Luther King, Jr., grew up from his birth in 1929 until he left Atlanta.
Martin Luther King, Jr. National Historic Site and Preservation District National Register #80000435 (1980)
Martin Luther King, Jr. Historic District National Register #74000677 (1974)
"John the baptizer appeared in the wilderness, preaching a baptism of repentance for the forgiveness of sins.
And there went out to him all the country of Judea, and all the people of Jerusalem; and they were baptized by him in the river Jordan, confessing their sins" - Mark 1:4-5, which is part of today's Gospel for the Second Sunday of Advent.
A guided walking tour of Vieux Lyon. The tour would take around an hour.
The Vieux Lyon (English: Old Lyon) is the largest Renaissance district of Lyon in the 5th arrondissement of Lyon.
This zone is served by the metro line D
In 1954, Vieux-Lyon, the city's oldest district, became the first site in France to be protected under the Malraux law to protect France's cultural sites. Covering an area of 424 hectares at the foot of the Fourvière hill, it is one of Europe’s most extensive Renaissance neighborhoods. There are three distinct sections: Saint Jean, Saint Paul and Saint Georges.
The Saint Jean quarter: in the Middle Ages, this was the focus of political and religious power. The Cathedral of St Jean, seat of the Primate of Gaul, a title still conferred upon the archbishop of Lyon, is a good example of Gothic architecture. The Manecanterie adjoining the cathedral is one of Lyon's few extant Romanesque buildings. Formerly a choir school, it now houses the museum of the cathedral’s treasures. Saint Jean is also home to the Museum of Miniatures and Film Sets, located in a building that was the Golden Cross Inn in the 15th century.
The Saint-Paul section: in the 15th and 16th centuries predominately Italian banker-merchants moved into sumptuous urban residences here called hôtels particuliers. The Hôtel Bullioud and the Hôtel de Gadagne are two magnificent examples and the latter now houses the Lyon Historical Museum and the International Puppet Museum. The Loge du Change stands as testimony to the period when trade fairs made the city wealthy. The Saint Paul church with its Romanesque lantern tower and its spectacular spire mark the section’s northern extremity.
The Saint Georges section: silk weavers settled here beginning in the 16th century before moving to the Croix Rousse hill in the 19th century. In 1844, the architect Pierre Bossan rebuilt the St George's Church on the banks of the Saônein a neo-Gothic style. In the Middle Ages, when there were only a few parallel streets between the hill and the Saône, the first traboules were built. Derived from the Latin trans-ambulare, meaning to pass through, traboules are corridors through buildings and their courtyards, connecting one street directly with another. Visitors can discover an architectural heritage of galleries and spiral staircases in these secret passageways, as unexpected as they are unique.
The walking tour ended in Place Saint-Jean near Lyon Cathedral.
The Place Saint-Jean is an old pedestrian square in the 5th arrondissement of Lyon (a.k.a. the "vieux Lyon", which means the oldest borough of Lyon). It is located in front of the Roman Catholic cathedral of Saint-Jean.
The square belongs to the zone classified as World Heritage Site by UNESCO.
The Place Saint-Jean is located near the metro station: Vieux-Lyon – Cathédrale Saint-Jean. It is served by line D.
It is the oldest place in Lyon.
On January 10, 1794 , the square was renamed Place du Temple de la Raison (or Place de la Reason).
In 1844 a fountain designed by the Lyon architect René Dardel is built in the center of the square. It reproduces a small ancient temple in a neo-renaissance style housing a sculpture of Saint John the Baptist baptizing Christ , realized by Jean-Marie Bonnassieux .
In the 1850s , the street connecting the square to Tramassac Street was enlarged (in yellow on the map). Later, this street had to be further enlarged and aligned in order to completely open the square whose eastern facades were to be aligned. The Rue des Antonins was also to be enlarged. This part of the project (orange part on the plan) has never been realized. In 1852 a wholesale market was inaugurated on this square. A project carried out in the 1930s even began to transplant this function of wholesale trade to the whole of the district of Vieux Lyon by making a tabula rasa of the preexisting buildings; This project is adjourned and then definitively buried by the Second World War.
"Notre-Dame de Reims" replaced an older church, burnt down in 1211. That church had been built on the site of the basilica where Clovis was baptized by Saint Remi, bishop of Reims, in 496. The erection of the the large Gotihc cathedral, the place,where the kings of France were crowned, started before 1220. In 1233 a dispute between the cathedral´s chapter and the population regarding taxation and jurisdication ended in a revolt. After several clerics were killed during the uproar, the chapter fled the town and work on the new cathedral was suspended for three years. By 1241 the choir was already used, the nave got roofed in 1299.
Work on the western facade was slow. It was completed within the 14th century, a hundred years after the work started.
During the Hundred Years' War the English held Reims after a long siege, but it got reconquered by Jeanne d'Arc´s army in 1429, so that Charles VII of France (aka "le Bien-Servi") was crowned here on 17 July 1429.
In the first weeks of WWI German shellfire burned, damaged and destroyed important parts of the cathedral. Restoration work began in 1919 - and is been steadily going on since.
Standing near the choir´s altar, facing west. The distance from the choir to large rose window is more than 130m.
The First Presbyterian Church of Clarkesville was organized by the Rev. William Quillian on March 10, 1832, only 14 years after Habersham County was created. There were only seven charter members who were: Thomas W. A. & Martha Sumter, Mary A. Sumter, William & Mary Thompson, Margaret & Cynthia Forbes. Thomas W. A. Sumter was elected and ordained Ruling Elder. At first the church was under the care of Hopewell Presbytery. The church met in the Methodist building, which was offered to all denominations.
On the first Sunday in July 1848, the church was dedicated to the worship of God in a solemn and impressive manner by Dr. Nathan Hoyt, grandfather of Mrs. Woodrow Wilson. At the close of the service Alexander and Catherine M. Erwin presented for baptism their infant daughter Julia Wales Erwin, the first child to be baptized in the church who later became the mother of Col. Robert McMillan. Also, the familiar church bell was used for the first time. This bell, which weighs 718 pounds and cost $214.17, was cast in the foundry of Andrew Meverly at West Troy, N.Y. and shipped by boat from New York to Charleston thence to August and Athens. From Atlanta it was hauled by wagon to Clarkesville, the wagoner charging $3.09 for its delivery.
The church edifice, a wooden structure, was built by Jarvis Van Buren, a native of New York and a first cousin of President Martin Van Buren, who was engineer of the first locomotive ever successfully operated in the United States. Mr. Van Buren and his wife moved to Clarkesville where he operated the iron works. Mr. Van Buren was a Ruling Elder for more than 35 years and both he and his wife are buried in the old cemetery. The church was erected at a cost of $2,275.00 on a lot of two acres, purchased on equal shares and presented to the church by Robert Campbell, Dr. George D. Phillips and William Smith, the largest contributors to the church. The church building is the oldest within Athens Presbytery and the second oldest church building in Clarkesville, being ante-dated by Grace-Episcopal Church, which was built in 1839.
About the year 1840, eight years before the church was built, a few ladies connected with the church established a Sunday School, the first of its kind in the county of which there is any record. The Sunday School was operated by Mrs. Alexander Erwin, Miss Harriett C. Smith (later Mrs. H. C. Bean), Miss Althea Law and Miss Ophra Longstreet. They taught not only the Bible and catechism but also “Webster’s Blue Black Speller, neatness and good behavior.”
Dr. R. C. Ketchum, while Pastor, was one of the delegates from Habersham County to the state convention of 1861 and signed the ordinance of secession.
Among the many distinguished members of the church during its early history were: Amos T. Ackennan, who was admitted to the bar in Clarkesville and was later made Attorney General under President U. S. Grant: Judge Berrien, who was another Attorney General furnished by the state of Georgia; and Col. George W. McAllister of Savannah who contributed very liberally to the church. In 1851, his wife presented the silver communion service consisting of two plates, pitcher, two goblets and baptismal bowl. In 1956, her children gave the silver individual communion service in memory of Jenny Griggs West.
In 1907, the board of trustees, carrying out the expressed wish of the members, sold part of the church lot to Mr. W. R. Asbury, and the church was moved to its present location on the lot and turned around so that it faces Washington Street instead of Jefferson Street as originally built. A porch was added and steps built from the street to the level of the lot.
Before the rotation system for church officers was introduced in 1974, dedicated men served almost a lifetime in that capacity. Mr. Robert McMillan became Sunday School Superintendent in 1897 and served in that capacity until his death in 1939. He was also Clerk of the Session. Mr. J. A. Griggs served as Elder and Assistant Superintendent from 1897 until his death in 1931. Mr. Burns Mauldin and his brother, Mr. Lewis Mauldin were elders for 47 and 42 years respectively. Mrs. India Dyer Lumsden became the first woman to hold church office here when she was elected to the diaconate in 1972. In 1976 Mrs. Annette Granger Cook and Mrs. Catherine Ellison Logan were the first women ordained as elders in the Clarkesville Presbyterian Church. Since that time women have continuously served as elders and deacons. In July 1983, the congregation voted to discontinue the office of Deacon and adopt the unified system of government combining the function of that office with the office of Elder in a single board known as the Session.
In 1976 the congregation voted to undertake a complete restoration of the building that included a thorough stabilizing of the basic structure and modernizing the interior while preserving the historic beauty of the building. A rededication service was held on August 21, 1977 to celebrate the completion of the restoration. At this service the old pulpit Bible published in 1822 and used continuously in this church for over one hundred years was retired to its present location in the glass case at the front of the sanctuary. It was replaced with a new Bible donated by Mr. And Mrs. Homer Cook.
The 150th Anniversary of the founding of this church was celebrated by the congregation on October 9 and 10, 1982 with a drama depicting the historical events in the life of the congregation, services of worship and fellowship together.
On March 27, 1983 a dedication service and recital celebrated the installation in our sanctuary of the new Greenwood Pipe Organ and chimes, given by the Arrendale Family in memory of Mr. And Mrs. T. A. Arrendale, Sr.
In November 1983 the congregation purchased the Franklin property immediately adjoining the church property to the north. Extensive restoration of the old Franklin house not only preserved a most beautiful piece of Victorian architecture but also provided the congregation with much needed space for the church library, classrooms, meeting areas and a large tract of land for future expansion and parking. In 1987 the church completed the paving of sorely needed off-street parking areas at the rear of the Franklin property and the church property.
On October 19, 1987 the church was chartered under the laws of Georgia as the “First Presbyterian Church, Clarkesville, Georgia, Inc.” as a non-profit corporation. Concurrent with this action, the members of the current Session were designated as Trustees of the corporation.
In 1989 the pipe organ was renovated and enlarged by the Atlanta Pipe Organ Sales and Service Company. It was re-dedicated to the glory of God on December 10, 1989.
In September 1989 a Pre-School for three and four-year-old children was started as a Christian outreach project in the community. Physically located in the Franklin house, the program continued to flourish and included children from two through four years of age and was under the guidance of a full-time director and additional teachers. The Pre-School continued to grow and was relocated in 1992 to a building at Highway 197 North. In 1995 the Pre-School became a community supported program and was incorporated. It changed its name to North Habersham Christian Pre-School at that time.
Title: Baptizing in the Jordan, Palestine
Creator: Unknown
Date: 1896
Part Of: Banks McLaurin, Jr. Stereograph Collection
Place: Jordan River, Israel
Physical Description: 1 photographic print on stereo card: gelatin silver; 9 x 18 cm
File: ag2000_1296_02_d10_palestine_41c_baptising.jpg
Rights: Please cite DeGolyer Library, Southern Methodist University when using this file. A high-resolution version of this file may be obtained for a fee. For details see the sites.smu.edu/cul/degolyer/research/permissions/ web page. For other information, contact degolyer@smu.edu.
For more information and to view the image in high resolution, see: digitalcollections.smu.edu/cdm/ref/collection/bml/id/283
The church and convent of Santa Cecilia in Trastavere in Rome was built over the home of St. Cecilia, an upper-class woman who owned a house on this site and was martyred in the 3rd century. Her body was found incorrupt in 1599, complete with deep axe cuts in her neck; a statue under the altar depicts the way it was found. Excavations of Cecilia's Roman house can be toured underneath the church.It is a fascinating insight into one of the very early Roman 'house churches' that grew into some of the key worshipping communities in Rome.
Cecilia is one of the most popular of Roman saints. She lived in the 3rd century and the first legend of her life was written in the 6th century. A noblewoman from a senatorial family, Cecilia took a personal vow of virginity and pledged her life to God. Unfortunately for her, Cecilia's parents still married her off.
On her wedding night, Cecilia told her new husband (Valerian of Trastevere) about her pledge of virginity and persuaded him to be baptized. Valerian's brother Tibertius and another man named Maximus were converted and baptized as well, and the three men began a Christian ministry of giving alms to the poor and arranging for proper burial of martyrs. Eventually they became martyrs themselves for refusing to worship Roman gods.
After burying her husband and his brother, Cecilia was persecuted as well. According to her legend, she was first locked in the caldarium of her own bathhouse for several days. This failed to suffocate her as planned; in fact, she sang throughout the ordeal (Cecilia is the patron saint of music). Next a soldier was sent to behead her, but after three hacks with an axe she was still alive. However, she died of her wounds three days later.
In front of the choir is a moving sculpture by Stefano Maderno of Cecilia's incorrupt body as it was found when exhumed in 1599. Contorted and yet somehow graceful, the statue is highly unusual and has great emotional impact.
The pavement in front of the statue contains a round marble slab with an inscription of the artist's statement, made under oath, that Cecilia's body was found incorrupt:
Behold the body of the most holy virgin Cecilia,
whom I myself saw lying incorrupt in the tomb.
I have in this marble expressed for you the same saint in the very same posture.
From: www.sacred-destinations.com/italy/rome-santa-cecilia
* See the rest of the pictures in this set!
www.flickr.com/photos/michaelwoodward/sets/72157625184785...
Title: Baptizing in the Jordan, Palestine
Creator: Young, R. Y.
Date: 1901
Part Of: Banks McLaurin, Jr. Stereograph Collection
Place: Jordan River, West Bank
Physical Description: 1 photographic print on stereo card: gelatin silver; 9 x 18 cm
File: ag2000_1296_02_d10_palestine_11_baptizing_opt.jpg
Rights: Please cite DeGolyer Library, Southern Methodist University when using this file. A high-resolution version of this file may be obtained for a fee. For details see the sites.smu.edu/cul/degolyer/research/permissions/ web page. For other information, contact degolyer@smu.edu.
For more information and to view the image in high resolution, see: digitalcollections.smu.edu/cdm/ref/collection/bml/id/257
In a country ravaged by non-stop warfare, it is always uplifting to see and hear about stories of hope. In Burma, where Christians are routinely targeted by the military for every type of unimaginable torment, the pictures we received recently of two young teenage girls (see previous pic) at one of our orphanages being baptized stood in stark contrast to the constant reports of tragedy.
Beyond providing refuge for children who have either lost their parents or been sent away because of the war, ICC orphanages also endeavor to teach the message of Christ to all of the children. For one of these girls the decision to be baptized took especially great courage as both of her parents are strict Buddhists.
Alex being baptized at St John Vianney in Rancho Cordova on December 28, 1980. Family members L to R: Gary Tognetti, Sandra Root (mostly hidden), Loretta, Alex, Rick. Scanned from a Kodachrome slide. Roger Root photo.
F family 1980 12 28 Baptism Gary T, Sandy, Loretta, Alex, Rick, Rancho Cordova, Roger Root photo Kodachrome 2020 RD 35mmScan028 (35mm slide binder - 1980)
kalki avatar kalki avataar sadgurudev shri ramlalji siyag gurudev guru siddhayoga shaktipat method of meditation awakening kundalini shakti kling kreeshn kling spiritual the comforter next prophet judaism, christianity, hinduism.
The Comforter, next Prophet or Kalki of Christians, Jews and Hindus has already arrived or not ??? – a method to Prove that whether the Supramental Force, Supreme Power, Comforter, next Prophet or Kalki of Christians, Jews and Hindus has already arrived on Earth or Not.
It may sound mind blowing to scientific minded people, surprisingly this method is especially for the Scientist and Intellectual Community of the World, who experiment and scrutinize every new concept before believing it, yes, and we must be able to prove it ourselves before believing or accepting it.
Yes; it is a complete and more advanced science than the modern science says Guru Siyag, capable of giving on the spot results just like modern science. Of course it was limited to myths, stories, faith and belief till today, because we were not able to prove it as a factual subject, it was regarded as a mere baseless theory. Guru Siyag has proved it to be a Practical Science; he has discovered and disclosed a new formula or Practical experimental Method, using this Method every Positive minded curious Human Being of the World can himself do this experiment to realize and visualize the truth of spiritual science, leading to spiritual evolution and holistic healing. Guru Siyag has proved that through Siddha Yoga method of Meditation it is possible to get rid of even the so called incurable diseases like cancer, AIDS, Arthritis, Insomnia, and Mental Stress and so on. The Practitioner also gets rid drug and other addictions like alcohol, tobacco, Brown sugar, Morphine, Opium, Heroine etc. These results are nothing but the removal of hurdles in the way to complete development of Human Beings, to attain a Divine Bodily Form, in other words we can call it the journey from man to superman.
