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Getting him back quotes tumblr yolo,what to text your ex boyfriend to make him jealous,how to get your ex back through friendship bracelets - Step 3

Baby, every time I look at you it’s like the first time, I get butterflies, feel like I’m on cloud 9 and know it’s true love! Every day that goes by it seems like I discover something new about you to love, it’s incredible to me how one person can make such a difference in my life.
How come we want what we can’t have, yet the ones that have it don’t appreciate what they’ve got..? I might not be the prettiest looking girl but I promise you that I could love you more than anyone ever could.
I want you to be that guy that when I come running with tears rolling down my cheeks you look me in the eyes and say, yes I ¦ you  the most.
I’m a little weird, life’s a little weird and when we find someone who’s weirdness is compatible with ours, we join up in mutual weirdness and call it love. If I could be anything in the world I would want to be a teardrop because I would be born in your eyes, live on your cheeks, and die on your lips. If I had to choose between loving you and breathing, I would use my last breath to say ‘I ¦ you .’! They say that the secret behind every successful man is a woman of great wit and compassion. My greatest fear in life is that one day we will pass each other on some street like two strangers. My Heart and my Head are at WAR and I’m stuck in the middle and don’t know which side I’m on. The day I saw you, the world  stood still, baby I ¦ you  and always will, although I smile and seem carefree, no-one could love you more than me. The minute I heard my first love story I started looking for you, not knowing how blind that was.
The smile on your face lets me know that u need me there’s a truth in your eyes saying you’ll never leave me the touch of your hand says you’ll catch me if ever i fall.
To ¦ without condition, to talk without intention, listen without judging, to give without reason and to care without expectation. To think that you still love me even though I’m Not perfect, makes me love you more then ever.
This entry was tagged boyfriend, husband, Love Notes, love sms for him, Romantic Quotes for Him.
Anyway, the show is basically about a person who wants to tell their best friend how they like them more then just friends and how they want to be with them and stuff.
Had they been open from the jump, they probably would have had a better chance with their friend. So after watching the show, I’ve decided to make a list of things you can do to avoid being just a friend. Subscribe To My Weekly Newsletter Subscribe to get the latest content, deals and event updates by email. I Love You Messages for Ex-Boyfriend: Take ideas from this post to write a sad quote about heartbreak if you want to tell your ex that you’re still in love with him. 1) I don’t want the tears to stop rolling down my cheeks, I want you to come wipe them off.
4) You may have broken up with me but I want to remind you that nothing can stop my heart from loving you… not even you. 10) My friend asked me if I needed any help moving on and I replied ‘No, I need help getting him back’! 11) You hurt my feelings, you broke my heart, you made me cry, you left me alone and yet I wonder why, I still love you.
13) My life survives on Hope – the hope that you will come back, and the hope that you will whisper I Love You in my ears. 14) If our relationship is the past and our breakup is the present – I live in the past, pretending that the present is just a silly nightmare, hoping that the future will be a dream come true. 16) Even when you say something that makes me cry, I try to read between the lines to find a hidden meaning that can make me smile. 18) I haven’t been texting you for a while, hoping that a tender corner in your heart will make you text me. 27) The famous proverb ‘Once bitten twice shy’ does not apply to me because even after you broke my heart once, I still want to be in your arms again.
29) Forget moving on, forget standing still – my life has moved backwards since we broke off because I am continuously living in the past. 30) As your ex-girlfriend I don’t have the right to just knock on your door and fall into your arms. 33) Everyone knows that I still love you, and I don’t care if my friends think I am a loser.
35) All my friends tell me that you don’t deserve my love and I don’t deserve your heartlessness. 38) Ever since the day you threw me out of your life, I have been falling in a bottom less pit. Recently, I found myself sipping beer and carrying on conversation with some good Christian blokes around a table at a local restaurant.
The Spirit filled life of the believer on earth is one that is fraught with all kinds of tension and release. In my Song Selection Rubric, you’ll see how I work my way through a song canon as I plan singing in a particular church. We must ask ourselves, are our song choices nourishing us, our families, and our churches with a full and nutritious diet of melody and emotion?
We are fortunate to be able to introduce you to someone you may not yet know – Zach Loomis.
In case you haven’t tuned into previous posts, In Post 1, I introduced our series by considering Paul’s exhortation in Colossians as to why and how he thinks we should sing as Christians. Years ago I attended a church that sang “I Give Myself Away” as the opening song in their worship. The heart here is to crave and thirst for good poetry and prose in our singing; using language that adorns God’s truths with beauty, and allows God’s people, in the best way possible, to comprehend God’s majesty. We are fortunate to have great friends like Joe Brookhouse who take advantage of opportunities to do interviews on our behalf.
I heard a Professor in college once say that most Christians are struggling deeply with their faith because they believe in a “canon within a Canon.” He made this statement while teaching the history behind how we received the 66 book Canon of The Bible.
A great example of cherry picking Bible knowledge is the everyday bumper sticker that resounds Jeremiah 29:11’s promise to Israel, that God has plans for us and will give us hope and a future. The bottom line is that God gave to us a complete Canon—not portions—of Scripture that is about HIM, not US, and within its pages it tells the entirety of the Gospel. This idea of churches forming a “canon within a Canon” has shown up in our singing unfortunately. In the next 4 posts we will try to examine a way to ensure that we sing the story of Scritpure fully. To do this, my approach over the years has been to steal an outline from Mark Driscoll’s book Doctrine (His outline is reflected in the first portion of the Song Selection Rubric.
As I’m picking songs, for any reason, I categorize them by the truths they emphasize, in order to see if I’m being enriched with ALL of God’s truths.
Are we singing songs that are deeply enriching us with all the truths that God wants us to know—mind, body and spirit? Songs are important to us!  They not only have the power to equip us for a good car ride but they rise to even higher levels of influence. The fact is the world is going to perpetually attempt to define the style, the songs and the artists that are appropriate for the training of the human mind, body and soul. NOTE: Throughout this series, I’ll be examining particularly the church’s corporate singing and will include a document called the Song Selection Rubric.
To introduce this series of posts, I’d like to briefly look at one of the most famous verses in the Bible when it comes to singing.
Songs are for our Mind: Notice that this verse implores us to let the message of Christ dwell among us as we teach through song. Jonathan Edwards in Religions Affections said this, “Since holiness is the main thing that excites, draws, and governs all gracious affections, it is no wonder that all such affections tend to holiness. Stay tuned to my future posts in this series where we will turn to some practical tools to help us sing better as Christ’s bride. If our previous posts 1-4—detailing Christ’s role as High Priest (Part 1), Christ’s duty as Worship Liturgist (Part 2), and his effect on the Cosmos (Part 3) and the Church (part 4)—are correct, then Christ indeed has something to say about culture.  To deal with this issue, the famous H. If you’re looking for an idea for a family service or a theme to tie your Christmas service, or kids Christmas services together, you might want to check out ‘Twas The Night Before Christmas Eve! Following the aforementioned, we have begun to discuss the ramifications of Christ’s leadership.  In Part 3 we considered his role in the cosmos, and in our post today we’ll consider his role in the church, and next time we’ll talk about his role in the culture.
The Bible says the church is body, many but one, and connected to Christ as our ‘Head.’ Like a temple we are built up. As a parent is encouraged to “train up” a child in the way they should go (the Hebrew literally meaning to “give the child a palette and taste for beauty), our rhythms as a believing people should be giving us a palette and taste for the kingdom in the moment-by-moments of our lives. In most modern day churches we sing.  Whether your church is modern or traditional, liturgical or free, you probably have singing as some part of your service.  Now the question of “Why do we sing?” is another matter for another time, but do we ever pay attention to what we sing? Do we want God to lead us where our trust is without borders and go wherever He would call us?
