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Eli Hill
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Lyrics Over The Wall €? Testament


Books Of The Old Testament [Music Download]By Thingamakid I'm Gonna Learn The Books Of The Bible - Old Testament [Music Download] By Twin Sisters Productions Download an mp3 file from Christian Book - free online pre"view". Books of Old Testament 2Robin Noel generously donated her original tune for the Books of the Old Testament! Click here to see the sheet music.Books of the Bible (3)Organist and Choirmaster John Bullock of the St. Mary Magdalene Church in Sutton in Ashfield, UK arranged a song teaching the books of the Bible to the tune of "My Favorite Things".Read the lyrics here.Back to TopSons of Jacob(to the tune of "Ten Little Indians")Reuben, Simeon, Levi, Judah, Issachar, Zebulun, Dan and Naphtali,Gad and Asher, Joseph, Benjamin - These are the sons of Jacob.The lyrics to this song were improvised by Kim Dailey - treat lyrics as public domain. 97k Windows Media Video fileBack to TopJericho's Wall Came Falling Down(to the Tune of "London Bridge is Falling Down")Joshua got a plan from God, plan from God, plan from God.Joshua got a plan from God, Hallelujah!Israel marched around the wall, 'round the wall, 'round the wall.Israel marched around the wall, Hallelujah!Seven priests blew seven horns, seven horns, seven horns.Seven priests blew seven horns, Hallelujah!All of Israel gave a shout, gave a shout, gave a shout.All of Israel gave a shout, Hallelujah!Jericho's walls came falling down, falling down, falling down.Jericho's walls came falling down, Hallelujah!Rahab saved her family, family, family.Rahab saved her family, Hallelujah!The lyrics to this song were improvised by Kim Dailey - treat lyrics as public domain.Back to Top Jehovah Noticed: to the tune of "Jesus loves me"Achan took a wedge of gold,Silver and a robe we're toldBuried them inside his tentAbout his business then he went.Jehovah noticedJehovah noticedJehovah noticedThat Achan stole the gold.When we steal or disobey,Lie or fight or fail to pray,Someone knows just what we do,where we are, and why, too.Jehovah noticedJehovah noticedJehovah noticedHe sees all that we do.The lyrics to this song were improvised by Kim Dailey - treat lyrics as public domain.Back to Top437K mp3 fileThe Fruit of the Spiritcontributed by Paula Harrington The Fruit of the Spirit's not a watermelon(What 'cha yellin?)The Fruit of the Spirit's not a watermelon(What 'cha yellin?)If you want to be a watermelonYou might as well hear it.You can't be a Fruit of the Spirit.'Cause the Fruit is Love, Joy, Peace, Patience, Kindness,Goodness, Faithfulness, Gentleness, and Self-Control.Love, Joy, Peace, Patience, Kindness,Goodness, Faithfulness, Gentleness, and Self-Control.The Fruit of the Spirit's not a kiwi(Whee)The Fruit of the Spirit's not a kiwi(Whee)If you want to be a KiwiYou might as well hear it.You can't be a Fruit of the Spirit.'Cause the Fruit is Love, Joy, Peace, Patience, Kindness,Goodness, Faithfulness, Gentleness, and Self-Control.Love, Joy, Peace, Patience, Kindness,Goodness, Faithfulness, Gentleness, and Self-Control.The Fruit of the Spirit's not a banana(Nana)The Fruit of the Spirit's not a banana(Nana) If you want to be a banana You might as well hear it.You can't be a Fruit of the Spirit 'Cause the Fruit is Love, Joy, Peace, Patience, Kindness,Goodness, Faithfulness, Gentleness, and Self-Control.Love, Joy, Peace, Patience, Kindness,Goodness, Faithfulness, Gentleness, and Self-Control. The Fruit of the Spirit's not a cantaloupe.(Nope!)The Fruit of the Spirit's not a cantaloupe.(Nope!) If you want to be a cantaloupeYou might as well hear it.You can't be a Fruit of the Spirit! 'Cause the Fruit is Love, Joy, Peace, Patience, Kindness, Goodness, Faithfulness, Gentleness, and Self-Control.Love, Joy, Peace, Patience, Kindness,Goodness, Faithfulness, Gentleness, and Self-Control.Fruit of the Spirit [Music Download]By Various ArtistsReader John R. sent in his own version of the Fruit of the Spirit song, using positive language and a slower chorus.Watch Video Back to Top




Lyrics Over The Wall – Testament



In 1983, Def Leppard pursued a bombastic, unwieldy metal sound, and they turned to the Bible for supporting lyrics. That year, they released the album "Pyromania," featuring their hit song "Rock of Ages," an over-the-top rock anthem heavy on cowbell (shout out to Will Ferrell fans), per VH1.


