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"Like a gigantic block made of brick this electric power transformer substation is located the Jewish Quarter, surrounded by the sleepy and somewhat run-down streets.
The architect Erno Lestyán respected the height of the eaves of the surrounding larger buildings and situated the building offset in relation to the neighbouring constructions.
Nevertheless, the building is of a remarkable monumental effect. In its directness, this intervention in the innercity urban space was probably possible only in the late sixties and in the seventies. In the immediate vicinity of several art nouveau buildings and synagogues, this modernist brick construction appears like a provocation.
At the same time, the building is to be seen as a sign of a progressive period in the shadow of the Soviet regime. The building is conceived as a towering volume,
which is structured horizontally and vertically structured by two combined ventilation and window strips and a massive dark bar. The use of brick gives the building
a small-scale texture and enlivens the façade surfaces. In this sense, the use of brick for this building is to be understood as a key design principle." archipicture.eu
The events of April 24, 1921, in Bolzano, are called the Bloody Sunday of Bolzano. It was a first highlight of Fascist violence in South Tyrol, which after the First World War had fallen to Italy and was mostly German-speaking.
On April 24, 1921, a popular vote took place in the Austrian Tyrol on the Anschluss (Annexation) to the German Reich. The Fascists, at that time still a group of thugs active throughout Italy, regarded the opening of the Bozner Spring Fair, coincidentally on the same day, as a provocation which was connected with the plebiscite and decided to disturb the traditional costume parade through Bolzano. Despite warnings, the Italian authorities concerned did not take any security measures.
On the morning of the day, about 290 Fascists from the rest of Italy arrived at the station in Bozen and united with about 120 followers of the Fascio movement from Bolzano. During the costume procession, the Fascists attacked participants and spectators with clubs, guns and hand grenades. About fifty South Tyroleans were partly seriously injured. The teacher Franz Innerhofer from Marling died in an attempt to protect a boy by shooting at the entrance of Bozen's residence Stillendorf.
Funeral procession of Franz Innerhofer in Bolzano 1921: Conduct in the southern section of Via Cassa di Risparmio/Sparkassenstraße.
The now intervening military limited itself to escorting the aggressors to the railway station, where they were able to depart unmolested. Italian Prime Minister Giovanni Giolitti's call to immediately arrest the perpetrators and bring them to justice led to the arrest of two Bolzano fascists. After Benito Mussolini had threatened to force the liberation of his comrades with the help of 2,000 fascists on 1 May in Bolzano, the two were released again.
Today, a commemorative placard in the residence Stillendorf recalls the events. On April 25, 2011, the public holiday to the liberation of Italy from fascism and national socialism, a place was named after Franz Innerhofer in the old town of Bolzano (south of the Free University of Bozen).
Als Bozner Blutsonntag werden die Ereignisse vom 24. April 1921 in Bozen bezeichnet. Es handelte sich dabei um einen ersten Höhepunkt faschistischer Gewalt im nach dem Ersten Weltkrieg an Italien gefallenen, mehrheitlich deutschsprachigen Südtirol.
Am 24. April 1921 fand im österreichischen Tirol eine Volksabstimmung über den Anschluss an das Deutsche Reich statt. Die Faschisten, damals noch eine italienweit tätige Schlägertruppe, betrachteten die zufällig am selben Tag stattfindende Eröffnung der Bozner Frühjahrsmesse als eine mit dem Plebiszit zusammenhängende Provokation und beschlossen, den traditionellen Trachtenumzug durch Bozen zu stören. Trotz Warnungen ergriffen die zuständigen italienischen Behörden keine Sicherheitsmaßnahmen.
Am Morgen des Tages trafen etwa 290 Faschisten aus dem übrigen Italien am Bozner Bahnhof ein und vereinigten sich mit etwa 120 Anhängern der Fascio-Bewegung aus Bozen. Während des Trachtenumzugs griffen die Faschisten Teilnehmer und Zuschauer mit Knüppeln, Pistolen und Handgranaten an. Etwa fünfzig Südtiroler wurden teils schwer verletzt. Der Lehrer Franz Innerhofer aus Marling starb beim Versuch, einen Jungen zu beschützen, durch Schüsse im Hauseingang des Bozner Ansitzes Stillendorf.
Begräbniszug von Franz Innerhofer in Bozen 1921: der Kondukt im südlichen Abschnitt der Sparkassenstraße
Das nun einschreitende Militär beschränkte sich darauf, die Aggressoren zum Bahnhof zu eskortieren, wo sie unbehelligt abreisen konnten. Die Aufforderung des italienischen Ministerpräsidenten Giovanni Giolitti, die Täter unverzüglich festzunehmen und der Gerichtsbarkeit zuzuführen, hatte die Verhaftung zweier Bozner Faschisten zur Folge. Nachdem Benito Mussolini damit gedroht hatte, am 1. Mai in Bozen mit 2000 Faschisten die Befreiung seiner Genossen zu erzwingen, wurden die beiden wieder freigelassen.
Heute erinnert eine Gedenktafel im Ansitz Stillendorf an die Ereignisse. Am 25. April 2011, dem Feiertag zur Befreiung Italiens von Faschismus und Nationalsozialismus, wurde ein Platz in der Altstadt von Bozen (südlich der Freien Universität Bozen) nach Franz Innerhofer benannt.
''cheeky', you'd say and we all fell around
rolling round the playground'
- texture courtesy of les brumes -
negativo fuji fp100 elaborato chimicamente e successivamente corretto curve e densità con lightroom.
Designer: Yin Fukang (尹福康)
1958, September
Oppose the military provocations and threats of war of American imperialism!
Fandui Mei diguo zhuyide junshi tiaoxin he zhanzheng weixie! (反对美帝国主义的军事挑衅和战争威胁！)
Call nr.: BG E15/357 (Landsberger collection)
photo by Jessica Stewart - www.romephotoblog.com Public Provocation: www.colab-gallery.com/ June - October
Capa watched from the curb. Doisneau stayed for the view.
Ying crossed the bridge like a provocation in heels.
Steel beneath her steps. Lace beneath her coat.
There was no turning back—only desire.
Framewritten by Charly & Ying
An interdimensional project by Ying.Ding.Studios · AI photography · 2025
Without warning or provocation this framed photo just fell off the wall. I thought the remnants looked interesting.
In July 2015, Liz Ixer, sometime entropologist, took a careful photo of Bagsy's assisted found sculpture: "Summer Holiday".
It became one of his most celebrated pieces before disappearing mysteriously - rumoured to have been lovingly and skilfully restored and sent for auction in Miami. (I wonder did they get the clock going?)
Astounding
As Bagsy - Tottenham's sacchetti genius - approaches his 94th birthday, we see how his range of creative work remains astounding. It includes: sculpture; assisted found art; unfound art; exquisite miniatures; pastries; and giraffiti astride walls and bridges.
Despite his advanced age and current inability to scale heights, the good news is that the master has developed a training programme with a multi-talented workshop of apprentices, interns, consultants, interims, spin doctors; brand strategists; and miscellaneous hangers-on. They produce an endless flow of pieces and provocations, which appear across Haringey and elsewhere in London.
Demotic Interventions
Bagsy and his team, true community artists, generously donate many fine works to the people. Staging impromptu free public Art in the Open exhibitions in streets, parks, and alleyways, Such demotic interventions may be displayed in trees; behind phone cabinets; or hung proudly on fences.
___________________________
§ My grateful thanks to Liz Ixer for permission to post her photo here. It originally appeared on Twitter.
§ Thanks also to the Trustees of the Seymour Road Sculpture Garden.
§ Entropology according to Claude Lévi-Strauss, is the discipline that devotes itself to the study of the process of disintegration in its most highly evolved forms.
canon EOS 1d mark IV
Model :Librarian_D Mayhem #1807041
Please don't use this image on websites, blogs or other media without my explicit permission. © All rights reserved
this is not a teaser for Machete 2 or Nude Nuns with Big Guns II but just a bit of provocation and fun! thanks to LD who managed to pull out this shot with the perfect attitude, it was simply a great moment shooting this! hope you enjoy! ;-)
Street art is visual art created in public locations, usually unsanctioned artwork executed outside of the context of traditional art venues. The term gained popularity during the graffiti art boom of the early 1980s and continues to be applied to subsequent incarnations. Stencil graffiti, wheatpasted poster art or sticker art, and street installation or sculpture are common forms of modern street art. Video projection, yarn bombing and Lock On sculpture became popularized at the turn of the 21st century.
The terms "urban art", "guerrilla art", "post-graffiti" and "neo-graffiti" are also sometimes used when referring to artwork created in these contexts.[1] Traditional spray-painted graffiti artwork itself is often included in this category, excluding territorial graffiti or pure vandalism.
Street art is often motivated by a preference on the part of the artist to communicate directly with the public at large, free from perceived confines of the formal art world.[2] Street artists sometimes present socially relevant content infused with esthetic value, to attract attention to a cause or as a form of "art provocation".[3]
Street artists often travel between countries to spread their designs. Some artists have gained cult-followings, media and art world attention, and have gone on to work commercially in the styles which made their work known on the streets.
Cursor.....
The ultimate provocation of negative space.
La provocation de l'art #9
See the full album "Les provocations de l'art" here:
Peter Fuss zrobił Billboard z kategorii kontrowersyjne... Co ciekawe kolejność jest alfabetyczna...
A bit weird kind of artistic provocation
Street art is visual art created in public locations, usually unsanctioned artwork executed outside of the context of traditional art venues. The term gained popularity during the graffiti art boom of the early 1980s and continues to be applied to subsequent incarnations. Stencil graffiti, wheatpasted poster art or sticker art, and street installation or sculpture are common forms of modern street art. Video projection, yarn bombing and Lock On sculpture became popularized at the turn of the 21st century.
The terms "urban art", "guerrilla art", "post-graffiti" and "neo-graffiti" are also sometimes used when referring to artwork created in these contexts.[1] Traditional spray-painted graffiti artwork itself is often included in this category, excluding territorial graffiti or pure vandalism.
Street art is often motivated by a preference on the part of the artist to communicate directly with the public at large, free from perceived confines of the formal art world.[2] Street artists sometimes present socially relevant content infused with esthetic value, to attract attention to a cause or as a form of "art provocation".[3]
Street artists often travel between countries to spread their designs. Some artists have gained cult-followings, media and art world attention, and have gone on to work commercially in the styles which made their work known on the streets.
August Macke (1887 à Meschede – 1914 près de Perthes-lès-Hurlus, Champagne, FR) illustre par son œuvre la curiosité d'une jeune génération d'artistes qui, en divers lieux d'Europe, puis d'Amérique, s'engagent dans l'établissement d'une nouvelle perception du monde et d'un nouveau sens de la vie – voire, dans bien des cas, dans la provocation par des scandales délibérément mis en scène :
« Tout cela », écrit Macke en 1913 dans une lettre à un ami, « le cubisme, le futurisme, l'expressionnisme et la peinture abstraite ne sont que les termes d'un changement de direction que notre pensée picturale veut opérer et opère.»
Ses œuvres se caractérisent par la vitalité et la sensualité de la vie.
Cela se reflète dans la force et la beauté des couleurs, qui dépassent souvent les formes picturales individuelles et intérieures pour envahir l'ensemble du tableau. Sans adhérer rigidement à un manifeste artistique ni radicaliser unilatéralement son langage visuel, August Macke reste ouvert à de nombreuses influences et stimulations dans sa pensée artistique, tout en créant une œuvre indépendante qui offre une synthèse exemplaire des caractéristiques spécifiques de l'expressionnisme rhénan. Son regard se tourne ainsi vers l'Occident : vers la France, vers Paris où, dans les œuvres de Robert Delaunay, il estime avoir trouvé une âme sœur.
Avec des peintures, des sculptures et des gravures, la vaste collection Macke du Kunstmuseum Bonn comprend des œuvres de toutes les phases de la création de l'artiste.
August Macke (1887 in Meschede – 1914 near Perthes-lès-Hurlus, Champagne, FR) illustrates through his work the curiosity of a young generation of artists who, in various parts of Europe and later America, were committed to establishing a new perception of the world and a new meaning of life—in many cases, even to provocation through deliberately staged scandals:
"All this," Macke wrote in a 1913 letter to a friend, "Cubism, Futurism, Expressionism, and abstract painting are merely the terms of a change of direction that our pictorial thinking seeks to bring about and does bring about."
His works are characterized by the vitality and sensuality of life.
This is reflected in the strength and beauty of the colors, which often transcend individual, inner pictorial forms to invade the entire picture. Without rigidly adhering to an artistic manifesto or unilaterally radicalizing his visual language, August Macke remained open to numerous influences and stimuli in his artistic thinking, while creating an independent body of work that offers an exemplary synthesis of the specific characteristics of Rhenish Expressionism. His gaze thus turned toward the West: toward France, toward Paris, where, in the works of Robert Delaunay, he felt he had found a kindred spirit.
With paintings, sculptures, and prints, the Kunstmuseum Bonn's extensive Macke Collection includes works from all phases of the artist's creative process.
Not a real a quality photograph but thought it might be interesting.
Ieder roodborstje heeft zijn eigen territorium, waarin geen soortgenoot toegelaten wordt. Hij verzekert zich zo van een eigen voedselvoorraad. Hij of zij, want ook vrouwtjes houden er een eigen territorium op na. In de winter zingen zowel de mannetjes als de vrouwtjes. Maar in het voorjaar als de broedtijd aanbreekt, stoppen de vrouwtjes met zingen. Ze worden dan aangelokt door een zingend mannetje, en zoeken voorzichtig toenadering. Aanvankelijk reageert het mannetje aanvallend en steekt zijn rode borst vooruit. Het vrouwtje reageert nu echter anders dan een concurrerend mannetje zou doen. Ze neemt een onderdanige houding aan, waarna het mannetje haar geleidelijkaan in zijn territorium toelaat. Nadat ze samen jongen grootgebracht hebben, gaan ze weer elk hun eigen weg.
Een roodborst mannetje zal een andere mannetje dat in zijn territorium komt aanvallen. Uit onderzoek blijkt dat de werkelijk prikkel (sleutelprikkel) de rode borstvlek is: hij reageert wel op een bosje rode veren, maar niet op een mannetje zonder rode borstvlek.
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Male Robins are noted for their highly aggressive territorial behaviour. They will attack other males that stray into their territories, and have been observed attacking other small birds without apparent provocation. Such attacks sometimes lead to fatalities, accounting for up to 10% of adult Robin deaths in some areas.
Bron: Wikipedia
பன்னிருதிருமுறை விழா.
The Shaiva Tirumurais are twelve in number. The first seven Tirumurais are the hymns of the three great Shaivite saints, Sambandar, Appar and Sundarar. These hymns were the best musical compositions of their age.
The first three Tirumurais (meaning parts) of Tevaram are composed by Sambanthar, the next three by Appar and the seventh one is composed by Sundarar. There is a famous saying about the Saiva trio that "Appar sang for me, Sambanthar sang for himself and Sundarar sang of gold". Appar and Sambanthar lived around the 7th century, while Sundarar lived in the 8th century. During the Pallava period these three travelled extensively around Tamil Nadu offering discourses and songs characterised by an emotional devotion to Shiva and objections to Vaishnavism, Jainism and Buddhism.
Sambanthar is a 7th-century poet born in Sirkali in Brahmin community and was believed to be suckled by the goddess Parvathi, whereupon he sang the first hymn. On the request of queen of Pandya Nadu, Sambandar went on pilgrimage to south, defeated Jains in debate, the Jains' provocation of Sambandar by burning his house and challenging him to debate, and Sambandar's eventual victory over them He was a contemporary of Appar, another Saiva saint. Information about Sambandar comes mainly from the Periya Puranam, the eleventh-century Tamil book on the Nayanars that forms the last volume of the Tirumurai, along with the earlier Tiruttondartokai, poetry by Cuntarar and Nambiyandar Nambi's Tiru Tondar Tiruvandadi. A Sanskrit hagiography called Brahmapureesa Charitam is now lost. The first volumes of the Tirumurai contain three hundred and eighty-four poems of Campantar (in 4181 stanzas), all that survive out of a reputed more than 10,000 hymns. Sambanthar is believed to have died at the age of 16 in 655 CE on the day of his marriage. His verses were set to tune by Nilakantaperumalanar who is set to have accompanied the poet on his yal or lute.
Appar's (aka Tirunavukkarasar) was born in the middle of 7th century in Tiruvamur, Tamil Nadu, his childhood name for Marulneekiar. His sister, Thilagavathiar was betrothed to a military commander who died in action. When his sister was about to end her life, he pleaded with her not to leave him alone in the world. She decided to lead an aesthetic life and bring up her only brother. During boyhood, Appar was very much interested in Jainism and started studying its scriptures. He went away from home and stayed in their monastery and was renamed Darmasena. Details of Appar's life are found in his own hymns and in Sekkizhar's Periya Puranam (the last book of the Tirumurai). Appar had travelled to nearby Patalipura to join a Jain monastery where he was given the name Dharmasena. "Seeing the transient, ephemeral world he decided to probe into truth through renunciation." After a while, afflicted by a painful illness, Dharmasena returned home. He prayed for relief at the Siva temple where his sister served and was cured. He was also involved in converting the Pallava king, Mahendravarman to Saivism. This was also the period of resurrection of the smaller Shiva temples. Appar sanctified all these temples by his verses and was also involved in cleaning of the dilapidated temples called uzhavarapadai. He was called Tirunavukkarasu, meaning the "King of divine speech". He extolled Siva in 49,000 stanzas out of which 3130 are now available and compiled in Tirumurais 4-7. When he met Campantar, he called him Appar (meaning father). He is believed to have died at the age of 81 in Tirupugalur.
Sundarar (aka Sundaramurthi) was born in Tirunavalur in a Brahmin family during the end of 7th century. His own name was Nambi Arurar and was prevented from marrying by the divine grace of Siva. He later married a temple girl namely Paravi and a vellala community girl by name Cankili.[17] He is the author of 1026 poems compiled as 7th Tirumurai.
Manikkavasagar's Tiruvacakam and Tirukovayar are compiled as the eighth Tirumurai and is full of visionary experience, divine love and urgent striving for truth. Manickavasgar was the king's prime minister and renounced his post in search of divinity.
The ninth Tirumurai has been composed by Tirumalikaittever, Sundarar, Karuvurttevar, Nampikatava Nampi, Gandaraditya, Venattatikal, Tiruvaliyamutanar, Purutottama Nampi and Cetirayar. Among these the notable is Gandaraditya (950-957 CE), a Chola king who later turned a saivite saint.
Tirumandiram by Tirumular unfolds siddantha (attainment) as a fourfold path - virtous and moral living, temple worship, internal worship and union with Siva. Tirumular worked out an original philosophical system and southern scholl of Saiva siddantha draws its authority from Tirumandiram, a work of 3000 verses. Tirumandiram represents another school of thought detailing agamic traditions, which run parallel to the bhakthi movement. It does not glorify temples or deities as in the case of other Tirumurais.
The eleventh Tirumurai has been composed by Karaikkal Ammeiyar, Ceraman Perumal, Pattinattu p-pillaiyar, Nakkiratevar, Kapilateva, Tiruvalavaiyudaiyar, Nampiyantarnampi, Iyyadigal katavarkon, Kalladateva, Paranateva, Ellamperuman Adigal and Athirava Adigal. Nambi's Tirutottanar Tiruvanthathi followed an exclusive style of mincing Tamil and Sankrit verses in anthati meter similar to Tevaram of the trio. Karaikkal Ammaiyar (550-600 CE)is the earliest of the woman Saivite poets who introduced the kattalai-k-kali-t-turai meter, which is a complicated structural departure from the old classical Tamil meters. The other meter used by Ammaiyar was old venba and also antathi arrangement in which offset of one line or stanza is identical with the onset of next line or stanza.
Periya Puranam (Tamil:பெரிய புராணம்), the great purana or epic, sometimes also called Tiruttontarpuranam(read as "Tiru-Thondar-Puranam") (the purana of the holy devotees) is a Tamil poetic account depicting the legendary lives of the sixty-three Nayanars, the canonical poets of Tamil Shaivism. It was compiled during the 12th century by Sekkizhar. It provides evidence of trade with West Asia Sekkizhar compiled and wrote the Periya Puranam listing the life stories of the sixty-three Shaiva Nayanars, poets of the God Shiva) who composed the liturgical poems of the Tirumurai, and was later himself canonised and the work became part of the sacred canon. Sekkizhar was a poet and the chief minister in the court of the Chola King, Kulothunga Chola II.
Raja Raja Chola I (985-1013 CE) embarked on a mission to recover the hymns after hearing short excerpts of Tevaram in his court. He sought the help of Nambi Andar Nambi, who was a priest in a temple. It is believed that by divine intervention Nambi found the presence of scripts, in the form of cadijam leaves half eaten by white ants in a chamber inside the second precinct in Thillai Nataraja Temple, Chidambaram. The brahmanas (Dikshitars) in the temple opposed the mission, but Rajaraja intervened by consecrating the images of the saint-poets through the streets of Chidambaram.Rajaraja thus became to be known as Tirumurai Kanda Cholan meaning one who saved the Tirumurai. Thus far Shiva temples only had images of god forms, but after the advent of Rajaraja, the images of the Nayanar saints were also placed inside the temple. Nambi arranged the hymns of three saint poets Campantar, Appar and Sundarar as the first seven books, Manickavasagar's Tirukovayar and Tiruvacakam as the 8th book, the 28 hymns of nine other saints as the 9th book, the Tirumandiram of Tirumular as the 10th book, 40 hymns by 12 other poets as the 10th book, Tirutotanar Tiruvanthathi - the sacred anthathi of the labours of the 63 nayanar saints and added his own hymns as the 11th book. The first seven books were later called as Tevaram, and the whole Saiva canon, to which was added, as the 12th book, Sekkizhar's Periya Puranam (1135 CE) is wholly known as Tirumurai, the holy book. Thus Saiva literature which covers about 600 years of religious, philosophical and literary development.
For more general information : en.wikipedia.org/wiki/Tirumurai
Tights with sandals are a provocation for some. For us they are pure lust. My wife loves showing off her nylon feet like this. We are happy about every man who is aroused by it - and about every woman who is outraged by it!
Miley Cyrus:
A new provocation on the part of Miley Cyrus. The singer is shown naked, a new woman, on Instagram, to the delight of her fans.
The days pass and look for Miley Cyrus. A few hours ago that sings Can Can’t Be Tamed is shown topless on Instagram. No makeup, but most importantly, ...
If Any Man Thirst
"In the last day, that great day of the feast, Jesus stood and cried, saying, if any man thirst, let him come unto me and drink." [John 7:37]
Patience had her perfect work in the Lord Jesus, and until the last day of the feast he pleaded with the Jews, even as on this last day of the year he pleads with us, and waits to be gracious to us. Admirable indeed is the longsuffering of the Saviour in bearing with some of us year after year, notwithstanding our provocations, rebellions, and resistance of his Holy Spirit. Wonder of wonders that we are still in the land of mercy! Pity expressed herself most plainly, for Jesus cried, which implies not only the loudness of his voice, but the tenderness of his tones. He entreats us to be reconciled. “We pray you,” says the Apostle, “as though God did beseech you by us [read 2 Corinthians 5:20].” What earnest, pathetic terms are these! How deep must be the love which makes the Lord weep over sinners, and like a mother woo his children to his bosom! Surely at the call of such a cry our willing hearts will come. Provision is made most plenteously; all is provided that man can need to quench his soul’s thirst. To his conscience the atonement brings peace; to his understanding the gospel brings the richest instruction; to his heart the person of Jesus is the noblest object of affection; to the whole man the truth as it is in Jesus supplies the purest nutriment. Thirst is terrible, but Jesus can remove it. Though the soul were utterly famished, Jesus could restore it. Proclamation is made most freely, that every thirsty one is welcome. No other distinction is made but that of thirst. Whether it be the thirst of avarice, ambition, pleasure, knowledge, or rest, he who suffers from it is invited. The thirst may be bad in itself, and be no sign of grace, but rather a mark of inordinate sin longing to be gratified with deeper draughts of lust; but it is not goodness in the creature which brings him the invitation, the Lord Jesus sends it freely, and without respect of persons. Personality is declared most fully. The sinner must come to Jesus, not to works, ordinances, or doctrines, but to a personal Redeemer, who his own self bare our sins in his own body on the tree. The bleeding, dying, rising Saviour, is the only star of hope to a sinner. Oh for grace to come now and drink, ere the sun sets upon the year’s last day! No waiting or preparation is so much as hinted at. Drinking represents a reception for which no fitness is required. A fool, a thief, a harlot can drink; and so sinfulness of character is no bar to the invitation to believe in Jesus. We want no golden cup, no bejewelled chalice, in which to convey the water to the thirsty; the mouth of poverty is welcome to stoop down and quaff the flowing flood. Blistered, leprous, filthy lips may touch the stream of divine love; they cannot pollute it, but shall themselves be purified. Jesus is the fount of hope. Dear reader, hear the dear Redeemer’s loving voice as he cries to each of us, “IF ANY MAN THIRST, LET HIM COME UNTO ME AND DRINK.” Hallelujah, God bless