Seventy-year anniversary szentmiséjét, that was presented Sunday at the Budapest rubinmiséjét Margaret Boulevard church of the Franciscan religious order in the province of Hungary's oldest member, was born in Senta Gyevi Imre Boros. The solemn liturgy Main Mukachevo Antal sermon the Bishop said.
The dedicated 98 years of ordained pastor in Eger was born in Senta in 1914, completed his theological studies in Zagreb, but the final exam Gy?ngy?s Franciscan theological college has made. The monk újmisés siklósi Máriagy?d Franciscan monastery and served as szétszóratásáig orders, until the summer of 1950 when they were dragged to Kecskemét, and he was dismissed from that resulting from sokadmagával. Then, Baranja, and then when the next stance of banned religious education, in Tolna served until 1957. Mohacs, and small villages of Baranya was inhabited by Croats in 1988 until he retired and became a subsidiary of Pécs merciful church pastor.
The change of regime, the system manager has asked provincial Fiddler Kolos retired priest of the diocese of Pécs, return to the policy framework. After four years Szécsény became pastor, and then another year Mátraverebély house boss. Then, retired priest, pastoral support, and confessor, and he saw it miséz? tasks.
- I am most grateful to the good God would never have the temptation in the vicinity or to leave the priesthood. That was the principle that no one várakoztassak the rounds help to me, to carry out the work entrusted to me. Many times in my life when I was in a precarious situation, no relatives, no family was not in Hungary, do not rely on anyone. But God did not leave, and that love God, all will benefit from the ordeal - said.
2011年11月21日 星期一
2011年11月6日 星期日
A day of painting
The Hungarian Painting Day began ten years ago, Budapest XI. District of New Buda, from the districts, where at that time Csontváry Kosztka Theodore studio was (on Bartók Béla út 36th number in front), which this year before the window of a cedar of Lebanon planted in honor of the painter giant.
The Day of Hungarian painting is not a one-day holiday: numerous exhibitions and events preceded the October 11 and 18 between Budapest and in several provincial cities. A series of events under the patronage of Laszlo Tokes, European Parliament Vice President. This year's anniversary celebrations, which in the Carpathian Basin Hungarian painting has been the focus of more than fifty-related program.
The Hungarian Painting Day event for the first time organized a symposium in Budapest Danubius Hotel Gellert, whose title posed the question: Is there a painting of the Hungarian national character at home and beyond?
First of all, Laszlo Tokes's speech would come up a few thoughts: he believes to be in Hungarian Hungarian painting characters such as music and dance performances are also native language, mother tongue as much visual as well. As an example, diszharmóniára indicated values are disrupted as a symbol of Babel mentioned in the languages összezavarodását that are similar pictorial mother-tongue in the field can take place in such a összezavarodás, and also spoke to visually shifting world we live in a visual terror (lights, the advertising industry) prevails in society this is to suffer. The visualization is only a very small part of the painting, which, unfortunately, is becoming less.
"Separate I am happy - said Laszlo Tokes - that this event included a painting borders and beyond, because the cross-border art has no body was in the domestic arts." An example of Kisvárdai Theatre Festival said, the Hungarian theatrical life is almost a foreign body as pushing the release Kisvárda productions. In contrast, this year's Day of Hungarian painting event "over the borders of the noble cause of national unification represents."
The symposium theme that "there is a painting of the Hungarian national character at home and beyond", ten Hungarian and foreign lecturers: Balazs Sandor art historian, literary scholar Louis Bence Slovenia, Slovakia, Tibor Farkas Veronikaés Kopócs. Peter Munkács Martl sculptor, George Somogyi, art historian, art historian George Szucs, the Hungarian National Gallery Deputy Director General, Vecsei Zoltan Nagy art from Transylvania, Vojvodina, by including myself, tried to walk around. Of course, there are artist, so many ways to approach to the subject. The neighboring countries of Hungarian painting of the national character of speaking several pre-tax, it seemed that not a question to answer because historical returns due care began, but in order to question any answer can be given back in time to go up to Trianon, when the annexed territories creative artists broke away from Hungary, the Hungarian painting, and a new State as a minority artists looking for a place more or less success. If all this has also to do the least in the neighborhood our know (now is the internet, media, thanks to improvement in the situation), because school curricula distant continents and countries of still more appeared, and the neighboring countries, they are a historical review of the additions is undoubtedly justified were. The Romanian-Hungarian art context, I quote an extract from Z. Vecsei Great art for an addition:
"It has been suggested and it still raises more questions we can talk about this at all, the art of national identity. Traditionally, the art of story-writing sees the fine arts as embedded in the individual cultures and their ability to convey specific values of art. But the major theorists of the visual arts as supranational, freeing the constraints of regions and nations, with the introduction of concepts such as universality, cultural nomadism, multiculturalism, globalism. They view the fine arts as a national language-independent, so the international art ab ovo. However, this contrasts with the practice that on a national basis for classification of individual artists to register, encyclopedias, and various art museums and historical processing. Vulnerable to this practice in the Eastern European artists living in small nations with a number of separate identity communities live side by side, each of which permeates the culture.