Do we want to be taken deeper than our feet would ever wander so that our faith would be strengthened? If we believed what we sung and believed the words were real, would our churches look different than they do today?  Would we be doing the same things are doing now?  Are we singing these songs because they have catchy melodies and cool hooks or are we singing them because we truly believe the words?  Just food for thought.  If you have any more thoughts on this subject, please comment below. And on this particular Sunday, the song was close enough but different enough where it became very difficult for this gentleman to accept. I think we all understand that change is difficult, and I’m sure each of us have dealt with change on some level or another. In this episode, we are privileged to get to hear from Jon Egan and hear him talk about their new album entitled, Soak. Based on stylistic comparisons such as striations inside body contours and the presentation of horns in twisted perspective, several Paleolithic art experts, including the first curator of the Chauvet Cave, Jean Clottes, have accredited the Portuguese friezes to the early Solutrean of about 20,000 years ago3. In Portugal, the government did the opposite a€“ plunging ahead with a project destined to destroy the nationa€™s oldest cultural heritage by completing a 300-million-dollar dam whose reservoir will flood a valley packed with dozens of art sites spread over at least 17 kilometers. Yet construction continues - even on holidays - and the water is about to rise another hundred meters. A male ibex with his head shown in two positions, as if he were turning to watch the female behind him.
As we drove up to a sentry box perched on the lip of a road into the vast, unnatural gashing of mountains at Foz CA?a, it was hard to tell if the young guard blocking us in a crisp red and gray uniform represented a well-heeled security service or an elite military unit - but it was plain that bluff and sweet talk wouldn't get us far. The next time the car eased over the knuckles of a road crisscrossed by up-ended strata, past empty huts built just of stacked slabs, and jostled between overhanging and plunging cliffs until an avalanche of tailings from an old quarry almost blocked the path.
Here was one of the places of grandeur where our ancestors had first grasped visions and then concretized them by hewing - and sometimes painting - images into rock panels. As I pushed forward and the river grew shallower, turtles became so numerous that their stacks toppled like circus acts from the brinks of submerged cliffs. As a draftsman, I could feel empathy for the beast flowing into the hands that had etched her. This first frieze stood at a fitting point, practically where the reservoir yielded to the original rapids and long pools of the virgin river. Far away across the moonscape of rutted ramps, knots of men stood before tunnels as fleets of dump trucks, made so tiny by distance that they only gave away their magnitude by over-sized wheels, eased to the brink of platforms, and added avalanches to tailings. Above us, the titanium-white cleanliness of the cement plant's towers stood in bold contrast to the devastation, like a phalanx of gigantic chess-rooks bunched for the kill. According to press articles, the dam-builders had recognized him as the true discoverer of Portugal's first reported Paleolithic engravings, at nearby Mazouco, even though the doctoral student's mentor, Professor Vitor Oliviera Jorge, had stolen his thunder.7 They had given Rebanda a job as their obligatory salvage archaeologist when the new doctor somehow couldn't get a position on a faculty.
In return, all he'd had to do was wait till their concrete curtain had gone up and its reservoir had risen into a sea so voluminous and costly that its drainage would have been unthinkable. My goateed interlocutor smirked as he told me I could try looking for the doctor at the complex built for the previous dam, 15A kilometers downstream. But I'd hit pay dirt: the fact that I might hear Rebanda's mea culpa was more than Ia€™d hoped for. Sebastian elected to wait outside and embarked on Jules Verne's Journey to the Center of the Earth as I knocked at the locked door. Still, I complimented her on her English, sympathized with them for having to put up with this hierarchical bother, and kept spinning innocuous questions, while she kept waiting for me to go. When Rebanda's secretary came out again, to see if she could get either me a€“ or her boss - to give up as the wait grew embarrassingly long, I asked her what the round silos with tipped roofs on the hills had been used for. But the next time, after they had gotten used to my rounds, I stepped inside and admired a sequence of two eight-foot-tall maps full of pins. Something was wrong: in addition to the constellations of pins extending for 17 kilometers upstream from the construction site, there were dozens downstream, along the reservoir behind the dam just outside!
Finally, so many hours had passed, and she'd informed the doctor so many times that I was still hanging around, that I was forced by the sheer need for new scenery to vary my route, and drifted through empty rooms.
The only thing the reports agreed on was that Rebanda had somehow discovered the flooded portion of Canada do Inferno by the previous autumn22 a€“ asking the EDP to lower the Pocinho reservoir by just 3 meters in November 1994 so he could study the engravings.23 a€?They told me it was too expensive,a€? Rebanda had told the New York Times. So who had shot these photographs, which looked like they had been taken when the sites were dry vegetated hillsides instead of among the muck and bare banks below a fallen waterline?
I realized that the photos of the dry sites might have been taken before the Pocinho Dam, which had flooded them, had even been completed a€“ over 12 years before! UNESCO had suggested Clottes, who, in an uncanny convergence of good and bad karma, was taken on a whirlwind tour of the tip of the iceberg at Canada do Inferno, then immediately whisked to a press conference in Vila Nova do Foz CA?a on Dec 16th, 199428 a€“ just two days before the discovery of the Chauvet Cave that catapulted him, as its first interpreter and protector, from the summit of the French archaeological establishment to world fame.
But Clottesa€™ judgement was mixed, confirming that the art could be dated on stylistic grounds to the early Solutrean or even late Gravettian of twenty to twenty-four thousand years ago while suggesting that flooding the valley might be the best way of protecting it, since Portugal was ill-equipped to protect such widely dispersed panels from vandals!29 a€?There is no easy solution,a€? he told a reporter. What the press forgot to emphasize with quite as much fervor was the fact that Clottes had prefaced his Solomonic verdict by saying, a€?Whatever happens, the engravings must be preserved and not be damaged.a€? Clottes might have felt that he could safely pass the buck because no art conservationist could honestly guarantee the engravingsa€™ fate once they were subjected to currents carrying abrasives, burial under the petrifying alluvia that accumulates behind dams,33 and the worlda€™s most destructive solvent a€“ water, which would dissolve pigments and destabilize rock that had proven its resistance to aerial conditions over tens of millennia.
While chatting up the gaunt fellow traveller at the construction site, Ia€™d pretended to make small talk by asking engineering questions, including one about the depth of the sediment that had accumulated behind the Pocinho dam. The irony of it was that Clottesa€™ efforts to be honest without irritating his hosts had been the spark that the French diplomats had dreaded. Despite the fact that the great prehistoriana€™s reputation would remain largely intact, and with good reason, in much of the rest of the world,34 the Portuguese intelligentsia began to shun him. A€ propos of CA?a, two Portuguese rock art researchers, who couldna€™t stomach Clottes after his press conference, ironically echoed him by telling me, confidentially, that flooding the engravings could still be a blessing since it would save them from graffiti and those boogeymen of archaeologistsa€™ dreams, prowling collectors. My guess is that he was so beleaguered by advisers that he was just trying to get out of an awkward situation as quickly, judiciously and diplomatically as possible.