Kauffmann devotes two chapters to the thirteenth century. The opening paragraphs of Chapter 5 ("The Thirteenth Century: Private and Public Devotion") cover the influence of the decrees of the Fourth Lateran Council of 1215 and the arrival of Franciscan, Dominican, and Augustinian orders in England. Part I of this chapter focuses on manuscripts, first on continuity and change in the illustration of Bibles and Psalters before moving on to Books of Hours and Apocalypses, both new types of books developed or popularized for use by the laity. Part 2 considers the relative lack of surviving evidence of larger-scale, public art by first discussing the biblical imagery found on the facade at Wells Cathedral, the interior of the Salisbury Chapter house, and finally the fragmentary evidence for the existence of wall painting. Chapter 6, "The Political Use of the Bible" provides a broad historical overview of imagery developed to promote secular, particularly royal, agendas. Starting from the Ottonian Gospel of Otto III (c. 1000) and its visual assimilation of Christ and king, Kauffmann considered the political implication of depictions of King David in the initials to several English Psalters. The bulk of this chapter concentrates on wall paintings presenting Biblical imagery in secular settings, paying particular attention to the Painted Chamber at Westminster during the reigns of Henry III and Edward I.


Chapter 8, "The Late Medieval Parish Church," extends the discussion of popular culture developed in the previous chapter into the fifteenth century. Kauffmann quickly takes in hand the organization of parishes and the opportunity for lay patronage before turning to how the churches were furnished and decorated. He reviews the history, characteristic subjects for historiated initials, and developments in the iconography of the Crucifixion in the text of the Missal. He also surveys larger-scale imagery in wall-paintings (scenes of the Last Judgment) stained glass (where narrative scenes from the Bible are even rarer than in wall painting), and retables (passion scenes predominate). Chapter 9, "The Reformation and Beyond" addresses one of the reasons we know so little about some aspects of biblical imagery from the Middle Ages, as Kauffmann appraises the iconoclastic tendencies in reformist and heretical groups before chronicling the more centralized, state-sponsored destruction of images under the Tudors. The chapter and the book conclude with the illustration (derived from leading German artists) of the vernacular translations of Tyndale and Coverdale.


Of course, it is much easier to review a book like this than it is to write it. The caveats above included, Kauffmann's book is a much-needed survey, notable its broad chronological sweep and its coverage of a variety of media from manuscripts, sculpture, and later wall painting, stained glass, to printed books. The book will prove very useful for future generations of scholars and is a fitting tribute to the author's knowledge and long, distinguished career as teacher and scholar. Any university with a program in art history, religion, or medieval studies should add this book to their collection.