The Hungarians who declared himself an artist with this issue every day had to deal with Romania, especially in the pre-1990 period. The exclusivity of national cultural policy, Ceausescu aspiring professional discretion to the detriment of, a negative bias toward treating minority artists, whether intentional or unintentional art element in the manifestation of national identity or, conversely, its purpose was to refuse or neglect. However, the Hungarian art historians have also lost interest in the cross outside the scope of Hungarian art, such as rural, but within a creative artist. as well. This 'bench alattiság between two chairs' is a necessity, but in any case gives meaning to the notion that ethnic Hungarian art. "
In Romania, Hungary, similarly to the art historians of the southern Hungarian fine art was unknown and not considered part of the history of Hungarian art after 1920 and after 1945, either. This is justified by the historical situation. The southern Hungarian art, so the southern Hungarian painting is determined by the multiple contradictory situation: the Hungarians living in Hungary's neighboring countries and the so-called artists. socialist bloc, in one camp belonged to (which is by no means meant better situation!), while Yugoslavia has always been "special way" was rather West calculated as East, so southern Hungarian artist with the mother country, even less engaged than others. However, from neighboring countries for the Southern artists very envied position had since Yugoslavia in the 1960s from the open country was the world's latest artistic trends of free-flowing into the country, the artists, if financially been able to, could travel almost anywhere, even abroad were allowed to stay, Hungarian artist when it was legally impossible. The recently much talked-about cosmopolitanism, multiculturalism there already was there, along with the benefits but have the added disadvantage is meant that the national character (but it should be added, especially as a minority residents), if not complete, but partial loss resulted.
The contradictions that's not all: despite the fact that the Hungarian art history writing for the Southern Hungarian artists did not exist, in the 1960s, even more so in the 1970s in Hungary and the southern rural artists' colonies (eg Senta, Topolya, Fine Arts Festival in Subotica, in the 1990s after the Subotica Bucka Gányó) formed a permanent relationship, which further strengthened the southern Hungarian artists in the sense that their art is nevertheless a part of Hungarian art.
In the 1980s, the growing nationalism and the Balkan wars erupted in 1991, the artists brought the total hopelessness. Many of them have a military draft from Hungary, sought refuge: it emerged in a southern artist, film (including but not limited to, already in the 1970s, at the end of political reasons, relocating Benes Joseph painter at their head, Augustine Lorant, Bada Dada, Balint Stephen Barath Ferenc, Tibor Csikós, drMáriás, Markulik Balázs, Péter László Ede Sinkovics, Stephen Jay, Alexander the throat, Urban, Gabor George Verebes, and it is not listed in the fine arts is also active in other areas of southern artists). Their art is undoubtedly an integral part of Hungarian art.
The Day of Hungarian painting is not a one-day holiday: numerous exhibitions and events preceded the October 11 and 18 between Budapest and in several provincial cities. A series of events under the patronage of Laszlo Tokes, European Parliament Vice President. This year's anniversary celebrations, which in the Carpathian Basin Hungarian painting has been the focus of more than fifty-related program.
The Hungarian Painting Day event for the first time organized a symposium in Budapest Danubius Hotel Gellert, whose title posed the question: Is there a painting of the Hungarian national character at home and beyond?
First of all, Laszlo Tokes's speech would come up a few thoughts: he believes to be in Hungarian Hungarian painting characters such as music and dance performances are also native language, mother tongue as much visual as well. As an example, diszharmóniára indicated values are disrupted as a symbol of Babel mentioned in the languages összezavarodását that are similar pictorial mother-tongue in the field can take place in such a összezavarodás, and also spoke to visually shifting world we live in a visual terror (lights, the advertising industry) prevails in society this is to suffer. The visualization is only a very small part of the painting, which, unfortunately, is becoming less.
"Separate I am happy - said Laszlo Tokes - that this event included a painting borders and beyond, because the cross-border art has no body was in the domestic arts." An example of Kisvárdai Theatre Festival said, the Hungarian theatrical life is almost a foreign body as pushing the release Kisvárda productions. In contrast, this year's Day of Hungarian painting event "over the borders of the noble cause of national unification represents."
The symposium theme that "there is a painting of the Hungarian national character at home and beyond", ten Hungarian and foreign lecturers: Balazs Sandor art historian, literary scholar Louis Bence Slovenia, Slovakia, Tibor Farkas Veronikaés Kopócs. Peter Munkács Martl sculptor, George Somogyi, art historian, art historian George Szucs, the Hungarian National Gallery Deputy Director General, Vecsei Zoltan Nagy art from Transylvania, Vojvodina, by including myself, tried to walk around. Of course, there are artist, so many ways to approach to the subject. The neighboring countries of Hungarian painting of the national character of speaking several pre-tax, it seemed that not a question to answer because historical returns due care began, but in order to question any answer can be given back in time to go up to Trianon, when the annexed territories creative artists broke away from Hungary, the Hungarian painting, and a new State as a minority artists looking for a place more or less success. If all this has also to do the least in the neighborhood our know (now is the internet, media, thanks to improvement in the situation), because school curricula distant continents and countries of still more appeared, and the neighboring countries, they are a historical review of the additions is undoubtedly justified were. The Romanian-Hungarian art context, I quote an extract from Z. Vecsei Great art for an addition:
"It has been suggested and it still raises more questions we can talk about this at all, the art of national identity. Traditionally, the art of story-writing sees the fine arts as embedded in the individual cultures and their ability to convey specific values of art. But the major theorists of the visual arts as supranational, freeing the constraints of regions and nations, with the introduction of concepts such as universality, cultural nomadism, multiculturalism, globalism. They view the fine arts as a national language-independent, so the international art ab ovo. However, this contrasts with the practice that on a national basis for classification of individual artists to register, encyclopedias, and various art museums and historical processing. Vulnerable to this practice in the Eastern European artists living in small nations with a number of separate identity communities live side by side, each of which permeates the culture.
The Hungarians who declared himself an artist with this issue every day had to deal with Romania, especially in the pre-1990 period. The exclusivity of national cultural policy, Ceausescu aspiring professional discretion to the detriment of, a negative bias toward treating minority artists, whether intentional or unintentional art element in the manifestation of national identity or, conversely, its purpose was to refuse or neglect. However, the Hungarian art historians have also lost interest in the cross outside the scope of Hungarian art, such as rural, but within a creative artist. as well. This 'bench alattiság between two chairs' is a necessity, but in any case gives meaning to the notion that ethnic Hungarian art. "
In Romania, Hungary, similarly to the art historians of the southern Hungarian fine art was unknown and not considered part of the history of Hungarian art after 1920 and after 1945, either. This is justified by the historical situation. The southern Hungarian art, so the southern Hungarian painting is determined by the multiple contradictory situation: the Hungarians living in Hungary's neighboring countries and the so-called artists. socialist bloc, in one camp belonged to (which is by no means meant better situation!), while Yugoslavia has always been "special way" was rather West calculated as East, so southern Hungarian artist with the mother country, even less engaged than others. However, from neighboring countries for the Southern artists very envied position had since Yugoslavia in the 1960s from the open country was the world's latest artistic trends of free-flowing into the country, the artists, if financially been able to, could travel almost anywhere, even abroad were allowed to stay, Hungarian artist when it was legally impossible. The recently much talked-about cosmopolitanism, multiculturalism there already was there, along with the benefits but have the added disadvantage is meant that the national character (but it should be added, especially as a minority residents), if not complete, but partial loss resulted.
The contradictions that's not all: despite the fact that the Hungarian art history writing for the Southern Hungarian artists did not exist, in the 1960s, even more so in the 1970s in Hungary and the southern rural artists' colonies (eg Senta, Topolya, Fine Arts Festival in Subotica, in the 1990s after the Subotica Bucka Gányó) formed a permanent relationship, which further strengthened the southern Hungarian artists in the sense that their art is nevertheless a part of Hungarian art.