I mentioned to Rebanda that I had just attended the lecture on Chauvet, that I even had a videotape of it right there in my camera. So it's true, I thought, drowning the site was Rebanda's solution to the problem of ownership of photographic rights. But then, what about Rebanda's self-serving talk of photo credits, not to mention the engravings already submerged by the dam at the doorstep a€“ and his belief that the engravings were doomed to be flooded? Strangely enough, I could again see it being both ways, since the roots of tragedy are self-deception and entwined motives. He must have realized that I was rooting for him to pull himself out of his tailspin, because suddenly he decided.
Upon leaving, Sebastian asked to check out the Pocinho dam, so I drove round an interchange into an empty parking lot with planters.
As the sun slanted over the plateau into the wilderness of the CA?a valley, I decided to sneak into a side-valley to the north of our campsite that Rebanda's map had cluttered with pins. Then, after breaching a wall of rushes, we broke to the reservoir's edge - and were met by a horned skull stuck on a stake. Suddenly, I remembered what Rebanda had said about the engravings' association with witchcraft.
Being obstinate (or perhaps because of the prehistoric setting), I started whittling stone, knapping a microlithic surgeon's kit, and then bent single-mindedly to my task - failing till I was disgusted with myself and worried for my victim (which I had bizarrely associated with Rebanda).
This time there were two guards behind an overhanging military fence crested by barbed wire.
The guard who beckoned us in was rearing a guard-dog puppy, which scampered around, tumbling over ledges and using its chin to lever itself over steps. Our guide was a decent young man who couldn't help feeling uneasy blocking access to these bold masterpieces at the source of all our arts. Still, these guards were actually tame as the locals poured down to catch a glimpse of the animals through the fence.
After he'd hastened to take up his time-clock again, I wandered if there might not be even more testimonials of man's attraction to this classical Eden with its islets and fords in the flowery river, and browsed through a plowed orchard, along a contour which I judged would have been the valley floor half a million years ago. We knew the next dawn would be our last, so we broke camp in blue light to explore the teeming side-valley beyond the first auroch.
Not Portugal's - OURS - because this art is so old, despite its elegance, that we share the blood and genius of those distant ancestors who awoke to the universe, whether our cavalcade of ancestors migrated around the Old World or came across the Bering Straits 14,000 years ago. Footnotes have been added to the internet version of the article to provide historical perspective and more detail about sources than the versions that were published & distributed in 1995. 1 The three discoverers of the Chauvet Cave were Eliette Brunel Deschamps, Christian Hillaire, and Jean-Marie Chauvet. 2 The IPPAR announced the existence of the valleya€™s engravings on November 19, 1994 but a video was made of them in 1993. 10 Bahn 1995 for a re-capitulation of the same accusations against the IPPAR & Rebanda. 33 Bednarik & Jaffe have been the most outspoken spokesmen about delusions concerning the protective qualities of reservoirs a€“ which not only inundate art panels with water but deep alluvial deposits that make their later recovery dangerous and impractical. 34 Interestingly, a few years after this appeal was written, Clottes came under fierce attack and even ridicule by many representatives of the French intelligentsia, including some of the countrya€™s most prominent prehistorians, after he and David Lewis-Williams published a€?The Shamans of Prehistory: Trance and magic in the painted cavesa€? in 1996. As soon as their results indicating that the art might be only 3,000 to 6,500 years old (if not even younger) were announced a€“ which actually made the engravings even more astonishing, potentially rewriting the history of rock art or even making Portugal the last bastion of the Paleolithic tradition a€“ the most important Portuguese right-wing weekly screamed that the direct-dating results proved that stylistic daters like Clottes had perpetrated a a€?FRAUDa€? (O Independente, 7 July 1995).
It should also be noted that the individuals who participated in the debate were often somewhat unwittingly drawn into playing secondary or tertiary roles in a struggle between the Portuguese Ministry of Culture and Ministry of Industry. 40 In November 1995 - six months after this call-toa€“arms was published and circulated to Prehistoric Art Emergencya€™s volunteers (who Ia€™m glad to report included a young actor, Yann Montelle, who went on to earn a doctorate in prehistory) - a book edited by Jorge called a€?Dossier CA?aa€? appeared with 20 contributions by him or his wife. 44 After writing this article in May 1995, it occurred to me that I might have missed one of the main reasons for eliminating Rebanda from Portugala€™s archaeological milieu a€“ the fact that he was so effective at finding rock art that drew international attention, first to Mazouco, then to CA?a.
49 When I wrote the article, I assumed that the two young men were Rebandaa€™s subordinates and referred to them as a€?draftsmena€?. 50 After initially denigrating both the art and the idea of extracting it, the EDP later adopted the idea as one of its three strategies for overcoming opposition to the dam project. It wipes out all sense of time, destroying all memory of a beginning and all fear of an end.
They pretend they are going on a date and ask their friend to coach them, when in reality, the date is for the friend all along.
Know when to Give Up: Tip #1 is the most important rule, but tip #5 is the rule you need not forget. All I care about is that I love you and I want you to be mine, even though you don’t want me to be yours. Being away from you has just re-affirmed to me that my heart belongs to no one else but you. But I want you to remember that there was a day when I swore that I would never stop loving you. I wish I could do that but I can’t because you were, you still are… and you will always be my life.


How can you say that our relationship has come to an end, when in my mind, I am still your girlfriend?
We were philosophizing over the state of singing in the church, and talking about how the church has grown too “happy.” On a typical Sunday morning, a Western church goer puts on a shine to their shoes and smile, and goes to a amped up church, singing about the peppiness of faith and practice. Good song choices should acknowledge that we are human, and we need to be fully represented in all our depths of feeling.
I judge every song in relationship to all the others as to whether I am fully embracing the tonal ethic of the Psalms in the songs choices, as well as balancing what it means biblically to sing psalms, hymns and spiritual songs. In Post 2 I first explored how a good approach to singing would be to first ensure that we are singing the total scope of God’s story.
She looks at a lyric’s strength and weaknesses in allusion to story, Trinitarian language, references to God, corporate Ethos, sentence structure, diction, coherence, sound, melody, harmony, rhythm, compatibility with music and text, and singability. What he meant in this statement is that most Christians are like flower pickers rather than Gardener’s (my designation) when it comes to the Bible.
Those who parade this verse often cling to its promise in hopes that God will one day reveal his plans for them, and give them the dream for which they hope. In the book, Driscoll outlines the core doctrines of Scripture very well in my opinion and his chapter titles have provided me over the years with good headings by which to consider the songs I’m introducing in my church. Consider what it would be like if someone wrote a crime mystery thriller and left out the ending?  I’m afraid the church and its people are guilty of shortchanging God’s story in leaving aspects of it out, as well as overemphasizing things inappropriately in like fashion!  Note, the Song Selection Rubric, does not teach a science, as many songs will definitely fall into multiple categories, and there are many songs that when strung together may highlight the story better as a unit, but the heart of this approach is what needs to be grappled with. We must realize however, that God created singing, and thus as its grand architect, he knows completely its purpose and appropriate use. I give this tool to song planners everywhere, and I will refer to it often throughout my posts and give the reasoning behind each section.
This implies centripetal (motion inward) and centrifugal (motion outward) motion to our songs. We are not to heavily rely on the music and lyrics simply indoctrinate and instruct us, but we are to bring robustly trained minds to our singing.
This is why the Scriptures seem to prioritize the human voice in resonating with other voices as the main accompanied sound of heaven. How often does corporate singing in our churches cause people to feel as if they’re like a bunch of floating atoms flying around the room in their own independent little worlds?
Richard Niebuhr developed five models for how Christ deals with culture: (1) Christ against culture, (2) the Christ of culture, (3) Christ above culture, (4) Christ and culture in paradox, and (5) Christ the transformer of culture.  The question for us to answer, is which one is most Biblical? Lastly, in Christ the transformer of culture model, he takes the old heap of metal in that car, he obliterates it, reshapes it, makes it new and completely redeems it.  This last model is what I believe to be most consistent with the Christ of the Bible. You shall teach them to your children, talking of them when you are sitting in your house, and when you are walking by the way, and when you lie down, and when you rise. His memory of the hymn had been tainted by what he felt was a drastic change to a hymn that he dearly loved. But in that moment, I realized I had a role and a responsibility as a Worship Pastor to help navigate the path of change for this gentleman. How do we help those people who have a dear, beloved memory of a hymn and feel that any modern day equivalent will not do it justice… or that it will disgrace the namesake of the author somehow? I find this to be the most helpful thing when talking to people who have a hard time with change. But helping your church navigate through change could be one of the most important, and Pastoral things that you do. Not only were frescoes of rhinos, horses and lions over 30,000 years old found in a cave in the Ardeche on Dec. Although theya€™re probably right, ita€™s worth noting that these same specialists used similar criteria to ascribe the animals of Chauvet to the same period - until carbon 14 results pushed their age back over 10,000 years, shattering the notion that prehistoric art had evolved linearly, like technologies.
In France, the Ministry of Culture placed its new treasure under the most draconian protection, despite the fact that the country already has the lion's share of Paleolithic art.
Standing right in front of some of the most spectacular engravings, the Secretary of State for Culture dismissed them as being nothing more than a€?childrena€™s doodlesa€? a€“ whereupon the students from Foz CA?aa€™s high school turned the official into a laughing-stock by presenting him with a schist slab covered with their own scribblings4.
It's now or never, the author of the following article decided in April 1995, as he set out to evaluate the engravings, find out the truth, and propose solutions.
My 13-year old son and I had flown to Porto in Portugal and driven far up the Douro valley into the northeastern mountains, prepared to maneuver around obstructions whether by negotiation or hiking through the back door. Still, here was our first encounter with the powers that be, so I took this opportunity to probe, and get a first step up the hierarchical ladder. So I explained how Sebastian and I had come so far to see the Paleolithic glories that Portugal would be displaying with pride, spoke of credentials, and placed us (and our pen) in his hands.
Still, we had our bearings, and drove off into the late afternoon to penetrate the heart of the forbidden zone. We were getting closer, very close now, and could spy loops of a trail among the folds of a distant ridge. And here too was the arena where one of the greatest feuds between discoverers and custodians of the past had exploded since the conflict between Othniel Marsh and Edward Drinker Cope over the fossils of extinct giants in Sioux territory during Custer's battles. With swifts swirling in up-drafts around our heads, we scrambled and picked our way among sheer precipices and ledges. Its tight horseshoe of cliffs and rubble made the perfect hiding place for our car and tent from the gray guards roaming the surrounding crests with binoculars. Sebastian snuggled tighter into his sleeping bag, so I set out to reconnoiter alone, systematically working quadrants and contours between our quarry at Fariseu and Piscos brook. Somewhere among the jumble of a thousand rock faces would be an ancient image - perhaps masked by lichen or so faint one had to trace its parts before seeing it whole.
The numbed waters suddenly spangled upstream with glitter and so many flowery white tresses of water plants that the currents looked like sudsy pastures.
After all the noisy demonstrations against the dam in Lisbon, how were they to know how much clout a nosy prehistorian might have? Whatever was going to happen to him afterwards in the backwater of Portuguese archaeology had surely been inconsequential, since experience proved that nobody made much fuss over sites that were out-of-sight and out-of-mind - especially with archaeologists beholding to dam-builders and political appointees for access and records.
According to the insinuations, he could have continued his documentation right up to the headwaters as his masters worked their way upstream step by step. I sensed that this crowd felt their doctor deserved to be the one to tell fellow archaeologists that they might as well ask to visit Atlantis. Sure enough, there was the 12 year-old Pocinho dam sweeping the valley with a clean curtain.14 But the silos of this former construction site's cement plant were speckled with rust, the ranks of its offices and dormitories were deserted and almost every window was broken. Fortunately, Sebastian was becoming ever more engrossed in Verne's book, spelunking towards the planet's core, so I began to gravitate down halls for exercise and companionship, coming to the door of the room where the secretary was braiding the blind's cord while two laconic draftsmen labored over tracings of horses, ibexes and aurochs. It has been insinuated that Rebanda probably discovered Rock 1 at Canada do Inferno as early as November 1991.18 In Dec. So, quixotically, he had proposed building a dry-dock around the outcropping, and, failing that, underwater exploration. If so, the power utility may have known of incredibly rich sites years before the first blueprint for the new dam! Clottes was the worlda€™s reigning prehistorian a€“ the man who had risen to the pinnacle of the French archaeological establishment and held the only keys to the holy grail of art caves - the unbelievably strong and ancient Grotte Chauvet. After inspecting the 15% of the art that remained above water at the site in the rising dama€™s shadow, because the EDP had hardly felt it necessary to lower the water for the visit of the foreigner sent by the now antagonistic IPPAR, Clottes stepped before a highly polarized press corps.
The dam-builders and their government backers felt vindicated while much of Portuguese public was crestfallen or furious. The dam had become a poisonous political issue in a national election with the President and his fellow Socialists attacking the center-right Prime Minister for its willingness to sacrifice both the nationa€™s patrimony and vineyards to a flaky building scheme. As if the owners of villas built around the new lake would really allow it to be drained 100 meters to its bottom - where almost all of the known panels would soon be drowned a€“ once every decade! Suddenly, the Portuguese public felt that the dam-builders were not only destroying the nationa€™s most ancient claim to world grandeur and civilization, but that they were in league with a man who would never have been so cavalier with Paleolithic masterpieces in his own country! When I later asked Portuguese archaeologists if they were going to attend an up-coming conference organized by Clottes, they recoiled. First, because Clottesa€™ retinue of hosts, diplomats and reporters was rushing him and putting him in a bind a€“ even if his stature, pride, and role as UNESCOa€™s expert on rock art had led him into it. They even echoed his faith in getting dam operators to regularly empty the vast lake a€“ despite the glaring evidence of the EDPa€™s behavior at CA?a itself.
No sooner had Clottes triggered a public outcry, than he began to explain away his tepid defense of the CA?aa€™s importance by saying that he had not been shown enough art to form a true idea of the valleya€™s richness.35 But the truth is, he was shown Rebandaa€™s trove of drawings from submerged sections and sites upstream36 and could have been more demanding.
After all it was a lot of money, the government was inflexible, the controversy had become a campaign issue a€“ which meant that his advice would seem like foreign meddling - and the elections were still far off. When, in fact, the long-term rights for the cave in France would belong to its Ministry of Culture a€“ which was already attacking its discoverer, Chauvet, for the pittance hea€™d received for his pictures.
But I could hardly hold my tongue: why on earth had he invited people from this caste of academics back into his life - and the valley - when at least one of them had apparently abused him? The picture was compelling: SimAµes and her husband angelically insisting that the world must be told, while the hireling screamed demonically over the fire, accusing university archaeologists of trying to hog the credit yet again. If Rebanda had known SimAµes and Jaffe were going to paint him into a corner, wouldn't he have raced for the exit? Both Rebanda and SimAµes de Abreu could have been traitors and saviors at once, and as long as I was with this archaeologist, I felt bound to encourage the savior in him. It must have seemed like an insult to him after all his efforts, so with an anarchic gesture, he announced, what the hell, he'd photocopy their fax when it came, so we could enter a second.
Huge black derricks hulked atop the dam beside a row of gate-lifting pistons that looked like Big Berthas.
We bagged the warning or omen, caught and released a giant water beetle - the kind that injects deliquescing enzymes into living frogs, then sucks out their juice - and worked our way along what was actually the upper tier of a disappearing cliff. When art panels are located in the CA?aa€™s side valleys, they are apparently concentrated on northern slopes.
I was a willing guide as we skewered corn kernels on hooks, lashed lines around a log and threw the lethal leashes into the dark. They were a hundred yards apart, making perpetual rounds as they kept time clocks happy by cranking them every few paces with keys chained to the fence. It was probably his first job after military service, but he was intelligent enough to realize that hea€™d been hired as a pawn in a vast conspiracy to keep Portugal's greatest cultural wonders out of sight and out of mind, till they could be obliterated.
One, because any plan to remove the friezes not only meant assigning a value to them, but keeping the controversy alive. The mountainous dirt road forked, meandered and even skirted an imposing castle,51 but several classes of children were making the long dusty pilgrimage on foot while carloads of adults in their Sunday best made the excursion to see the only engravings to have escaped the censors - either because the site at Penascosa was so far from Lima Montiero's spyglass or because the valley was gentler here and had always been farmed. I hadn't passed the first olive tree when I happened upon a well-knapped hand-axe, and then another! On-line commentary entitled a€?Some corrections about the CA?a petroglyphsa€? in TRACCE no. While Chauveta€™s name was given to the cave itself, the names of his co-discoverers were given to two of its large chambers.
Mila SimAµes de Abreu and Ludwig Jaffe were the founders of the APAAR (AssociaA§ao Portuguesa de Arte e Arqueologia Rupestre), which has been a member of IFRAO (International Federation of Rock Art Organisations) since Sept.
In an on-line commentary, Jaffe denounced what he perceived as a continuation of the scandal under new management: a€?In December 1994 IPPAR passed the responsibility for the rock art in the Coa valley to Mario Varela Gomes and Antonio Martinho Baptista. Their critics often subscribe to the doctrine that modern ethnographic evidence cannot be used to interpret ancient cultures. Although Bednarik was one of the earliest crusaders for CA?a - calling for the EDP to stop building the dam in Nov. The leftist press and Portuguese archaeological milieu reacted with just as much reflection, ignoring both Bednarika€™s qualifiers and his pioneering role in organizing the world campaign to fight for the whole valleya€™s salvation (see Dossier CA?a p.
Of the 66 contributions written by individuals, not one is by Nelson Rebanda, whose ghost a€“ to anyone interested in intellectual property a€“ haunts every line. After the CA?a scandal served its purpose as an electoral issue that helped the Socialists to win power, the new government kept its campaign promise by protecting the CA?a Valley but used the goodwill engendered by the decision to blunt criticism while flooding other huge assemblages of rock art. 3; Catherine Vincent, writing in Le Monde on March 11, 1995, goes into much more detail about one particular vineyard, Ervamoira, that would have been lost, along with its exceptional Port wine. The first was to prove that the engravings were not Paleolithic a€“ an effort that entrapped researchers who wanted to apply experimental direct-dating techniques. Maybe your romantic words will hit the sweet spot in his heart, and make him come back to you. The heart was to be able to give away this album FREE to the church to help those who are hurting, grieving, lost, and caught in despair, bitterness and even rage—whether their feelings be toward God or even injustice shown to them in their own life. He explains that the good life is “an implicit picture of what human flourishing looks like.” Through our singing, we try and pull a fake heaven down into earth and convince ourselves that life is all positive thinking and emotional joy, when in reality the Bible is very honest about the fact that “real life” in this present evil age, and heavy rich experience is just not like this. I included a document for Corporate Worship Singing called the Song Selection Rubric , that will continue to help us more thoughtfully think through our singing, and I want to explore in Post 3 the next part of this Selection Rubric in hopes of broadening our approach to corporate singing.
These may seem like small things but in a day and age where we’ve lost profound poetry in worship music, we need to learn from those in the body of Christ that have gone before us who have enriched us in how to craft more illustrative prose. Most people cherry pick verses from the Scriptures in whatever manner they like, and assemble the truths (apart from their context) into beautiful worldview bokehs that fit their taste.
Sadly, what they never realize is that this verse has already been fulfilled in the person of Jesus. Some churches shout for God’s kingdom and yet fall silent when singing of sin and the cross. Classical compositions such as Gioachino Rossini’s Morning Song became powerfully attached to a sunrise through its use in cartoons. This is why I want to deeply consider singing!  If as Christians we’re to SING, I want to know what songs we’re to sing.  What is the purpose of our singing?  Who do we sing to?  Why do we sing?  Should we think at all about the songs we’re choosing to listen to? The more we know the Bible, and the more we know the person of Jesus, the more our singing is enriched.
Hands are raised, eyes are closed, lights are off, and voices shout, but all in an effort to create an individual encounter with Christ. Was there something significant about the change you implemented that is helping the church move forward or taking the church to a place it needs to be? Most of the time, it seems people have a very passionate view about change and want to express that view. 18th1, but Europea€™s biggest open-air gallery of Paleolithic animals was reported just a month earlier in the CA?a Valley of northeastern Portugal2. Regardless of how old the CA?aa€™s art turns out to be, it is unique in its richness above ground and astonishing in its illustrations of movement - with animals tossing their heads with the same stop-action dynamism found at Chauvet and only millennia later in photography and Futurist painting. The Chauvet Cavea€™s prehistoric bestiary was proudly splashed across magazines around the world. Soon, the guard turned into a regular lad, wrote down the chief engineer's name and pointed beyond the ramp-laced moonscape - into the wilderness. In this walled garden, the conflicting passions of archaeologists had exploded around a campfire, set a president and prime minister against each other, and cowed the emissaries of UNESCO. Lizards skidded into fissures, a rusty blade wedged in a nook beside a sliver of cliff garden spoke of an emigrant who had never returned, but the walls seemed barren. Over and over again, the scene seemed set, the rock stretched, but its lines were just fractals. I yanked myself up to a platform less than a step wide and a ten-foot long cow - an auroch!
By holding the animal's form and movement vividly in mind, the maker had poured himself into its body and experienced a power beyond abstraction, beyond even tool-making, to thrill to the new power of passing through the looking-glass into another being.
A stream, running pure as its springs over crisp cresses between alternating bull rushes and crags, almost made it to the river unaltered, but met it just below the threshold and sank into an estuary. We had arrived at Pandemonium and would try to insinuate ourselves into an audience with the Chief Engineer himself. Only one was so spotless and redolent of perks, though, with its rolled lawn incongruous in the desert, that we knew right where to head among forking roads. I was hardly surprised when these well-fed pros passed the buck to the only gaunt and partially toothless fellow traveler among them. So they decided to play it safe by dumping me on their pet nemesis, the organizationa€™s own archaeological a€?hirelinga€?, Dr. He could have added to his hoard of exclusive photos and measurements, imposed interpretations, and generally lorded it over his peers - for who could have naysayed him with his treasures locked a hundred meters deep in so many great watery safes?10 And to think that all the dam-builders' pet archaeologist and his accommodating superiors at the Portuguese Institute for Architectural and Archaeological Heritage (IPPAR)11 in Lisbon - to whom Rebanda had reported his discoveries at least twice12 - had had to do to pull off this economically patriotic (not to say mutually beneficial) stunt was keep their mouths shut! After having suffered at the hands of his mentor, Professor Jorge, why had Rebanda put himself at the mercy of two similar academics and representatives of an international body to boot - Mila SimAµes de Abreu and her archaeologist husband, Ludwig Jaffe, who represented the International Federation of Rock Art Organizations (IFRAO)? At least such nuisances would keep him from getting up to more mischief by turning up new discoveries. But, finally, a secretary answered my summons and let me into a vestibule empty except for a display of postcard-sized photographs of some of the engravings, and a cartoon caricaturing the scandal - which I reckoned had been knowingly posted to co-opt criticism. I couldn't quite make out the man's features through the crack, but it was obvious he was gushing recriminations - and no wonder: the entire archaeological profession had ganged up on the pariah. We all knew I had crossed a threshold, but, after all, I had paid my dues, and in any case, I padded off to the foyer again. Yet they'd prattled to the press that they had found the art a year ago, and then more like two years ago, and now, word had it, a€?onlya€? three years ago25 - when it was always somehow too late to stop the process leading up to construction, which had only started in September a€™94.26 The gall! Instantly, I whipped out paper and scribbled the fastest copy of the main map that my hand could draw. After SimAµes de Abreu and Jaffe had unleashed the scandal by revealing the conspiracy to flood Europea€™s richest assemblage of open-air Paleolithic art, the IPPAR and Portuguese Ministry of Culture had scrambled to get their own expert witness a€“ and, in a further twist, had asked UNESCO to recommend an expert to challenge the power companya€™s growing efforts to prove the art wasna€™t Paleolithic but recent27 a€“ in which case, the EDP seemed to think that the public would drop the subject as being the relatively recent work of peasants drawing their cows. For all their heightened sensitivity to having CA?aa€™s fate evaluated by a foreigner, the Portuguese press viewed Clottes as a referee and expected a verdict.
Then, as fate would have it, Clottes was back in the headlines within the week, announcing drastic measures to protect Francea€™s new crown jewel, Chauvet. And as if anyone could even find new art during the two weeks a lake might be emptied (every hundred years) while everything was coated with algae and grime!
Opposition editorialists had a field day with Clottesa€™ apparent hypocrisy and dismissiveness towards Portugal - and demonstrators flooded the streets. Two, because people are often driven to produce their greatest work and worst mistakes by similar drives.
Rebanda was even fooling himself on this score, I thought - after all, the Foz CA?a photographs would probably end up belonging to Portugala€™s own ministry or even the EDP.
Scientists - like lawyers - ply an adversarial trade, but the chance to put Portugal into the archaeological heavens a€“ and to boost their own reputations with it - had given many researchers more ulterior motives than usual. Personally, I couldn't see anybody bedding down for the night and traipsing out the next morning with people who had announced that they were going to expose him.
In essence, my heart a€“ if not my mind - had taken his side for the moment; he was the underdog, on the verge of a nervous breakdown, and I was concerned that he might even attempt suicide. If I didn't mind coming back at 9 the next morning, he apologized, the approval should be there. But basically the dam was a streamlined machine without much need for local intervention or maintenance.
My unequivocal certification of their global importance only made him uneasier, as he didn't know whether to feel flattered or upset.
We peered into a dovecot, a squat white tower lined inside with empty compartments like a city after a plague. Suddenly, a deeply hammered auroch on the rock stood out boldly as a road sign - alerting us to an entire herd. The geology, erosion, & silica skins protecting engravings all seem similar on both slopes, so I theorize that this positioning is not simply a taphonomic illusion created by the disappearance of engravings on the southern slopes. I wasn't expecting anything when I ambled down at dawn, but there it was: a big mound under the bank! From what I could tell, even his draftsmen had decided to take the day off 49, once they realized the coast was clear. By God, I thought, if the flooders don't save them, I hope the townspeople storm the valley!


If the guards hadn't been under strict orders not to sell admissions, they'd have made a killing; but then any financial association with the art is anathema to the dammers: the next thing they knew, they'd have a revolt on their hands! And like the first guard, when he realized that I had somehow gotten authorization despite my evident opposition to the reservoir, he let out his pent-up indignation - for we were insiders.
As we passed the threshold between the deadened depths and virgin current with its billowing water-foliage, we had to skirt and climb over a sheer wall blocking the side-valleya€™s entrance. The intertwined couple, spanning the length of a single real horse, was still necking in Eden after twenty millennia.
Rock Art and the CA?a Valley Archaeological Park: A case study in the preservation of Portugal's prehistoric parietal heritage. Although it is true that one must be extremely circumspect about doing so, such evidence often opens new perspectives that have more in common with the subsistence systems of ancient cultures than does our own, and the two authors showed considerable originality and courage in exploring it. 1994 - most Portuguese archaeologists with access to the CA?a sites now shun him as thoroughly as they do Clottes and Rebanda. 539, for a resolution, written in defense of CA?a, by Bednarik, in a book filled with vitriole against him). These retractions confirmed that some of ZilhA?oa€™s criticisms of the direct dating attempts were well founded, but dona€™t necessarily reflect on other matters raised in his disputes with Bednarik and Jaffe. In the English sections, Jorge generously credits numerous associates and generations of Portuguese prehistorians by full name, while studiously avoiding any mention of Rebanda except where it is unavoidable, and then only with his last name between brackets. The second was to make casts of panels for a museum a€“ which may have damaged some panels. You see it all the time on TV shows, mothers telling their children who they should be dating.
But think hard before giving him the slightest of hints that you’re missing him even after your breakup. Even Jesus, in his perfect, fully God, fully man state here on earth, experienced the full tones of human emotion. God sets us aflame with his training, and brings us to our knees in lament, only that we may feel the weight of our sin and dross fall off our shoulders, and thus stand up to rejoice. I found myself wondering, “how can I give myself away to nothing—what am I responding to?” The Bible clearly shows us that God observes a rhythmic pattern in worship whereas he always reveals himself FIRST, and in our encounter with his holiness, we are then motivated to give our sins up in repentance, and ourselves away in service.
This verse is a Messianic promise to the nation of Israel, and by cherry picking it out of its context, a person can absolutely obliterate its original meaning.
Some are infatuated with God’s reign, strength, and power and have overlooked his posture of a humble servant in the Incarnation. We will also continue to build on our look at singing by following a simple rhyme of words that can help us stay balanced:  total, text, tone, target. It reveals the things our church tends to love to sing about, and the things we naturally neglect.
Is a big conglomerate like EMI Records going to define what edifies the body of Christ, or is God?
In Colossians however, it would seem singing is predominantly grounded in the context of being amongst “one another.” We are to benefit the BODY of Christ first and foremost in our singing!
Paul’s view of singing is far more corporate.  Enriching corporate singing is dispensed through the sound of the masses, not in the isolated sound of an ear bud headphone! We will speak more about how songs emotionally and “soul-ish-ly” form us in our Christian maturity in future posts, but consider for a moment how singing changes when married to thankfulness! Those acts which men delight in, they necessarily incline to do.” Related to singing, this quote implies that singing shapes and forms and shapes our perception of beauty, delight, and desire. In this episode we will be talking about how they have built a relationship and some things you may consider doing as you think about raising up youth worship leaders in your church. In part 2, Joe & Jon talk about some of the struggles they have had at New Life, and more importantly how God has shaped Jon and the church through them. I shared with the gentleman what we were doing with that song and how it fit into the service.
But as soon as you get them to step back and look at the big picture of who you are as a leader and someone who wants to follow God, their perspective quickly changes! While the paintings in the French cave, which became known as the Grotte Chauvet, often have engraved contours, the Portuguese menagerie may also have been painted, but, being outdoors, their pigments have usually weathered away. As shadows welled from the valley, we turned from the scarps and trundled downwards into the cleavage, till the road turned into a path to the water through a profusion of poppies. Finally, I discerned a flock ambling down through dry brush, then a shirt flashed a white dot, and we converged within hailing distance on opposite banks.
Even ideal panels on either side of a fig tree bulging titanically from a small cave were barren. A stand of poplar trees crackled like Chinese New Year with small birds, abundant as leaves.
It was a good thing we had his name, Lima Monteiro, because the Securitas guard on this side meant business. Our compact car slid in among Mercedes and I stepped into glare, drawing cool stares from fleshy faces.
My interlocutor explained that the Chief Engineer was powerless to help me, so he couldn't be bothered to give me an audience.
Of course, the stories went, the honorable witnesses had refused to become accomplices and had immediately denounced the whole plot a€“ writing open letters to the Portuguese President, Vice President and Director of IPPAR - with carbon copies for the press.13 If only his employers had known that Rebanda was so naive!
She announced that it was no use disturbing the doctor, who I could see through a jarred door talking to someone over the phone with peevish vehemence.
Finally, I suggested that she didn't need to keep me company while I waited for the good doctor to get off the phone. That's strange, I thought as I wandered off again, mulling over a mental photograph of the site distribution.
And here were others, even closer to the construction site, at "RA?go de Vide", which had been submerged by the same old dam!
Still, she caught me; whereupon I went on elaborating it, asking questions, and then padded back to the foyer again to continue my vigil.
After all, the archaeologists and reporters had allowed the Tagus petrogylphs to be drowned with hardly a whimper. Not only did the contrast with his actions in Portugal now smack of a double standard, but there was a piquant irony. With stakes this high, both parties unleashed their opinion-making machines, making hash of Clottesa€™ carefully weighed words as quickly as theya€™d vilified Rebanda. Clottesa€™ words may have been earnest, but with stakes this high and politicized they were about as reasonable as Pontius Pilatea€™s attempts to keep the peace.
I prefer to think the latter, and that his only mistake was thinking that people on both sides were lucid and reflective enough to interpret his verdict correctly. In Rebanda's place, I'd have calmed down and let the traitors fall to sleep, but then I'd have snuck away - trekking fast through the dark, picking myself up when I fell, but getting out - bloody knees and all - and calling that alarm first! Furthermore, I had no doubt - whatever pacts he'd struck - that he would make up for them if only approached constructively. After we'd faxed it, I was sorry to see him having to still recall and refax, as he nudged the request repeatedly through the unyielding bureaucracy. Sebastian and I scrambled and tacked among the carious cliffs, till there was nothing left but rock overhanging the water itself. But a huge horse, leaning over the depths, was both more graceful and cryptic, for someone had wedged a rusty horseshoe into a crack between its hooves. No sooner had I chipped the thin device and steadily shoved each curve straight, than the hook slipped smoothly free.
Only Rebanda's long-suffering secretary had to keep her post and occupied herself by taking up the relay of calling and faxing.
These red and gray devices were not only customized to match the guards' uniforms, but showed off the latest in high-tech materials and molding. As we wound our way down towards the reservoir among towering red cliffs, he took quiet pride in pointing out the hidden elements of scattered engravings. But then Piscos Brook ran between trees, pastures and cane-groves, with cliffs full of shelters and stone panels at each bend. La Pintura, The Official Newsletter of the American Rock Art Research Association (Member of IFRAO) Volume 21, Number 3, Winter. In the same book, which Jorge compiled to record the campaign he was spear-heading to save CA?a a€“ a laudatory effort, if there ever was one, that made Jorge synonymous with yet another of Rebandaa€™s finds - Bednarik is repeatedly dismissed as a a€?charlatana€? (pp. Jaffe accused the trio, who had taken over responsibility for the archaeological resources of the valley, of endangering art panels and refusing to allow qualified foreign researchers or even Dr. Whatever the case may be, the problem of rock art conservation is still as far from resolution in Portugal as it is in most other places in the world.
Other times, the mood is playful, and candy, cufflinks or an album of heartfelt songs are unwrapped. However, popping songs like worship pills of “happy,” seems to stink of unauthentic denial.
This means that we must reconsider what our singing is saying about how we view “the good life.” Is our singing fully capturing, preparing, shaping, forming, and readying our people to express their heart in response to God through all of life’s valleys and mountain tops?
Here, text and function become important because this church I speak of is not just making an illogical choice, but an unbiblical one. The misinterpretation of this verse and many others has set a slew of Christians up for placing hope in their self-conceived dreams, which leads them into making idols of their ambitions. We cannot just pick out the parts we like and ignore the ones that don’t “speak to us.” The whole of Scripture is there for our training, rebuking, and edification in righteousness (2 Tim.
To begin, we will consider the whole or total story of Scripture, and briefly think through how to involve the whole story of God in our song and lyrics. Bach’s Joy of Man’s Desiring is iconic in religious settings as well as Handel’s Messiah.  Even into today on a more popular level, we have songs like Beyonce’s Single Ladies (Put a Ring on it) that defines not only a mantra for a new generation, or a relationship, but promotes a dance craze, much like Chubby Checker’s The Twist.
Truth spins out of us in passion and zeal, and as it hits the air, others hear, are edified, and it creates a climate of spinning truth.
It’s not just the truths in the songs that matter, nor that we keep our eye on our neighbor as we’re singing.
The mind, the Body, and the affections (soul) are deeply connected not only to our well-being, but to our mission.
Well, in this episode of the WMC podcast, we get into some of the reasons why you should consider using Mainstage for playing keys in your worship band. If you’ve ever struggled or gone through the valley at your church or in your ministry, you’ll want to listen and share this interview! He probably sang this song dozens of times for years and years and it was very special to him. By asking this gentleman to pray for me as I work on songs and music and creating a service, I suddenly was able to show my humanity and that I can’t do it on my own.
All that remains, where jagged outcroppings of schist jut from brushy slopes - exposing terminal facets perfect for murals - are hauntingly sinuous outlines of deer, horses, ibexes, and wild cattle called aurochs. The first flurry of press articles had mentioned that many of the engravings were already submerged by the cofferdam holding the river back for the more monstrous wall rising downstream from it.
I sent greetings and the shepherd expostulated and gestured animatedly upstream towards towering slabs. For me, all of mankind's later accomplishments, all our later experience of good and evil only become possible after such art. The irrelevant exchange had sparked sympathy as we both waited - and waited, in similar irrelevance to someone too consumed to give us heed.
I would have to go to Lisbon, and no, it wouldn't do any good for him to fax; he didn't have an iota of authority. Despite all the insinuations about Rebanda and IPPAR, they were actually the first to try blocking the philistines with the clout of an institution as important as UNESCO.
About thirty years before, Francea€™s equivalent to the EDP had taken the entire Ardeche Gorge, where the Chauvet Cave had just been found, from its entrance at Sauze to a rainbow-huge, natural arch - Vallon Pont da€™Arc, next to Chauvet - by eminent domain, to build a dam. These conscientious people know that theya€™re barely tolerated by the forces of Mammon - scraping crumbs from the tables of vast enterprises armed with dynamite and bulldozers - and make compacts all the time with them, telling themselves, for instance, that the alluvial strata that cement plants exploit are always too tumbled to contain intact Acheulian hearths.