Theatre Review by Matthew Murray - August 15, 2013 Soul Doctor Music and additional lyrics by Shlomo Carlebach. Book by Daniel S. Wise. Lyrics by David Schecter. Based on the real life story of Rabbi Shlomo Carlebach, grant of rights by Neshama & Nedara Carlebach. Conceived by Jeremy Chess, created & developed by David Schecter and Daniel S. Wise. Additional material by Neshama Carlebach. Directed by Daniel S. Wise. Choreographed by Benoit-Swan Pouffer. Scenic design by Neil Patel. Costume design by Maggie Morgan. Lighting design by Jeff Croiter. Sound design by John Shivers & David Patridge. Wig & hair design by Charles G. LaPointe. Orchestrations & additional arrangements by Steve Margoshes. Theatre: Circle in the Square, 1633 Broadway between Broadway and 8th Avenue at 50th StreetRunning Time: 2 hours 30 minutes with one intermission.Audience: Recommended for 8 + Children under the age of 4 are not permitted in the theatre. Schedule: Tues 7 pm, Wed 2 pm, Wed 8 pm, Th 7 pm, Fri 8 pm, Sat 2 pm, Sat 8 pm, Sun 3 pmTickets: TelechargeEric Anderson and Amber Iman.Photo by Carol RoseggThe fusion of Jewish and African-American influences in that melting pot of melting pots, New York City, is in no small part responsible for the unique artistic explosion of musical theatre. So one would think—or at least hope—a musical that explored a similar union, if one kindled a few decades later in a different context, would achieve some sort of exciting synthesis of its own. With Soul Doctor, which just opened at the Circle in the Square, that is sadly not the case.Librettist-director Daniel S. Wise has constructed this jukebox-bio show from the melodies of Shlomo Carlebach, who blended his background as an Orthodox rabbi with the pop music of the mid-20th century to bring his views of spirituality into the mainstream culture. Wise posits that Carlebach's one-of-a-kind success was due to his being inspired by then-up-and-coming jazz singer Nina Simone, after the two met in a piano-bar dive in the late 1950s and began a forbidden friendship that skirted with scandal but may or may not have run somewhat deeper.But despite the tantalizing possibilities suggested by this premise, Wise's execution is mind-numbingly conventional. We meet Shlomo (Eric Anderson) giving a homecoming concert in Vienna in 1972, the first time he's set foot in the city in decades. Within seconds we've tripped back 34 years to see not only Vienna of his childhood on the brink of Anschluss, but also Shlomo in the doldrums enforced by the encroaching Nazis, the convention imposed by his dictatorial father (Jamie Jackson), and "cantor from hell" Reb Pinchas (Ron Orbach) demanding that the artistically minded boy abandon his instincts and instead conform to millennia of tradition.Already there's nothing new here, and the little that unfolds as Shlomo moves with his family to America, strikes out on his own, and courts a career that causes rifts within every relationship in his life seems much fresher. (Who could possibly have guessed that Shlomo would have a disapproving, overbearing mother?) By the time Shlomo actually meets Nina (Amber Iman) and the two begin exchanging their histories and theories on the role of music in the worship of everyday existence, catatonia has already set in. Once the end of Act One hits and Shlomo ignites his recording career at the last possible moment (after 48 failed tries in the studio) by—yes—learning the importance of being true to himself, hopes of any kind of vitalizing originality or insight evaporate forever.Wise drops just enough hints to persuade you that something more fascinating may, in fact, be waiting around the corner—what Shlomo's flirtation with Hasidism meant for his life and music, for example, or how he infiltrated the San Francisco hippie culture—but he declines to follow through on most of them in a satisfying way. Much more frequent are Shlomo's arguments with Dad, which naturally must be left unresolved to haunt our hero forever, and hand-wringing about violating sacred precepts such as fraternizing with women (even to the extent of touching or sitting with women), which is of course discarded as soon as the narrative needs to advance. It all becomes infuriatingly convenient after a while, and it never feels organic.Based on Soul Doctor's overall structure, style, and tone, Wise was apparently attempting to investigate (or perhaps critique) the eternal symbiosis between faith and music, and whether maintaining that bond is realistic—or desirable—in the modern world. That would have made for an excellent story, and one that would, in its own way, be as universal as that of the gold standard for this type of musical, Fiddler on the Roof. But without a clever, in-depth book, that becomes more difficult. Add in the troublesome score, which jumbles together Carlebach's liturgically based music as applied with new lyrics (by David Schechter) with Simone's own songs, and the result is aimed with laserlike precision at but a single sympathetic demographic, and one to which many potential theatregoers (including yours truly) do not belong.To my ear, most of the songs sounded identical, with the orchestrations (Steve Margoshes) and musical direction (Seth Farber) not contributing to a vivid, constantly evolving texture that might justify the sameness. (Simone's compositions fill out the song stack, but their blending in seamlessly with Carlebach's should not be considered a good thing.) Hoary jokes that all too readily thrust you into the Borscht Belt realm ("You heard of Peter Paul and Mary?", someone asks Shlomo; "I don't know so much the New Testament," he replies), the bland and repetitive twirls and hops of Benoit-Swan Pouffer's choreography, and the ugly Wailing WallmeetsHaight-Ashbury set (by Neil Patel) don't provide much to love in other areas, either.Thankfully, Anderson makes an energetic lead. If he's too lightweight of a presence to project the kind of sensible, grounded realism that videos reveal from the real Carlebach (he died in 1994), Anderson wields a definite likability that's a genuine asset at the center of a musical such as this one. Iman's performance is on the general side, and doesn't evoke much of Simone's own greatness, but she's sufficiently charismatic on her own terms for what's required of her. Aside from Zarah Mahler, who brings an admirable intensity to Shlomo's eventual lover Ruth, the performances are otherwise as unconvincing and unremarkable as the show that surrounds them.This demonstrates the danger of building a show like this around a personality with whom most people won't be familiar: The creators need to demonstrate to a potentially skeptical public why that person's story is worth telling. For all the ambition and hard work that are clearly evident, Wise has not done that—Carlebach's accomplishments could be anyone's, and his rise to fame from fecklessness does not impart many lessons we haven't heard countless times before. A successful run Off-Broadway a year ago proves that there is definitely interest in Carlebach, what he did, and how he did it. But if you're not already steeped in his world and music, don't expect Soul Doctor to be compelling enough to convert you. Share:


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