6 "But this thou hast, that thou 'hatest' the deeds of the Nicolaitans which I also hate." Here Paul's "wolves" are called Nicolaitanes. The significance of this warning is seen in the commendation of the Message, vs. Also of your own selves shall men arise, 'speaking perverse things,' to draw away disciples after them." Acts 20:29, 30. "I know this, that after my departing shall grievous 'wolves' enter in among you, not sparing the flock. Paul, who founded it, warned it of what should happen, in his parting message. ![]() The complaint that Christ makes against this Church is that it "had left its First Love." Its character is seen in its very name, for Ephesus means to "let go," "to relax." It had become a Backslidden Church. We will now consider each message separately. It also must not be forgotten, that, that which is a distinctive characteristic of each Church Period, does not disappear with that Period, but continues on down through the next Period, and so on until the end, thus increasing the imperfections of the visible Church, until it ends in an open Apostasy, as shown on the chart "The Messages to the Seven Churches Compared with Church History." The churches are given in the order named, because the peculiar characteristic of that Church applied to the period of Church History to which it is assigned. So we see that at the close of the First Century the leaven of "False Doctrine" was at work in the Churches. While the character of these Seven Churches is descriptive of the Church during seven periods of her history, we must not forget that the condition of those churches, as described, were their exact condition in John's day. This interpretation of the "Messages to the Seven Churches" was hidden to the early Church, because time was required for Church History to develop and be written, so a comparison could be made to reveal the correspondence, if it had been clearly revealed that the Seven Churches stood for "Seven Church Periods" that would have to elapse before Christ could come back, the incentive to watch would have been absent. 96, down to the taking out of the Church, or else we have no "prophetic view" of the Church during that period, for she disappears from the earth at the close of chapter three, and is not seen again until she reappears with her Lord in chapter nineteen. 1:19.Īnd which includes chapters two and three, must be a description or prophetic outline of the "Spiritual History" of the Church from the time when John wrote the Book in A.D. The "Key" to the interpretation of the Book of Revelation is its "Threefold Division." Rev. Thus Christ looks upon the churches as not the Light, but simply the "Light Holder." The use of the figures "Lampstands" and "Stars," which are only for service in the night, indicates that we are living in the "Night" of this Age. onsuming, while a "Lampstand" is simply the "Holder" of a lamp whose light is fed from a reservoir of oil, thus typifying the oil of the Holy Spirit. A "Candlestick" requires a light which is self. "Lampstand" is a better translation for the word "Candlestick," and is so given in the margin of our Bibles. He heard behind him a "great voice," as of a trumpet, and when he turned he saw "Seven Golden Candlesticks," and standing in their midst one like unto the "Son of Man," who held in His right hand "Seven Stars." He was told that the "Seven Stars" were the "Angels" (Ministers or Messengers) of the Seven Churches, and the "Seven Candlesticks" represented the Seven Churches. John when he received his message was a prisoner on the Isle of Patmos. These Seven Churches then must be representative or "typical" churches, chosen for certain characteristics typical of the character of the Church of Christ from the end of the First Century down to the time of Christ's return for His Church, and descriptive of Neither were the seven churches named the only churches in that district, for there were at least three other churches: Colosse, Col. The Book is addressed to the "seven churches which are in Asia." By Asia is not meant the great Continent of Asia, or even the whole of Asia Minor, but only its western end. There is no blending, but sharp contrasts, and a long protracted conflict that ends in victory for the good. ![]() Earth touches heaven, and alas it touches hell also. The clouds roll away, thrones, elders, and angelic forms are seen harps, trumpets, cries from disembodied souls, and choruses of song are heard. The Book is full of "action." Earth and heaven are brought near together. It is the Book of Consummation and its proper place in the sacred canon is where it is placed, at the end of the Bible. Or order, in which these events are to happen.