If only he'd announced the discovery, co-opted his employers, and splashed masterpieces across magazine covers while the art's existence was still fresh, he might have won honor, fame, a very small fortune (and maybe even kept his job). Within weeks, local academics had begun signing their names to Rebandaa€™s discoveries, tracings, and interpretations while forgetting to cite him. I'd have been the one to announce the existence of the largest gathering of open-air Paleolithic engravings in Europe to the world. Slate slabs, thoughtfully laid into a wall as steps, led down through a canopy of fig trees into a cavernous wallow between cliffs. I woke Sebastian in time to see the beast lumber over the bank and glide away, and then it was high time we checked out our other line at the doctor's office.
Noon passed as we still waited together like an old couple, talking about the doctor's misery, Australian rock art, translations; whatever. The guards stiffened as Sebastian and I had the gumption to breach a forbidden zone and stride blithely forward. There were so many warblers piping and whistling, there must have been a dozen species with overlapping territories.
Botha€? - Baptista and Gomes a€“ a€?were closely involved in the rationale to submerge the rock art (to 'protect it from vandals'); in fact, on 8 November Baptista spoke of how sedimentation behind dams should protect rock arta€? - my italics. After our departure, Bednarik and three other researchers (Alan Watchman from Canada, plus Fred Phillips and Ronald Dorn from the USA), who believed that they had found ways to date rock art directly, studied some of the CA?aa€™s engravings during separate visits.
1995 that was led by Mounir Bouchenaki, the IPPAR formed a scientific committee consisting of Antonio BeltrA?n, Emmanuel Anati and Jean Clottes, who came back for a second round. Sending messages and texts to your ex is never a good idea unless you really want him back in your life. An overall happy approach denies what real life is really like and how deep affections are truly formed. They are stressing the actions of man first before the actions of God—going against thousands of years of church liturgy and wisdom—and are truly shaping their church toward a man-centered-focus rather than a Godward gaze. We should see the whole thing as being enriched with nutrients, and seek to harvest every square inch of soil in the hopes that a healthy life will grow. The concern in Paul’s mind is that we also bring our whiny, complaining, sin-bent soul to the altar of God, and lay down our entitlement crowns through our singing. Singing shapes us in an effort that we may leave enflamed with love for our fellow Christian friends, and empowered for witness before a watching world!
I’m not sure if he fully bought into my vision, but I brought him alongside me and I walked him through what I was doing. And so, forgive me, but in comparison to these ancient windows, cathedrals seem to have anti-climatic and overwrought power.
Except for the absence now of bigger species, this was how Solutreans had experienced the world - with whistling, mooing, barking, roaring and trumpeting not just on the Serengeti, but to the frozen north! So much will go unrecorded because of all this fuss.a€? a€“ So, Rebanda is resigned to the inevitability of the flooding, I thought.
If the dam had been built, a dozen known art caves would have been flooded or affected by rising water tables.
So rather than condemn Clottes, perhaps the Portuguese should simply admit his diplomacy opened the debate, even if one might wish that hea€™d been a crusader. From Chauveta€™s pinnacle, its gatekeeper was probably right to dismiss the scratchings, which I too thought could have been the kneading of bears, but the contrast between the levels of encouragement was striking. Although they granted him the discovery of Hella€™s Canyon (in footnotes), other sites that Rebanda had already noted were soon claimed by competitors as Rebanda was effectively silenced. And Vitor and his wife, Susanaa€? - was it my imagination or did her name stick in his craw? Their stingy hypocrisy and philistinism revolted me: they wouldn't spend a penny on protecting such discoveries, but they'd drown the world up to its headwaters to keep driving Mercedes.
Goldfinches sparked into the air, a crested hoopoo flashed orange and black, and the shaggy canes were a tumult of avian chatter. Jaffe was also the IFRAO representative of the SocietA  Cooperativa Archaeologica, Le Orme della€™Uomo, Italy (Bednarik 1994).
But not before signing controversial non-disclosure agreements with the EDP, which was hoping that their techniques would yield dates so recent that they could be used to ridicule stylistic daters who had identified the engravings as Paleolithic (Baptista & Fernandes 2007, p.
As seen on the Song Selection Rubric , when I plan songs, I take a look at the number of total songs, and the text of the songs I’m using in order to best determine if I’m including songs of revelation (God’s actions) and our actions (response). Rather than embracing the attitude of the world, singing is supposed to form us in our mind, body and our attitudes and affections. Don’t just tell people to accept it, help them buy into it and invite them to walk through it with you.
Intermittent splashes smacked echoes off the walls, a frog croaked and some beast keened a cry we had never heard. When I asked if they could intercede on our behalf, she said one had to apply in person, in Lisbon, and have connections.
In fact, paw prints indicated that we had missed cornering another feral dog or fox in its lair. Surgically, it was a nightmare: I'd have to pry its head out, keep its neck extended, wedge open its powerful beak and finally thrust the treble barbs down its throat, so as to carefully extract their burr, without snagging them again! Finally, they agreed that one of them would walk parallel to us, down the fence-line, to let us in the distant gate.
At our feet, frogs skipped like pebbles and painted turtles rowed earnestly in tangled water blossoms - all for the taking.
Unless you and I and all of us together add our voices to those of the Portuguese citizenry trekking down for a last look, and reclaim what is OURS! The story of the denunciation is from Bednarik (1994) and Simons in the New York Times (1994).
You could even rant your heart out in cute tweets that you think might give him the signal. Even the Chauvet Cave, which was unknown, might have been threatened by the changing water table! Unfortunately, Bednarik, who is one of the worlda€™s most encyclopedically informed, accomplished, and bold prehistorians, walked right into the trap. Jorgea€™s utter dismissal of Bednarik was clearly motivated by the lattera€™s implicit condemnation of the way that Jorge had appropriated Rebandaa€™s earlier discovery at Mazouco, instigating Rebandaa€™s secrecy that was one component of the CA?a a€?cover-upa€? (Bednarik 1994, p. Later, Bednarik spear-headed another campaign to save a Portuguese rock-art assemblage from inundation a€“ this time behind a dam in the Guadiana Valley - and noted that a€?None of this helps the rock art of the Guadiana, condemned to inundation under billions of tonnes of lake sediment as the reservoir silts up over the next 70 yearsa€? a€“ again, my italics. Do you think I'm such a fool as to invite the man who deprived me of the credit for my first discovery, to come see my greatest wonders if it wasn't because I needed all the allies I could get; if it wasn't because I even needed the universities to help save them.
Ironically, the mandarin in Porto would come out smelling like roses for his campaign while the roles of several well-meaning prehistorians, if I may insist upon the word, were simplified so as to make them better scapegoats. First, because his dating system, which was based on determining the degree of micro-erosion undergone by a rock face, had been developed in Australia, where climate and geological conditions are different from Portugala€™s. This odd statement flies in the face of Bednarika€™s consistent defense of both the CA?aa€™s art and other assemblages, suggesting that it was a ploy to get the EDP to allow them to test their methods. Even though both men concluded that their observations proved that the art was no older than the Neolithic, Bednarik did not repeat the notion, when announcing his results, that a relatively recent vintage diminished the arta€™s importance or the need to protect it a€“ quite the contrary.



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