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Palais Württemberg - Hotel Imperial
1, Kärntner Ring 16
Architects: Arnold Zenetti, Heinrich Adam
1862 - 1865
The client - The Palais turns into hotel - War, soviet occupation - Reopening
Facade - Portal - Grand Staircase
(if you want like to see many more pictures please go to the link at the end of page!)
History - the builder
The Imperial Hotel began its history as a palace. It emerged as one of the first buildings on one of the best and most expensive grounds, with unobstructed views to the Karlskirche.
Even for a Adelspalais (noble palace) it was very representative. The room was divided wastefullly: Just the grand staircase would have provided space for two apartments in a normal apartment building. Who had built this way, did not have to pay attention to his money.
The client was according to this an illustrious figure: Closely related to the Württemberg Royal Family (1806 establishing the Kingdom of Württemberg) came Duke Philipp of Württemberg (1838 - 1917), son of Alexander Friedrich Wilhelm of Württemberg 1838 in the French Neuilly into the world.
His mother, a princess of Orleans, died a few months after Philip's birth, so he was baptized and brought up by his grandparents, the French citizen-king Louis Philippe, the last official King of France and his wife, Queen Marie Amelie, in Paris.
Duke Philipp of Württemberg
With ten years Philip had with the royal family in 1848 to flee from the revolting crowd of the capital and he returned to Bayreuth.
His father had later again married, to the displeasure of the Son, because the marriage was morganatic: she was his housekeeper.
Philip pursued a military career.
Shell Palais Württemberg
Wedding with (female) Habsburg
In the great conflict between Austria and Prussia, he was on the side of the Habsburgs and counted as one of the losers of Hradec Kralove (Königgrätz).
The Württemberg were on par with Europe's most powerful royal houses. Philip asked for the hand of the youngest sister of Empress Elisabeth, Princess Sophie, but the marriage did not materialize.
Finally, his love brought him to Vienna, the Duke married into the Habsburg family.
In 1865 he married Archduchess Marie Therese (1845 - 1927), daughter of Archduke Albrecht (Monument Albertina ramp), granddaughter of Archduke Charles, the victor of Aspern (Memorial Heldenplatz).
The wedding took place in the court chapel of the Hofburg in Vienna.
Wedding with Habsburg
Together they moved into the newly completed palace on the Ringstrasse.
It was built in 1863-65 by the Munich architect Arnold Zenetti, according to the plans of Heinrich Adam (grave Central Cemetery).
His wife had recently suffered a severe stroke of fate: her mother had so strongly caught a cold during the funeral of her brother that she died as a result. And soon should burn her sister Mathilde alive.
This one had dressed a gown made of Indian muslin for the theater. This type of material was impregnated at that time with glycerol to give the fabric more fullness.
Before leaving the theater she wanted to smoke a cigarette. When suddenly her father, who had strictly forbidden her smoking came in, she hid the cigarette behind her baggy dress. The highly combustible, glycerol impregnated fabric immediately went up in flames.
Floor Plan 1st storey
The view to the Charles Church was lost
A clear view to the Charles Church was lost by the building of the Musikverein.
The Duke could not enjoy his palace for long. Because behind it, to the Karlsplatz, there was a leafy park, which gave a clear view over to Charles Church.
But when he returned from Hradec Kralove, one was just digging the foundation of the Musikverein. 1870 was the "temple of music" finished and the beautiful view history.
Musikverein, on your left, behind the Imperial Hotel
That should have been the reason that Philip the following year sold his palace. I think this is one of the many "tales", because all the reception rooms were on the side of the ring road. If the view would have been sooo important to him, he would have also had laid out on the back of the Palais 'comfortable' rooms. Anyway, he moved to Strudelhof in the 9th District, a cheaper solution, it was the question here of a spacious villa. Incidentally, it is also told that he had gambling debts and therefore he could not afford the expensive palace on the Ringstrasse anymore.
Summer residence
Duke Philip, who did not feel quite at home in Vienna, lusted after a summer residence in the Salzkammergut.
(The Salzkammergut is a resort area located in Austria. It stretches from the City of Salzburg eastwards along the Austrian Alpine Foreland and the Northern Limestone Alps to the peaks of the Dachstein Mountains, spanning the federal states of Upper Austria, Salzburg, and Styria. The main river of the region is the Traun, a right tributary of the Danube. The name Salzkammergut literally means "Estate of the Salt Chamber" and derives from the Imperial Salt Chamber, the authority charged with running the precious salt mines of the Habsburg Monarchy.)