In the 1980s, the growing nationalism and the Balkan wars erupted in 1991, the artists brought the total hopelessness. Many of them have a military draft from Hungary, sought refuge: it emerged in a southern artist, film (including but not limited to, already in the 1970s, at the end of political reasons, relocating Benes Joseph painter at their head, Augustine Lorant, Bada Dada, Balint Stephen Barath Ferenc, Tibor Csikós, drMáriás, Markulik Balázs, Péter László Ede Sinkovics, Stephen Jay, Alexander the throat, Urban, Gabor George Verebes, and it is not listed in the fine arts is also active in other areas of southern artists). Their art is undoubtedly an integral part of Hungarian art.
2011年10月25日 星期二
Liszt's holiday in the Carpathian Basin - the last half of the concert series
The Hungarian Institute for Culture, organized by the nine-concert series halfway through Érdi Thomas, who had been in Subotica, Senta, and Lendava occurred Pélmonostorban music of Liszt. The two-month tour in Germany, Satu Mare, Berehovo, Levai and Galánta continues.
"Could talk for hours about what it means to me, Liszt" - said the artist's Kossuth Radio without Borders show. "More than 1400 he wrote, and that only a fraction of the unknown. His study of Gypsies, wrote a book Chopinről, two-volume collection of letters have not even talked to "- said. Of particular joy to me that this concert series was created - he added.
The Prima Primissima award winning young pianist in 2010, MTI has also talked about a few days ago that the Senta and Subotica live for all interested, that does not fit in the room through the open door, down the street listening to the people.
Érdi Thomas has been the most important tasks of the youngest music education will be kept. Talk koncertsorozatait Florida Siberia, a large Polish cities, Veszprém county smallest site meeting with great enthusiasm of the children. Not just listening to him, but questions were asked in a genuine dialogue on the topic of course was the work of Franz Liszt's life.
"Could talk for hours about what it means to me, Liszt" - said the artist's Kossuth Radio without Borders show. "More than 1400 he wrote, and that only a fraction of the unknown. His study of Gypsies, wrote a book Chopinről, two-volume collection of letters have not even talked to "- said. Of particular joy to me that this concert series was created - he added.
The Prima Primissima award winning young pianist in 2010, MTI has also talked about a few days ago that the Senta and Subotica live for all interested, that does not fit in the room through the open door, down the street listening to the people.
Érdi Thomas has been the most important tasks of the youngest music education will be kept. Talk koncertsorozatait Florida Siberia, a large Polish cities, Veszprém county smallest site meeting with great enthusiasm of the children. Not just listening to him, but questions were asked in a genuine dialogue on the topic of course was the work of Franz Liszt's life.
2011年9月21日 星期三
Thermal water, nowhere in the beer
Begins on the Friday the three-day event focused on the alcoholic drink in the glass is from the highest quality and finest varieties, including English Germany, Belgian czech a Hungarian beer meggyízű will spend the bartenders korsóiba the visitors.
The tradition view event held a press conference Wednesday Podlovics Roland, manager of the Salt Lake Spa CEO, said the Park area of Bath is built almost 800négyzetméteres the tent where the beer will be the joy of worship. The event admission tickets for free access to the thermal swimming pool services.
The opening ceremony will be Friday afternoon at three o'clock, in addition to swimming and beer and musical entertainment throughout the program serves: the Everdance and Folk Error on stage next to Edit and enter Zentai Gagarin Tours. The event motorized parade, Alexander Fábry performers and DJs evening conducted by colorful retro disco. Podlovics Roland added that the organizers of a number of business firms and companies representatives were invited to the festival. The secret is not meant to be a festival like Munich would like to create public spaces which play an important role in the relationship-building.
The program will also provide space for one, aimed at beautifying the Salt Lake magánkezdeményezésnek, under which 32 are planted platánfacsemetét Sóstói the lake promenade at the rear. The fact of the avenue planting center-amplified rock copperplate will preserve for posterity, this takes place in the names of people contributing too is a quote by elementary school students received a tender poems, quotes selected from the organizers.
The tradition view event held a press conference Wednesday Podlovics Roland, manager of the Salt Lake Spa CEO, said the Park area of Bath is built almost 800négyzetméteres the tent where the beer will be the joy of worship. The event admission tickets for free access to the thermal swimming pool services.