Another surprising Disclosure by Guru Siyag is the Method to prove whether the Comforter, Next Prophet or kalki Avatar of Christians, Jews and Hindus has already arrived on Earth or not, yes we can test the truth about presence of that supramental force on earth. It takes only 15 to 20 minutes to experiment it, right now. The Method ---
1. Sit in a comfortable posture on the ground with crossed legs.
2. Close the eyes and concentrate on the Forehead between the Eyebrows.
3. Make a Mental Prayer to that Supramental Force, saying that if the Comforter, Prophet or Kalki is Present on Earth, then I must get the proof, if the Supramental Force is Present on Earth, then I must go into automatic (Kundalini controlled) Spiritual Meditation for 15 or 20 minutes.
4. After this mental prayer start continuous mental repetition(Chanting) of any one sacred word of your choice(God, Jesus, Allah, Rama, Krishna, Buddha, etc.,) in the mind without moving lips or tongue, simultaneously keep concentrating on the forehead between the eyebrows.
5. Continue this process and within a few minutes you will be induced by automatic spiritual meditation, might even hear and see visualizations during this state of meditation.
6. Don’t panic if your body starts moving automatically during this process, these are the Yogic body movements (Real Yoga is induced automatically by inner spiritual power Kundalini), required to free the body from physical, mental and spiritual diseases of all kinds, these will stop automatically after 15 or 20 minutes, and you will come out of spiritual meditation into normal state.
7. To get complete results and benefits, it has to be practiced regularly in the morning and evening at any convenient time, empty stomach, before having food.
8. The time taken to get the results is totally dependent on our Positive approach and curiosity to realize the truth.
9. No barriers of Race, Religion, Cast, Country or Gender, no rules and no regulations.
More info and Free Download of
Method of Meditation from
Another way to get into automatic spiritual meditation is by listening to Guru Siyag's voice with closed eyes.
Giacomo Carissimi
(Marino, 18 aprile 1605 – Roma, 12 gennaio 1674)
18 April 1605 Giacomo Carissimi is baptized in Marino, near Rome.
Plorate Filii Israel- Gabrieli Consort and Players
Franz von Suppé
(Spalato, 18 aprile 1819 – Vienna, 21 maggio 1895)
Leichte Kavallerie
Gustave Moreau
(Parigi, 6 aprile 1826 – Parigi, 18 aprile 1898)
Ottorino Respighi
(Bologna, 9 luglio 1879 – Roma, 18 aprile 1936)
18 April 1936, 06:10
Ottorino Respighi dies at his villa “The Pines” in Rome
Christus (P. 24) (1898/1899)
Albert Einstein
(Ulm, 14 marzo 1879 – Princeton, 18 aprile 1955)
Luigi Spazzapan
(Gradisca d'Isonzo, 18 aprile 1889 – Torino, 18 febbraio 1958)
18 Aprile 1433 - Prima esecuzione assoluta (per il trattato di Viterbo) per la Cappella papale nella Basilica di San Pietro a Roma di "Supremum est mortalibus bonum", mottetto a 4 voci di Guillaume Dufay. || April 18, 1433 - World premiere (for the Treaty of Viterbo) for the Papal Chapel in the Basilica of St. Peter in Rome "Supremum east mortalibus bonum", motet for 4 voices by Guillaume Dufay.
18 Aprile 1682 - Première nell'Académie Royale de Musique et de Danse (Opéra, Grande Salle du Théâtre du Palais-Royal) di Parigi di "Persée" LWV.60, tragedia in musica (1° versione) in 1 prologo e 5 atti di Jean-Baptiste Lully, libretto di Philippe Quinault (da Ovidio: "Metamorphosis"). || April 18, 1682 - Premiere Academie Royale de Musique et de Danse (Opéra, Grande Salle du Théâtre du Palais-Royal) in Paris of "Persée" LWV.60, musical tragedy (1st version) in 1 prologue and 5 acts by Jean-Baptiste Lully, libretto by Philippe Quinault (from Ovid's "Metamorphosis").
18 Aprile 1784 - Prima rappresentazione nell'Hoftheater (Nationaltheater) di Mannheim di "Die Entführung aus dem Serail" K.384, "deutsche" Singspiel in 3 atti, 28 scene e 21 numeri di Wolfgang Amadeus Mozart, libretto di Johann Gottlieb Stephanie jr. (da Christoph Friedrich Bretzner: "Belmonte und Konstanze oder Die Entführung aus dem Serail"). || April 18, 1784 - First performance in Hoftheater (National Theatre) Mannheim of "Die Entführung aus dem Serail" K.384, "deutsche" lyrical drama in 3 acts, 28 scenes and 21 numbers of Wolfgang Amadeus Mozart, libretto by Johann Gottlieb Stephanie jr . (Christoph Friedrich Bretzner "Belmonte und Konstanze oder Die Entführung aus dem Serail").
18 apr 1800 – La Sonata per corno e pianoforte op.17 di Ludwig van Beethoven viene eseguita per la prima volta nell’ Hofburgtheater di Vienna; il compositore alla tastiera. || 18 April 1800 - Sonata for french horn and piano op.17 by Ludwig van Beethoven is performed for the first time, in the Hofburgtheater, Vienna, the composer at the keyboard.
18 aprile 1860 - Orpheus-Quadrille op.236 di Johann Strauss jr. viene eseguita per la prima volta, al "Zum Grossen Zeisig" di Vienna. || 18 April 1860 - Orpheus-Quadrille op.236 by Johann Strauss jr. is performed for the first time, in “Zum großen Zeisig”, Vienna.
18 aprile 1880 - Due opere sacre di Giuseppe Verdi per coro a cappella vengono eseguite per la prima volta, a Milano: Pater noster e Ave Maria, nel Teatro alla Scala di Milano. || 18 April 1880 - Two sacred works by Giuseppe Verdi for unaccompanied chorus are performed for the first time, in Milan: Pater noster and Ave Maria, in Teatro alla Scala, Milan.
18 aprile 1891 – La Sinfonia in Si bemolle di Ernest Chausson viene eseguita per la prima volta alla Société National de Musique di Parigi diretta dal compositore. || 18 April 1891 - Symphony in B flat by Ernest Chausson is performed for the first time, by the Société National de Musique, Paris conducted by the composer.
18 aprile 1893 - Il Cavaliere Nero, cantata di Edward Elgar su testo di Uhland tradotti da Longfellow viene eseguita per la prima volta a Worcester diretta dal compositore. || 18 April 1893 - The Black Knight, a cantata by Edward Elgar to words of Uhland translated by Longfellow is performed for the first time, in Worcester conducted by the composer.
18 Aprile 1895 -. Klug Gretelein op.462, valzer di Johann Strauss jr, viene eseguito per la prima volta al Musikverein di Vienna. || 18 April 1895 - Klug Gretelein op.462, a waltz by Johann Strauss jr., is performed for the first time, in the Musikverein, Vienna.
18 aprile 1898 - Per la prima volta viene eseguito Hymne op.34 / 2 per coro di Richard Strauss su testo di Rückert, a Colonia. || 18 April 1898 - Hymne op.34/2 for chorus by Richard Strauss to words of Rückert is performed for the first time, in Cologne.
18 aprile 1898 – Il Menuet antique per pianoforte di Maurice Ravel viene eseguito per la prima volta nella Salle Erard di Parigi. || 18 April 1898 - Menuet antique for piano by Maurice Ravel is performed for the first time, in the Salle Erard, Paris.
18 aprile 1902 – La Sonata per clarinetto e pianoforte op.49 / 1 di Max Reger viene eseguita per la prima volta a Monaco; il compositore alla tastiera. || 18 April 1902 - Sonata for clarinet and piano op.49/1 by Max Reger is performed for the first time, in Munich, the composer at the keyboard.
18 aprile 1902 - La cantata The Celestial Paese di Charles Ives su testo di Alford, viene eseguita per la prima volta nella Central Presbyterian Church di New York, il compositore dirigendo dall'organo. || 18 April 1902 - The cantata The Celestial Country by Charles Ives to words of Alford, is performed for the first time, at New York’s Central Presbyterian Church, the composer directing from the organ.
18 Aprile 1903 - Quattro degli Huit Pièces Brèves op.84 per pianoforte di Gabriel Fauré vengono eseguiti per la prima volta nella Société National de Musique di Parigi. || 18 April 1903 - Four of the Huit Pièces brèves op.84 for piano by Gabriel Fauré are performed for the first time, by the Société National de Musique, Paris.
18 aprile 1921 - Il diario del giovane scomparso, ciclo di canzoni di Leos Janácek su versi anonimi, per contralto e tenore solisti, coro femminile e pianoforte, viene eseguito per la prima volta nel Teatro Reduta di Brno. || 18 April 1921 - The Diary of the Young Man Who Disappeared, a song cycle by Leos Janácek to anonymous words, for alto and tenor soloists, female chorus, and piano, is performed for the first time, in Reduta Theatre, Brno.
18 apr 1929 - Jazz dans la nuit per voce e pianoforte di Albert Roussel, su parole di Dommange, viene eseguito per la prima volta alla Salle Gaveau di Parigi. Anche in anteprima la Pièce brève sur le nom d'Albert Roussel per pianoforte di Francis Poulenc. || 18 April 1929 - Jazz dans la nuit for voice and piano by Albert Roussel to words of Dommange, is performed for the first time, at the Salle Gaveau, Paris. Also premiered is Pièce brève sur le nom d’Albert Roussel for piano by Francis Poulenc.
18 aprile 1937 – La composizione Dai tempi antichi, per coro maschile di Béla Bartók su versi tradizionali ungheresi riordinati dal compositore, viene eseguita per la prima volta a Kecskemét. || 18 April 1937 - From Olden Times, for male chorus by Béla Bartók to traditional Hungarian words arranged by the composer, is performed for the first time, in Kecskemét.
18 aprile 1939 – La Serenata n ° 2 per due violini e viola di Bohuslav Martinu viene eseguita per la prima volta a Praga. || 18 April 1939 - Serenade no.2 for two violins and viola by Bohuslav Martinu is performed for the first time, in Prague.
18 Aprile 1988 - Ricorrenze per quintetto di fiati di Luciano Berio viene eseguita per la prima volta a Parigi. || 18 April 1988 - Ricorrenze for woodwind quintet by Luciano Berio is performed for the first time, in Paris.
18 apr 1990 – Il Concerto per pianoforte a quattro mani e orchestra di Alfred Schnittke viene eseguito per la prima volta a Mosca. || 18 April 1990 - Concerto for piano four-hands and orchestra by Alfred Schnittke is performed for the first time, in Moscow.
18 aprile 1991 - V Europera di John Cage viene eseguita per la prima volta alla SUNY di Buffalo. || 18 April 1991 - Europera V by John Cage is performed for the first time, at SUNY Buffalo.
18 Aprile 1992 - Benedicamus Domino per coro maschile di Krzysztof Penderecki viene eseguito per la prima volta a Lucerna. || 18 April 1992 - Benedicamus Domino for male chorus by Krzysztof Penderecki is performed for the first time, in Lucerne.
Todd Beneby, head elder and one of six church elders at the Centerville Seventh-day Adventist Church, in Nassau, Bahamas, baptizes a canditate on Sep. 28, 2013. [Photo: Barrington Brennen/ATCU/IAD]
property of the Metropolitan Museum of Art, New York
for educational purpose only
please do not use without permission
We got off our boat at Castiglione del Lago, then walked to get onto our coach.
So not much time here. After this it was a 25 minute coach ride over to Cortona in Tuscany.
View from the coach. On Viale Divisione Partigiani Garibaldi.
Church of Maddalena
The church of Santa Maria Maddalena , located in via Vittorio Emanuele (near the Porta Senese), in the main street of the historic centre of Castiglione del Lago , is the most important place of worship in the medieval Umbrian village. It was also called: parish church and priory .
The existence of the church of Santa Maria Maddalena is proven from the first part of the 11th century in imperial diplomas: these documents reveal, in fact, its independence, first, from the Farneta abbey until 1184 , the year in which the municipality of Perugia he obtained from Abbot Ugo the submission of Castiglione del Lago with all its possessions, and later, from 1026, from the monastery of San Gennaro di Campoleone . Subsequently, from the first quarter of the fourteenth century , the church assumed the status of parish church , with a baptismal font attached. The building extra muros ( outside the walls) and the small size, led - during the fifteenth century - to the union between the church of Santa Maria Maddalena and the intra moenia ( between the walls ) dedicated to Saints James and Philip, whose remains are still visible today at the fortress of the Leone , with the transfer of rights, appurtenances and titles to the aforementioned.
Between the end of the sixteenth century and the first decades of the following century, the parish church of Santa Maria Maddalena administered the power of the cura animarum , controlling a vast territory located west of Lake Trasimeno , also due to the birth of many religious associations of Tridentine inspiration . A document signed in 1593 attests to the presence of an altar dedicated to the Rosary inside the building : this suggests that there was a Confraternity of the Most Holy Rosary in Castiglione del Lago around the 1680s ; also certifies the activity in 1572of two other communities of faithful in the marquisate of Castiglione del Lago : those dedicated to the Blessed Sacrament and to St. Joseph . From the second half of the sixteenth century the transfer of the baptismal font was decreed, causing the decline of the ancient pre-existing parish which culminated with its demolition in 1763 , at the behest of the bishop Amedei, in favor of the construction of a cemetery.
Between 1836 and 1860 Giovanni Caproni, renowned architect of post-unification Perugia, designed the construction of the new temple, in neoclassical style : in 1868 the pronaos was completed and in 1893 the bell tower was built, next to the dome. The interior of the church houses some works of art, including the Madonna del Latte ( Siena school of the fourteenth century ), The Supper at Emmaus ( 1850 fresco by Mariano Piervittori who also decorated the choir ).
The left side is embellished by Enthroned Madonna ( 16th-century painting – once believed to be by Raphael – now attributed to Eusebio da San Giorgio , also a pupil in the Perugian workshop of the famous artist Pietro Vannucci .
In the old church, which had four vaulted chapels and seven altars , Fulvio Alessandro della Corgna , son of Ascanio II and Francesca Sforza di Santa Fiora, future marquis and last duke of Castiglione del Lago, was baptized in 1589 ( 1617 - 1647 ).
The Rocca del leone (Lion's fortress)
An old watchtower had previously stood on the site and for at least a hundred years had defended the walls to the north of the city and especially the nearby and important Porta del Leone (Lion's Gateway) beyond which was a small suburb that bore the same name (Borgo del Leone).
The walls to the north of Ferrara were defended by a broad canal that linked up to the Po river system. At that time the city extended along the left bank of the main branch of the great river, which began to branch into a large delta right at Ferrara. Water was the best defence for the buildings, the suburbs and the city. The old watchtower had already been transformed and extended by Nicolò II himself some years before the castle was built. From the tall rectilinear tower with its square floor plan, built as a simple watchtower, came a small strengthened fortress, more suitable to defensive purposes, somewhat wider at the base with broad battlements on the first floor geared to accommodating the new techniques for military defence. The battlements were reached by a ramp leading from the inside, extended to three sides, for the transport of arms and munitions with pack animals. The large rooms on the ground floor and first floors were used by the guard corps while in the dark basement were the dungeons. On the outside, the architecture of the Rocca del Leone was divided into three central arches, marked by pilasters which projected somewhat. These brought out the four corners, where the walls were thicker than the rest of the building, just like on so many other small towers. The outside walls were plastered and frescoed with simple decorative floral features and bands. From the beginning, the Rocca was surrounded by a moat which provided a protected mooring place for boats to the north of the city and which was connected to the Porta del Leone on one side and to the walls of the city, via drawbridges, on the other side. On 3rd September 1385, infuriated at the umpteenth oppressive tax, the people of Ferrara rioted in the streets and squares of the city. The Este family were terrified by the robberies and fires and in order to put down the rebellion, which had reached the doors of their palace, were forced to reach an agreement with the ferocious mob. Tommaso da Tortona, a judge and adviser to the Marquis, was handed over to the rebels and paid the ultimate price, as they brutally murdered him. Having escaped the danger and retaken control of the city Nicolò contemplated the weakness of both his political and logistic position. In the days that followed, he took the decision to arrest the leaders of the rebellion and have them executed. He also decided to build a new fortress (another castle, Castel Tedaldo, on the great River Po defended the city towards the south) which would give protection to himself, his family and his power not only from outside attacks, but also and above all from the people of Ferrara, who increasingly viewed the Este family as outsiders and oppressors.