In addition to hunting around Gmunden the Duke dedicated his passion to the emerging photography.
The architect Heinrich Adam built for the Duke and Duchess in 1872 Villa Maria Theresia in Altmünster according to a French model high above the Lake Traun.
In the summer of 1875 they moved in, 1878-80, the chapel was rebuilt by Heinrich von Ferstel.
Summer residence in Altmünster in Gmunden
As the succession of the Stuttgart parent house fell on Philip's son Albrecht, Philipp moved in 1905 with his family to the Stuttgart Prince Palace. After his death in 1917 his widow Maria Theresa spent her lonely summers preferably in Altmünster until she died for herself in 1927.
The Palais becomes Hotel
The palace was in 1872 in the hands of the Budapest hotelier Johann Frohner. As businessman he sensed with the approaching World's Fair his chance.
And he knew that there was a lack of representative lodging in Vienna, so he turned the magnificent building into a hotel.
At the opening Emperor Franz Joseph I also was invited, which was served a cake. It is said that he had it appreciated, so was the Frohner cake, now called Imperial Torte, born. The special thing about it: it is square.
An original recipe of the Imperial Torte from the 19th Century, however, is not handed down. She is known for only a few decades. At that time it was begun to offer it as a house cake at Café Imperial.
Several years ago was launched a marketing campaign and it was accomplished that the Imperial Torte today is sent around the world and one, according to the house, needs a total mass of 40 tonnes per year for it.
Imperial square cake
Café Imperial, recording 1941
The conservatory
The courtyard becomes a winter garden.
Donauweibchen (Danube maiden) copy
Frohner had a sense for staging. The glass-covered courtyard became a dining room with conservatory flair.
In the middle was a copy of the Danube female from the city park. Today she is at the end of the grand staircase.
The newspapers were ironed so guests did not have ink on their fingers. And the butler service is available to this day.
Who has once looked into it, knows why we put most of our state guests there - it is just not a "normal" hotel, but still a palace, one of the most magnificent!
Between the lobby and the Café Imperial runs a narrow passage where the house's history is told in pictures and text. And it is also worthwhile to study the guest list shown there.
Lobby to Frohner times
2 World War II, Soviet occupation
The war and the occupation had left its mark on the house. Here, since Adolf Hitler took his accommodation at his few visits to Vienna, the hotel had to be equipped accordingly.
On the side of Canovagasse one built an underground bunker, but not in the usual way.
It was just the road dug up, the bunker built into a pit and then the road above concreted again.
Hitler rises from the Imperial
During the Allied air raids on Vienna here many people found refuge, especially the Vienna Philharmonic from neighboring Musikverein.
After the war, the Soviets used the house as an office building. As they moved out of here again after the occupation time, the house was practically empty.
About the state of the Imperial, in which they left it in the mid-fifties, there are different statements.
It appears that the shape of the house may not have been much worse than the other districts of the Soviet Army.
In the stuccolustro of the main staircase of the Imperial a soldier has immortalized himself with a small doodle.
Left: the people cheering in front of the Hotel Imperial on 15 March 1938
Swastika flags near the Hotel Imperial
Reopening of the hotel
The large portrait of Emperor Franz Joseph at the end of the stairs, a symbol of a reactionary attitude, remained untouched over the years .
Even as the Imperial again was a hotel, considered Russian politicians the house as a kind of ideological hereditary leasehold.
Only U.S. Secretary of State Henry Kissinger broke this monopoly, as he with his Soviet colleague Andrei Gromyko in Vienna lived at a meeting at the Imperial.
Because Gromyko did not want to spend the night with the representative of a capitalist world power under one roof, he departed angrily in the Soviet Embassy. Also for other state guests, the Imperial is recommended as the first address.
Re-opening of the hotel in 1958
Rooms at the Hotel Imperial in the then modern 50's style
Guests
The fact that the English Queen Elizabeth here took up accommodation during her visit to Vienna, was felt as a great honor because the Queen slept on visits abroad only rarely in hotels.
Therefore one replaced the by no means not unrepresentative furnitures of her suite against those from the Imperial Furniture Collection. And for the duration of her stay hung pictures from the Kunsthistorisches Museum in her premises.
Thus, the Queen could at least feel a touch of monarchical past. Finally, the hotel management did remove the seating from the lobby. No one should have the opportunity to insult the Queen, by just remaining seated in front of her.
Queen Elizabeth greets from the balcony of the hotel, in 1969
Plaque Rainer Maria Rilke
Plaque Richard Wagner
Inscription:
During 1916, Rainer Maria Rilke visited in the Hotel Imperial almost daily his "Unforgettable Café" and met here Oskar Kokoschka, Karl Kraus and Adolf Loos.
Austrian Society for Literature
Inscription:
Richard Wagner was at the end of the year 1875 with his family for nearly two months guest of this hotel to prepare for the performance of his operas Tannhäuser and Lohengrin.
The Vienna Schubertbund 50th Anniversary of the death of the artist, 1933
(Sculptor Robert Ullmann)
Facade
Important strictly historicist Palais, 1862-65 built by Arnold Zenetti and designed by Heinrich Adam. Monumental free-standing building of the beginning of strict historicism in forms of neo- Renaissance.
The main façade has a 6-axle central projection, which is further emphasized by the three-axis portal.
In 1928, the house was extented on the ring road by two floors. The attic was converted into a continuous balcony on the 4th floor.
1946, the portal has been simplified and the three-aisled hall (lobby) rebuilt to current form.
Floor plan 6th storey
1988 - 1994 followed a general refurbishment and the roof extension (Maurizio Papiri), which on the back of the palace was not very successful.
Portal
3 -axis portal above statues representing sovereign virtues.
As the duke had guarded the house round-the-clock, originally flanked two sentry house the wide entrance, which was designed for the entrance of the carriages.
The six-axle central projection visually protrudes a little bit and is rich decorated. The effect is mainly due to the generously employed sculptures of the portal and gable zone.
The statues above the entrance are from Franz Melnitzky and represent personalized Herschertugenden (souvereign virtues): wisdom - old man, lorbeerbekränzt (laurel-adorned) and scroll of honor - Woman with coat of arms, Justice - sword, strength - club.
In addition to the figures, by the same artist have been made reliefs, which were destroyed in 1946, as well as the lunettes.
Statues (ruler virtues)
Hotel entrance: reliefs and lunettes in 1946 destroyed
Wisdom
Honor
Justice
Strength
Above the balconies and windows of the first floor can be found the from the Orient stemming griffin motif: two griffins flanking each of them a vase. The lion's griffon, his head and body seem like that of a lion, but he has the wings of an eagle, he was apostrophized in antiquity as the guardian of the gold. Here he was reinterpreted as the guardian of the house.
In the triangular gable of the roof is an allegory of the house Wuerttemberg to see with the heraldic animals of the house, the deer and the lion. The very striking roof no longer exists, but it fell victim to the fact the hotel was increased in the 20th Century.
Grand Staircase
Former court (later conservatory, lounge today)
At the times of the Württemberg the palais still hand an open courtyard in the middle. This court allowed, as with all other buildings of that era, the coachmen to turn there after they get off their customers in the driveway.
So the coaches for this had sufficient space, the outrageously expensive main staircase had to be moved to the side. Who enters the hotel lobby of the Imperial today, does not immediately recognize the noble work, but he must climb a few stairs to the right. Such intricateness were then accepted.
The grand staircase leads to the main floor only. The stairs to the upper floors are designed very much simpler. Because here only circulated staff.
Grand Staircase
Grand Staircase piano nobile
Lobby
www.viennatouristguide.at/Palais/ringstrasse/wuerttemberg...
" 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.
Highland Park High School / Junior College / Career Academy
In many ways, the histories of Detroit and Highland Park – a separate city located within the borders of Detroit –are very similar. Both cities experienced tremendous growth as a result of the automobile industry, and built up their city services to meet demand. Both cities lost population after the auto industry left. And today, both cities are struggling with how to provide the same city services to fewer people with less tax revenue. Budget cuts have led to the closure of most of Highland Park’s fire stations, libraries, and schools.
A three-block stretch of Highland Street running west from Woodward Avenue was one the civic center of the city. Along Highland and nearby streets were five schools, three churches, two hospitals, and the main library, mixed in with ornate high-rise apartment buildings. In this densely populated neighborhood one could be born, baptized, attend nursery school, elementary school, high school, and college, all without going more than three blocks in any direction. Right at the center of the neighborhood is the old Highland Park High School and Junior College, a block-long slab of quarry-faced limestone that played an important role in the development of Highland Park from an obscure village into an industrial boomtown.
Early days in Highland Park
In 1900, Highland Park was just a small village north of Detroit, population 427. Through the early 1900’s, the city grew as Detroit developed north along Woodward Avenue, spurring residential development. In 1907, Henry Ford began to move his automobile production from the Piquette Avenue Plant in Detroit to a new, much larger factory located in Highland Park. The factory opened in 1909; a year later the population of Highland Park had risen to 4,120 as workers quickly built up neighborhoods around the Ford plant.
Like other early school districts, Highland Park Schools taught from Kindergarten to the 8th grade level, at which point young adults were expected to join the workforce. Starting in 1911, high school courses were introduced, with 42 students enrolled in 9th and 10th grade levels at Stevens Elementary, then moved to the new Ferris School when it opened in November. The next year 11th and 12th grades were introduced. Demand for higher education was enough that by 1912, plans were underway to build a dedicated high school building.
Building a new high school
Initially the board of education wanted to build the new high school east of Woodward Avenue, at Farrand and John R Streets, but instead settled a large rectangular parcel of land along Glendale Street between 2nd and 3rd Avenues. Though the high school would take up only a small part of the land, school officials wanted additional space to expand the school if needed. Excavation at the site began as the first high school class of 14 students graduated from Ferris School in 1913. In 1914, a contract for construction of the new building designed by Wells D. Butterfield was awarded for $460,000. It could comfortably seat 1,000 students, though it was believed that it would be quite a few years before the school reached capacity.
The first unit of Highland Park High School was of English type architecture, laid out with a central mass three stories tall, with two end wings linked by classrooms. The east wing had a 1,100-seat auditorium, and the west wing featured a three-story gymnasium and basement swimming pool. In the center were school offices, a library, and recitation rooms. The exterior was done up in quarry-faced gray limestone, with mouldings and detail work of dressed Bedford stone. Inside the school were long hallways of Caen stone and ornamental carved oak. Dedicated classrooms included sewing, carpentry, machine tooling, botany, chemistry, and drawing.
The cornerstone was laid down in October of 1914. Construction on the high school had progressed far enough that by June of 1915, the auditorium was used for graduation as work on the rest of the building continued. The new building was scheduled to formally open in September, but even before then school administrators were facing an unanticipated problem: overcrowding.
Expansion
Between 1910 and 1916, the population of Highland Park grew from 4,100 to 28,000. By 1920 there would be 46,500 residents, a staggering 1,000% increase in population over just 10 years. Workers from across the globe were drawn to Detroit and Highland Park in particular, by the Ford factory and its promise of a $5 a day wage. The assembly line had revolutionized the way that cars were made, and in doing so, made Highland Park the center of the automotive revolution. The school board found itself with hundreds of new students every year, requiring hasty additions to existing school buildings, and the construction of new schools in neighborhoods that were springing up around town.
By the time Highland Park High School opened in September of 1915, enrollment far exceeded expectations, with 850 students signing up. In 1916, just a year after it opened, that number grew to over 1,000 high school students, filling the school to capacity. Plans for a second unit of the high school for 1,500 additional students to be built next to the first were immediately drawn up, with construction beginning in 1917.
Though the second unit of the high school used identical building materials and same English styling as the first, it was laid out differently. Initially the second unit was intended to be a high school for girls and a junior college, and was built with its own separate gymnasium and swimming pool. Instead of a second auditorium, a larger library and additional classrooms were set aside for a junior college program that would share the building with the girl’s high school. The new high school for girls opened in September of 1918, with a total enrollment of 1,525 students. Highland Park Junior College opened in 1918 as well, with 35 students. Course offerings included French, rhetoric, history, chemistry, zoology, and analytic geometry.
Within a few years the two high school programs merged and became co-ed. In 1927, a vocational education building including an automobile repair lab was built to south of the school, connected by an overhead walkway. A further addition to the vocational wing was added in 1938, and the auditorium was renovated in 1939. The high school thrived, with as many as 3,000 students and a host of extracurricular activities, including athletics, homemaking, and a school radio station.
Great Depression, Second World War
Enrollment at Highland Park Junior College steadily increased to around 300 students by the 1920’s, but slowed in the aftermath of the Great Depression. Lack of adequate space and a drop in the number of students to 159 in 1929 nearly led to the closure of college, but the residents of Highland Park voted to keep it open. This paid off in the long run, as after the Second World War ended enrollment skyrocketed from 117 in 1943 to 1,800 in 1947 as veterans returning to Highland Park used the GI bill to pay for college education.
By the 1940’s, population in Highland Park had peaked. Ford had moved auto production out of Highland Park to a new factory in the suburbs in 1927, and moved its headquarters to Dearborn in 1930. The construction of freeways made it easier for people to live outside the city, hastening an outward flight or residents to the suburbs. The racial composition of Highland Park changed as well. By 1968, over half of the 4,488 students were black, while teachers and administrators were mostly white. Sit-ins protesting the lack of diversity in the school administration were frequent in 1969.
The high school moves out
As part of a district-wide modernization program, several older schools in Highland Park were demolished and replaced with newer buildings in the 1950’s and 60’s. A nursery school was built on the south side of the campus in 1950, and an elementary school was built a block south in 1961. Plans for a new, modern high school to be built north on Woodward Avenue were drawn up in the early 1970’s, which would replace the existing school. The junior college (now a community college) would take over the entire building and expand its vocational offerings.
Construction on the new building was already underway when on the evening of March 18th 1975, a large fire broke out in the gymnasium of the old high school. Stacks of rolled-up wrestling mats were set alight as a practical joke, but the blaze quickly spread out of control, causing the roof and floor to cave into the basement swimming pool. The fire burned for over five hours as firefighters from Highland Park, Detroit, and Hamtramck struggled to contain it to just the gymnasium. While smoke and water damage throughout the high school were repaired fairly quickly, repairing the gymnasium was estimated to cost over $600,000. Since the high school was moving out in the near future, athletics were moved over to the community college building, which had its own pool and gymnasium. In 1977, the new Highland Park Community High School on Woodward Avenue opened, and the community college took over the Glendale campus. A temporary roof was built over the shell of the burned-out gymnasium, as administrators struggled with what to do next.
Not wishing to demolish the handsome limestone façade of the gym, the wing sat empty until 1983, when the community college approached Bloomfield Hills landscape architect James Scott about reusing the space. Scott envisioned turning the empty hall into a “multi-purpose concourse” and performing arts space, linking the two units together. Within a few days his ideas went from sketches to planning, and work began a short time later. The swimming pool, into which burning debris from above had been dumped, was covered by a new floor and sealed off. The open area above was a mix of the old and new, retaining the limestone wall of the adjacent gym, but incorporating modern styling throughout. Hexagons were the dominant theme, with planters turning the concourse into a green space. Work on the renovation concluded in 1985. In the years after the space was used for concerts, special events, and art galleries.
Community college struggles
Though enrollment at Highland Park Community College was 2,000 to 3,000 through most of the 1980’s, the college operated at a deficit that had grown to $1.4 million dollars by 1989. In an effort to save money, school administrators cut the LPN and respiratory therapy programs, sparking a four-day sit in strike by students. Though the administration reverses its decision, the financial situation continued to deteriorate, with accusations of rampant misuse of funds. After missing two consecutive annual audits, Michigan Governer John Engler began to withhold state funding for the college, as investigators report that Highland Park Community College “had the worst facilities of any community college in the state.”
In February of 1995, Governor Engler announced that all funding for the college would be stripped from the budget due to chronic financial and academic problems, stating, “Though the college has a long and distinguished tradition, it has become apparent that it is no longer an economically viable institution." Local representatives fought hard to keep the school open, arguing that it was making progress in fixing its financial situation and that the loss of the school would be devastating to Highland Park’s troubled economy. By December of 1995 the college had run out of money, and closed down.
Highland Park Career Academy, Final Years
The immediate impact of the closing of Highland Park Community College was that students were stranded in mid-study, some just a semester away from graduation. Though other nearby colleges tried to accommodate students, many never finished their studies, and walked away from secondary education. While elected officials fought to get funding restored, the school reopened as the Highland Park Career Academy, offering an alternative high school program and vocational training for students and young adults in the fields of nursing, dental hygiene, and auto repair. In 2001, the Ford Motor Company opened an automotive training center in the vocational education building, complete with demonstration cars.
Highland Park City Schools steadily lost students through the 2000’s, with K-12 enrollment falling to 2,700 by 2008 as students were lured away to other nearby school districts. As schools were funded by the state on a per pupil basis, this led to a major revenue shortfall for Highland Park. On January 23rd, 2009 the school board shut down the career academy with no official notification to parents, laying off 36 teachers to close the budget gap. Students were again left in the lurch with the cancellation of their programs, with few options for continuing their studies elsewhere. and leaving students stranded in mid-study. Only seniors were allowed to stay at the school until the end of the school year, with the remaining students to attend night school at Highland Park Community High School. However, the first scheduled night of classes was canceled without explanation. Most students dropped out, and the building closed for good in the summer of 2009.
For over 90 years, the old high school and college had been the center of Highland Park’s education system. By the time the school closed, the neighborhood and city around it had changed considerably. Ferris School and the hospitals closed in the 1990’s, along with the main library in 2002. The nursery school closed permanently in 2005. Most of the apartment buildings along Glendale and Highland had been vacated years ago, leaving large gaps in the fabric of the neighborhood. In the end, the closing of the career academy wound up costing the school district a large amount of funding, as students dropped out or left for other school districts. With just 969 students enrolled in 2012, the state of Michigan declared a financial emergency, and the Highland Park City Schools were taken over by a state emergency financial manager, who converted the district into a privately operated charter school system.
The new charter school operator found that the three remaining school buildings – Highland Park Community High, Ford, and Barber – were in terrible disrepair, and required proximately expensive work to be brought up to standards. In early 2012, school officials started looking at consolidating all of the schools into one K-12 as a way to save money. One alternative discussed was the reopening of the old high school and college building, which was large enough to support all of the students left in the district. The emergency manager visited the closed building in February to see if it would viable to reopen.
Since its closing in 2009, the old high school and college had been frozen in time, with little more than security and routine maintenance being carried out in its empty halls and classrooms. Though fairly secure for a few years, when the state took over the Highland Park City Schools, patrols at the closed building had been discontinued, leaving the school briefly open to scrappers and metal thieves. In the short time between the state takeover and the resumption of security at the school, scrappers had done enough damage to make reopening the school cost prohibitive. The plan was abandoned in favor of letting the three remaining schools stay open.
In the years since, scrappers and vandals have dismantled the old Highland Park High School. When the local Police department set up two non-working squad cars in the back of the building to deter people from entering, the cars were vandalized and removed less than a month later. In October of 2012 the windows of the school were boarded up, but by that time the damage had been done. The property was put up for sale with an asking price of $3 million dollars.
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."
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.
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."
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
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.
Pastor Jim Pelletier and my sister in law, Donna, baptize my 17 year old niece, Michelle today in the Atlantic Ocean off Daytona Beach Shores.
I was also baptized in the ocean when I was around Michelle's age. It is certainly a moment she will treasure forever as I did!
View On Black (Large)
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)
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]
Leading up to yesterday at @c4churchdurham we were planning on baptizing 16 people and that would have been a huge celebration of Jesus and his amazing work in the lives of 16 people in our church. And then things changed. By the time it was over we had baptized 37 - THIRTY SEVEN!! - people in our three morning services and at @youngadultsofc4. 37 people raised to life in Christ and declaring that they are all in for Jesus for the rest of their days. 37 times to display the life, death, burial and resurrection of Jesus in front of our church family. 37 opportunities for every person in attendance yesterday to be reminded of the grace, mercy and goodness of Jesus. People taught to follow Jesus by faithful parents, people who had been rescued from despair, people who were compelled to literally turn their car around and drive back to church to be baptized. Only Jesus does this. Only Jesus. And I'm beyond grateful he's doing it at churches all across our country, all around the world and even here at C4. Only Jesus.
When Jesus was baptized by John the Baptist in the River Jordan, the Holy Spirit came upon Him in the form of a dove, then there was a voice from heaven, “This is my beloved son in whom I am well pleased”. Later Jesus told His disciples about the Holy Spirit. From this we know more about God, God the Father, maker of heaven and the universe, and Jesus His Word that became man, born of the virgin Mary in Betlehem, and the Holy Spirit, the Spirit of God – the three persons of God.
+++
John 1
The Word of Life
1 In the beginning was the one
who is called the Word.
The Word was with God
and was truly God.
2 From the very beginning
the Word was with God.
3 And with this Word,
God created all things.
Nothing was made
without the Word.
Everything that was created
4 received its life from him,
and his life gave light
to everyone.
5 The light keeps shining
in the dark,
and darkness has never
put it out.[a]
6 God sent a man named John,
7 who came to tell
about the light
and to lead all people
to have faith.
8 John wasn’t that light.
He came only to tell
about the light.
9 The true light that shines
on everyone
was coming into the world.
10 The Word was in the world,
but no one knew him,
though God had made the world
with his Word.
11 He came into his own world,
but his own nation
did not welcome him.
12 Yet some people accepted him
and put their faith in him.
So he gave them the right
to be the children of God.
13 They were not God’s children
by nature
or because
of any human desires.
God himself was the one
who made them his children.
14 The Word became
a human being
and lived here with us.
We saw his true glory,
the glory of the only Son
of the Father.
From him all the kindness
and all the truth of God
have come down to us.
15 John spoke about him and shouted, “This is the one I told you would come! He is greater than I am, because he was alive before I was born.”
16 Because of all that the Son is, we have been given one blessing after another.[b] 17 The Law was given by Moses, but Jesus Christ brought us undeserved kindness and truth. 18 No one has ever seen God. The only Son, who is truly God and is closest to the Father, has shown us what God is like.
John the Baptist Tells about Jesus
19-20 The Jewish leaders in Jerusalem sent priests and temple helpers to ask John who he was. He told them plainly, “I am not the Messiah.” 21 Then when they asked him if he were Elijah, he said, “No, I am not!” And when they asked if he were the Prophet,[c] he also said “No!”
22 Finally, they said, “Who are you then? We have to give an answer to the ones who sent us. Tell us who you are!”
23 John answered in the words of the prophet Isaiah, “I am only someone shouting in the desert, ‘Get the road ready for the Lord!’”
24 Some Pharisees had also been sent to John. 25 They asked him, “Why are you baptizing people, if you are not the Messiah or Elijah or the Prophet?”
26 John told them, “I use water to baptize people. But here with you is someone you don’t know. 27 Even though I came first, I am not good enough to untie his sandals.” 28 John said this as he was baptizing east of the Jordan River in Bethany.[d]
The Lamb of God
29 The next day, John saw Jesus coming toward him and said:
Here is the Lamb of God who takes away the sin of the world! 30 He is the one I told you about when I said, “Someone else will come. He is greater than I am, because he was alive before I was born.” 31 I didn’t know who he was. But I came to baptize you with water, so that everyone in Israel would see him.
32 I was there and saw the Spirit come down on him like a dove from heaven. And the Spirit stayed on him. 33 Before this I didn’t know who he was. But the one who sent me to baptize with water had told me, “You will see the Spirit come down and stay on someone. Then you will know that he is the one who will baptize with the Holy Spirit.” 34 I saw this happen, and I tell you that he is the Son of God.
John baptizes Jesus.
(Matthew 3:13-17; Mark 1:9-11; Luke 3:21,22; John 1:29-34)
Shown in photo
Fisher Price Little People Caveman, Prince Roberto
Haba trees & bushes
Wilton glittered doves
Kunin pirate green & neon blue felt
References
"John the Baptist" by Jill Kemp & Richard Gunther
www.lambsongs.co.nz/New%20Testament%20Books/John%20The%20...
"Friends & Heroes: Episode 27: Gladiator School"
2013: Baptizing of my twinsister's daughter. Me, my 2 sisters, and their children. Kristus Konungens Katolska Församling, Gothenburg, Sweden.
These are the same pogs I used when it was a trend in the mid to late 90's.
Other names;
Milk caps
SkyCaps
Hero Caps
Flipper Caps
Pog Slammers
Wiki;
Pogs, generically called milk caps, is a game that was popular among children during the mid 1990s.
The brand name "Pog" is owned by the World Pog Federation. The name pog originates from POG, a brand of juice made from passionfruit, orange, and guava; the use of POG bottle caps to play the game preceded the game's commercialization.
The game of milk caps possibly originated in Maui, Hawaii during the 1920s or 1930s, or possibly with origins in Menko, a Japanese card game very similar to milk caps, which has been in existence since the 17th century. The game of milk caps was played on the Hawaiian island of Maui as early as 1927. There are cap collectors that have dating till 1940s and 1950s.