The opening ceremony will be Friday afternoon at three o'clock, in addition to swimming and beer and musical entertainment throughout the program serves: the Everdance and Folk Error on stage next to Edit and enter Zentai Gagarin Tours. The event motorized parade, Alexander Fábry performers and DJs evening conducted by colorful retro disco. Podlovics Roland added that the organizers of a number of business firms and companies representatives were invited to the festival. The secret is not meant to be a festival like Munich would like to create public spaces which play an important role in the relationship-building.
The program will also provide space for one, aimed at beautifying the Salt Lake magánkezdeményezésnek, under which 32 are planted platánfacsemetét Sóstói the lake promenade at the rear. The fact of the avenue planting center-amplified rock copperplate will preserve for posterity, this takes place in the names of people contributing too is a quote by elementary school students received a tender poems, quotes selected from the organizers.
2011年6月14日 星期二
Hello! German police officers stand up to the Hungarian colleagues next?
The German police officers just 62 years old, they can go to retire, but is already starting salary of 800 thousand HUF and will not be dismissed. Therefore, some colleagues of the Hungarian demands Rüdiger Reedwisch difficult to understand, the leader of the largest German rendőrszakszervezet. But if the legitimate demands of the Hungarian rendvédelmisek find stand beside them, said the union leader, who is also the Presidency of the European Union is a member of the Police.
Zentai Peter: Can you imagine a situation in Germany or France, police officers and demonstrators against them orchestrated by the police authorities?
Rüdiger Reedwisch: Yes. Such can not happen. But I know that in Hungary and Romania, the situation was so intense the law enforcement personnel and the respective governments, so that it happens.
Z.P.: strike also converted. Know about this?
R.R.: Sure. But this is even more unthinkable in our country. Because there is no right to strike. The German alaptörvényből result of law enforcement personnel and non-members may not show sztrájkolhatnak. I hear the nearby Hungary, a German police officer from a very distant prospect ...
ZP: You also know that we have police officers retired early again like to re-activate, and they want to eliminate the early retirement?
RR: We a priori unknown to the institution of early retirement. A German police officer is required to work until the age of 62 years. Assuming he is healthy. Now that you have dug myself into this whole problem, not Hungary, but also because of Romania, the Romanian colleagues expert assistance is requested from the European Union Police - I realized that almost összevethetetlen a German, usually a Western European and Eastern European law enforcement állományos a situation.
The obligations imposed on us on us and the privileges it was immutable, flowing from the Constitution.
ZP: So my obligation is to the age of 62 before nyugdíjaztathatják themselves. What a privilege to have you, what is the charge?
RR: The fact that the police can not be dismissed. Never. Only when ordinary sins. This is a career here, which is literally the end of the normal life a living. The state - the law says this out - you never can take away this privilégiumunkat. In exchange, however - at least for the professional staff members - there is no possibility béralkukra, the topic of this Act to pay for overtime up to the order, clarifying every detail. The staff are not civil servants, non-police employees working in positions, however, this does not apply. They are not "life" of a body of work in law enforcement.
ZP: Still looking for that one policeman in Germany? Leave him much time acting?
R.R.: This rangfüggő. The vocational college after completing mandatory minimum of 3 000 euros (about 800 thousand HUF) should receive an initial police force. This gross amount, which is almost the same as are net, if we take the example a family man. I'm already pretty high level position, Director of Police (Polizei Direktor) my rank, I only have two superior. Accordingly, the salary of EUR 7,000 - per month. Retired and then - like every other police officer - this involves 71 percent of basic salary for me.
Zentai Peter: Can you imagine a situation in Germany or France, police officers and demonstrators against them orchestrated by the police authorities?
Rüdiger Reedwisch: Yes. Such can not happen. But I know that in Hungary and Romania, the situation was so intense the law enforcement personnel and the respective governments, so that it happens.
Z.P.: strike also converted. Know about this?
R.R.: Sure. But this is even more unthinkable in our country. Because there is no right to strike. The German alaptörvényből result of law enforcement personnel and non-members may not show sztrájkolhatnak. I hear the nearby Hungary, a German police officer from a very distant prospect ...
ZP: You also know that we have police officers retired early again like to re-activate, and they want to eliminate the early retirement?
RR: We a priori unknown to the institution of early retirement. A German police officer is required to work until the age of 62 years. Assuming he is healthy. Now that you have dug myself into this whole problem, not Hungary, but also because of Romania, the Romanian colleagues expert assistance is requested from the European Union Police - I realized that almost összevethetetlen a German, usually a Western European and Eastern European law enforcement állományos a situation.
The obligations imposed on us on us and the privileges it was immutable, flowing from the Constitution.
ZP: So my obligation is to the age of 62 before nyugdíjaztathatják themselves. What a privilege to have you, what is the charge?
RR: The fact that the police can not be dismissed. Never. Only when ordinary sins. This is a career here, which is literally the end of the normal life a living. The state - the law says this out - you never can take away this privilégiumunkat. In exchange, however - at least for the professional staff members - there is no possibility béralkukra, the topic of this Act to pay for overtime up to the order, clarifying every detail. The staff are not civil servants, non-police employees working in positions, however, this does not apply. They are not "life" of a body of work in law enforcement.
ZP: Still looking for that one policeman in Germany? Leave him much time acting?
R.R.: This rangfüggő. The vocational college after completing mandatory minimum of 3 000 euros (about 800 thousand HUF) should receive an initial police force. This gross amount, which is almost the same as are net, if we take the example a family man. I'm already pretty high level position, Director of Police (Polizei Direktor) my rank, I only have two superior. Accordingly, the salary of EUR 7,000 - per month. Retired and then - like every other police officer - this involves 71 percent of basic salary for me.
2011年6月12日 星期日
Aaron Keyes 'Dwell' Feature Story
aaronkeys2011b.JPG
The last thing you want to do, in the middle of a fight, is... NOTHING. Unless, of course, you expect someone bigger to show up and fight for you.
It’s an upside down principle, or so it seems, but for worship leader and songwriter Aaron Keyes, this is the key to worship, even the key to life itself: “Deliverance, provision, miracles—everything we pray for in the rough seasons of our lives—most often come to pass in the context of praise, worship, sacrifice and abiding in the shelter of the Most High God. ...Everything is wrapped up in our willingness to wait.”
For Aaron, worship pastor at Grace Fellowship Church in Snellville, GA for the last eight years, it’s that waiting room that fuels his passion for and approach to worship. He believes, without reservation, that you can’t get there (or lead anyone there) without the Word of God. That is why he and his wife, Megan, open their home to disciple young worship leaders for several months out of the year, dedicating their lives to reshaping worship leadership for the next generation.
“We want to shift what worship leading looks like,” he says, “from worship leaders simply leading songs to worship pastors leading people to knowing God better, to resting our hearts in Him, to expressing our hearts to him—physically, instinctively, fully, expressively... not just emotion, passion and excitement, but to declare the promises of God in the Bible with reverence and orthodoxy.”
Never has this calling been more vibrantly displayed than in the songs on Dwell, Aaron’s second Kingsway recording, set to release June 21. Produced by Stu G (Delirious?) and John Hartley (Matt Redman, Rebecca St. James), Dwell is a modern collection of 13 songs, composed in the battle of the everyday, forged in the fires of sacrifice and sharpened by the iron of Scripture.
“It doesn’t seem right that I can go to some of the biggest worship conferences in the world and see some of the biggest worship leaders in the world and no one’s saying anything about the Bible,” Aaron explains. “It makes me nervous because if the Word of God is a lamp to our feet and a light to our path, if we’re leading without it, we’re leading people into darkness.”
This mandate, to help restore the Word of God as central to worship, is the constant in Aaron’s music and what sets him apart from much of the current landscape. The songs of Dwell were pulled from 60-70 anthems that Aaron ‘road tested’ over time. Taking these songs into the studio, Aaron’s producers John Hartley and Stu G helped handpick the best of these anthems. “John is so great at identifying and producing songs that connect with congregations,” Aaron explains, “and Stu G lives in these new fresh, artistic sounds, so I think we’ve struck a good balance, with singable melodies that are sonically not as predictable as something we would’ve done years ago.” The result is remarkably different.
“One of the toughest jobs we had on Dwell was choosing which songs to leave off!” exclaims Stu G. “The songs we ended up with work so well together because they all come out of authentic experience and have been tried and tested in a corporate environment. What I love about Aaron is not only his desire to write new songs that serve the church, but also his desire to lead well and raise up new leaders by opening up his home and sharing his life. Dwell is about more than simply music and singing.”
Based on Psalm 91, a prayer of protection, with a bridge from Isaiah 54:17, the title track, “Dwell,” is one of the defining moments on the record, Aaron says. “Our personal worship, our willingness to abide or dwell in the shelter of the Lord, it’s so connected to God moving on our behalf, moving for us, to the Kingdom of God advancing around us. It’s about more than we can see with our eyes. You can see several pictures in the Old Testament over and over again, where the worshipers go out and then everything changes. That dwelling in the presence of the Lord is so critical to everything. The enemy can throw things at us, he can even take our lives, but he cannot prosper... we will ultimately triumph. And it’s all wrapped up in our willingness to wait on the Lord. As we wait, he wars for his people. As we abide, he acts. As we rest, he moves, he shows up.”
The last thing you want to do, in the middle of a fight, is... NOTHING. Unless, of course, you expect someone bigger to show up and fight for you.
It’s an upside down principle, or so it seems, but for worship leader and songwriter Aaron Keyes, this is the key to worship, even the key to life itself: “Deliverance, provision, miracles—everything we pray for in the rough seasons of our lives—most often come to pass in the context of praise, worship, sacrifice and abiding in the shelter of the Most High God. ...Everything is wrapped up in our willingness to wait.”
For Aaron, worship pastor at Grace Fellowship Church in Snellville, GA for the last eight years, it’s that waiting room that fuels his passion for and approach to worship. He believes, without reservation, that you can’t get there (or lead anyone there) without the Word of God. That is why he and his wife, Megan, open their home to disciple young worship leaders for several months out of the year, dedicating their lives to reshaping worship leadership for the next generation.
“We want to shift what worship leading looks like,” he says, “from worship leaders simply leading songs to worship pastors leading people to knowing God better, to resting our hearts in Him, to expressing our hearts to him—physically, instinctively, fully, expressively... not just emotion, passion and excitement, but to declare the promises of God in the Bible with reverence and orthodoxy.”
Never has this calling been more vibrantly displayed than in the songs on Dwell, Aaron’s second Kingsway recording, set to release June 21. Produced by Stu G (Delirious?) and John Hartley (Matt Redman, Rebecca St. James), Dwell is a modern collection of 13 songs, composed in the battle of the everyday, forged in the fires of sacrifice and sharpened by the iron of Scripture.
“It doesn’t seem right that I can go to some of the biggest worship conferences in the world and see some of the biggest worship leaders in the world and no one’s saying anything about the Bible,” Aaron explains. “It makes me nervous because if the Word of God is a lamp to our feet and a light to our path, if we’re leading without it, we’re leading people into darkness.”
This mandate, to help restore the Word of God as central to worship, is the constant in Aaron’s music and what sets him apart from much of the current landscape. The songs of Dwell were pulled from 60-70 anthems that Aaron ‘road tested’ over time. Taking these songs into the studio, Aaron’s producers John Hartley and Stu G helped handpick the best of these anthems. “John is so great at identifying and producing songs that connect with congregations,” Aaron explains, “and Stu G lives in these new fresh, artistic sounds, so I think we’ve struck a good balance, with singable melodies that are sonically not as predictable as something we would’ve done years ago.” The result is remarkably different.
“One of the toughest jobs we had on Dwell was choosing which songs to leave off!” exclaims Stu G. “The songs we ended up with work so well together because they all come out of authentic experience and have been tried and tested in a corporate environment. What I love about Aaron is not only his desire to write new songs that serve the church, but also his desire to lead well and raise up new leaders by opening up his home and sharing his life. Dwell is about more than simply music and singing.”
Based on Psalm 91, a prayer of protection, with a bridge from Isaiah 54:17, the title track, “Dwell,” is one of the defining moments on the record, Aaron says. “Our personal worship, our willingness to abide or dwell in the shelter of the Lord, it’s so connected to God moving on our behalf, moving for us, to the Kingdom of God advancing around us. It’s about more than we can see with our eyes. You can see several pictures in the Old Testament over and over again, where the worshipers go out and then everything changes. That dwelling in the presence of the Lord is so critical to everything. The enemy can throw things at us, he can even take our lives, but he cannot prosper... we will ultimately triumph. And it’s all wrapped up in our willingness to wait on the Lord. As we wait, he wars for his people. As we abide, he acts. As we rest, he moves, he shows up.”
2011年2月28日 星期一
Back to the future: VW unwraps possible mini-bus successor
Few vehicles trigger happier memories than the iconic Volkswagen bus, a practical van
that became an emblem of the free-wheeling '60s.
VW has toyed for years with the idea of bringing back this model, and this week it's
displaying its latest interpretation of the bus at the Geneva motor show.
Dubbed the Bulli, as the original bus was called in Germany, the concept vehicle
features cutting-edge technology and a zero-emission electric drivetrain, yet remains
true to the spirit of the bus launched in 1950.
While the Bulli is a show car, the company indicated it might provide the inspiration
for a new model that would join the VW lineup.
"This concept has the potential to establish a new people carrier next to the Caddy,
Touran, Sharan and its large counterpart, the Caravelle," Volkswagen said in a
statement, referring to its global lineup of family haulers.
The Bulli is equipped with an electric motor located forward of the front axle. Powered
by a 3,200-pound lithium-ion battery, it can store 40 kilowatt hours of electricity
providing a driving range of 186.4 miles.
But the vehicle also can be fitted with VW's gas and diesel direct-injection engines.
With a length of 156 inches, a width of 68.4 inches and height of 66 inches, the two-
toned Bulli is wider and shorter than the old bus.
"It's very cool-looking," said Jack Nerad, an industry analyst at Kelley Blue Book, the
used-car pricing firm. "There are retro elements to it, but it's not a retro design."
The Bulli's interior combines technological updates with nostalgic touches. Like the
old Microbus, as it was known in the United States, the Bulli concept has a single
bench seat in front.
Its updated console features a removable iPad offering Internet-based applications as
well as controlling functions, such as a Bluetooth hands-free phone and a navigation
system. U.S. guitar and amplifier maker Fender produced the sound system.
Like the old bus, the Bulli's seating system can be rearranged easily into a large
reclining surface, transforming the vehicle into a compact camper.
Analysts said they expected Volkswagen to launch a model based on the Bulli concept, in
part to fulfill its ambitious U.S. sales targets. The Wolfsburg, Germany-based
automaker aims to triple U.S. sales of VW cars by 2018.
Currently it offers the Routan in North America, a slow-selling model derived from
Chrysler's Dodge Caravan.
A production version of the Bulli is likely to appeal "to the same demographic that was
drawn to the minibus back in the day — the 18-to-34's," Nerad said.
"It would probably bag some aging boomers who were fans of the original Microbus, as
well."
that became an emblem of the free-wheeling '60s.
VW has toyed for years with the idea of bringing back this model, and this week it's
displaying its latest interpretation of the bus at the Geneva motor show.
Dubbed the Bulli, as the original bus was called in Germany, the concept vehicle
features cutting-edge technology and a zero-emission electric drivetrain, yet remains
true to the spirit of the bus launched in 1950.
While the Bulli is a show car, the company indicated it might provide the inspiration
for a new model that would join the VW lineup.
"This concept has the potential to establish a new people carrier next to the Caddy,
Touran, Sharan and its large counterpart, the Caravelle," Volkswagen said in a
statement, referring to its global lineup of family haulers.
The Bulli is equipped with an electric motor located forward of the front axle. Powered
by a 3,200-pound lithium-ion battery, it can store 40 kilowatt hours of electricity
providing a driving range of 186.4 miles.
But the vehicle also can be fitted with VW's gas and diesel direct-injection engines.
With a length of 156 inches, a width of 68.4 inches and height of 66 inches, the two-
toned Bulli is wider and shorter than the old bus.
"It's very cool-looking," said Jack Nerad, an industry analyst at Kelley Blue Book, the
used-car pricing firm. "There are retro elements to it, but it's not a retro design."
The Bulli's interior combines technological updates with nostalgic touches. Like the
old Microbus, as it was known in the United States, the Bulli concept has a single
bench seat in front.
Its updated console features a removable iPad offering Internet-based applications as
well as controlling functions, such as a Bluetooth hands-free phone and a navigation
system. U.S. guitar and amplifier maker Fender produced the sound system.
Like the old bus, the Bulli's seating system can be rearranged easily into a large
reclining surface, transforming the vehicle into a compact camper.
Analysts said they expected Volkswagen to launch a model based on the Bulli concept, in
part to fulfill its ambitious U.S. sales targets. The Wolfsburg, Germany-based
automaker aims to triple U.S. sales of VW cars by 2018.
Currently it offers the Routan in North America, a slow-selling model derived from
Chrysler's Dodge Caravan.
A production version of the Bulli is likely to appeal "to the same demographic that was
drawn to the minibus back in the day — the 18-to-34's," Nerad said.
"It would probably bag some aging boomers who were fans of the original Microbus, as
well."
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