0 Comments
![]() I still remember how we used to do stuff just to fuck with people! Sun Ra would always do a space chord, so when we were doing the Innerzone Orchestra together I said we have to do one as well. It’s a nice conversation that we have back and forth. You’re a great mentor to me, but when it comes to technology, I can offer guidance. I even broke one! I still owe you for that.Ĭ: You and I have an interesting relationship because when it comes to history and music theory. You have not only become a treasured friend, but a treasured mentor.į: It goes both ways: I remember borrowing synths from you. You introduced me to a lot of Sun Ra, and it was your guidance that really got me into the world of Electric Miles. Some of my musical storytelling has come from the chief griot, Fransico Mora. I used to spend hours at your house, learning about drumming, and how African influences and experiences have crossed over into electronic music. He hadn’t heard it, so I loaned him the record. In the end, he came over to my house, we drank tea, and listened to Sun Ra synthesizer solos. Mora, why did you say that we aren’t doing anything new?” So I started telling him about how the history of African-American people in electronic music goes way back. One day she came home, and started enthusing, ‘techno! techno! it’s the great new thing that’s happening!’ So I said, “Ife, there’s nothing new about electronic music in the African American experience.” Of course, she went off and told her friends: “my daddy says that you guys aren’t doing anything new!”Īfter that, Carl called me up, asking “Mr. On the heels of the release of Francisco’s first full length electronic album, Electric Worlds – released on Carl’s Planet E label - the pair sit down to discuss their inspirations, Sun Ra, and the fundamental power of music.įrancisco Mora-Catlett: My daughter Ife was getting really into electronic music when she was a teenager in the mid ’90s, running around all these raves and parties with her pink hair. From teaching Carl about jazz history and playing on his 1996 album The Innerzone Orchestra, to Carl lending Francisco synthesizers, the two have remained in constant conversation. Inspired by Sun Ra’s forward-thinking ethos, Francisco is able to find connections between jazz and electronics.Ī seemingly unlikely pairing, his relationship with Detroit legend Carl Craig was born out of a shared mutual respect and a passion for sharing knowledge. With an appetite for futurism, Francisco draws on his extensive knowledge of musical history and theory to push his work forward. After working as a session musician for Capitol Records in the late ’60s, Francisco left Mexico City with Sun Ra in 1973, touring with him and the Arkestra until 1980. The son of Mexican painter Francisco Mora and African American sculptor Elizabeth Catlet, Francisco thrived in a “progressive arts environment” since childhood. ![]() Drummer, composer, and multi-instrumentalist Francisco Mora-Catlett has been immersed in creativity since birth. This kind of strategy gives many fights – especially one-on-one bosses – an engaging duel-like quality. You can freeze one from afar by throwing your axe, then use your fists to stun and grab another, then recall Leviathan for an area-of-effect ice burst. You can’t cut through huge swaths of enemies with it, so you need to consider how to manage your foes. I like how it emphasizes a more calculated style of combat instead of zoomed-out, combo-driven encounters, Leviathan makes you a tactician. The ice-infused axe Leviathan is a drastic departure from the iconic Blades of Chaos Kratos once wielded, but it is a well-balanced and entertaining tool of destruction. He fires off magic attacks and performs brutal executions in his attempts to defeat a clever assortment of foes from Norse myth. The Greek world may be gone, but Kratos is still a god of war, and his skill on the battlefield is appropriately divine. ![]() Despite this more grounded approach to presentation, the action’s scope and ambition is stunning in cutscenes and combat alike. The environments and characters look fantastic, and a new cinematic camera angle brings you close the action and never cuts away – a decision that proves immensely rewarding during big moments by giving you an intimate view. Between those points and beyond, the adventure is punctuated by a steady flow of enormous beasts, ancient architecture, and intense boss fights. ![]() An early encounter (against a mysterious enemy called the Stranger) sets the bar absurdly high, and a cathartic sequence later on stands out as my favorite moment in the series to date. That isn’t to say God of War has sacrificed its ability to deliver incredible spectacle. In terse responses and long silences, Kratos conveys more than he ever did cursing Olympus at the top of his lungs. These quiet moments are interesting, slowly and believably closing the distance between two characters – a focus that contrasts sharply with previous games. When Kratos artlessly paraphrases the fable of the tortoise and the hare, Atreus mocks his lack of storytelling prowess. Atreus wonders what he might say to his departed mother if given the chance – an exercise Kratos finds pointless. The interactions of Kratos and Atreus range from adversarial to compassionate, and these exchanges have ample room to breathe and draw players in. God of War brilliantly presents a desolate journey in a gorgeous world, all through the lens of the relationship between a distant father and his eager son. ![]() They encounter detours and surprises along the way, but the precise story beats are less important than how they are conveyed. The narrative is one of them, despite its simple premise: Kratos and Atreus need to reach the top of the highest mountain in the Norse domain. While previous games in this series established a successful formula of stylish action and epic setpieces, the team used this opportunity to be better with surprising changes on every front, God of War forges a new identity and surpasses even its most acclaimed predecessors.Īs a longtime fan of the series, this entry captivated me for completely different reasons. In developing the latest God of War, Sony’s Santa Monica studio apparently took this message to heart. This happens in different contexts, but the lesson remains consistent: Your decisions are not bound by precedent, and the choices of others are not examples to follow – they only set standards you can strive to exceed. In gruff moments of fatherly instruction, Kratos repeats the phrase “be better” to his son, Atreus. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |