amiko io arakarak\'ilay sary apetrakao amin\'ny tenanao! Ny antony sy ny dikan\'iny amin\'ny fiainana sy ny hampiharanao an\'iny!
Ohatra
Za manana namana niara nianatra tamiko
mompera dia ny mission ny dia ny mitory amin\'ireny ilay olone be tatoo be ireny (cammioneur, sy ilay mpitondra harley davidson be ireny) dia le pozina lava volo mifatotra bebe kibo be sy be tatoo ireny ileiry
ny tatoo eny @ tenany ilay symbole kristianina ireny, lakroa, sary masina, sns...
dia hoe indraindray hono ireny manampy azy hivavaka sy hitadidy (karazana aide memoire, mitovy lenta sary vongana sns ) rehefa ilay any @ dezaka mety feno athee be ireny ka mety hanahirana ny baiboly.
dia manao ilay bracelets ohatran\'ny Hardosy be ireny koa lery, le hoditra mainty be ireny dia le misy vy----> iny no saple an-drazoky fa ilay vy 10 ny isany dia iny ny \"arahaba ry maria\".
fehiny: rehefa manampy anao sy mety hahasoa amin\'ny fiainana ilay izy fa tsy lasa paozipaozy fotsiny dia tsy hitako izay olana!
Mpanao Hard rock sy Metal Evanjelika koa i leiry, ity article nosoratany tany @ bokin\'ny University niarahanay nianatra t@ izany
WHAT MUSiC WOULD JESUS LISTEN TO?
To Hell with the Devil,”
they proclaimed, dressed in black and yellow spandex, with hair that hung below their shoulders. They stood in that “rock star” pose that all adolescent boys from the 1980’s knew how to emulate: legs apart, leaning back slightly, arms raised triumphantly, with an aggressive and intimidating look in their eyes. Their music was heavy and loud and the beat was inviting, the kind of music you could pump your fist to. The year was 1987 and the band was Stryper, a heavy metal band to be sure, but one that identified itself as “Christian.” As a teenager, I was intrigued by Stryper’s image and its music, which sounded quite similar to many other mainstream “hair metal” bands of the day. But after listening to their songs I understood why they were different from other rock bands. They did not sing about sex or the occult, nor did they guzzle booze or bite the heads off bats like Ozzy Osbourne. Their message was clearly very different from their more worldly musical peers.
In the 20 years since Stryper helped to popularize “Christian Rock,” the genre has grown substantially, and several contemporary groups have enjoyed a level of success their predecessors could not have imagined. According to a 2006 article on Beliefnet.com, Christian music is the sixth most popular type of music in the United States, outselling both jazz and classical genres. It appears that, in many circles, it is actually cool to listen to Christian rock. The genre has also expanded and includes several sub-genres. Indeed, almost every secular music genre now has a Christian counterpart. A few years back, I even heard a Christian “Death Metal” band called Mortification.
Rockin’ for Jesus
Christian rock grew out of “Contemporary Christian Music” or C.C.M., a genre popularized in the 1970’s and 1980’s by artists like Phil Keaggy, Amy Grant, Michael W. Smith and John Elefante. Originally influenced by folk and gospel, C.C.M. gradually incorporated elements of pop and rock music. The primary difference lies in the songs’ lyrics, which are meant to evangelize, spread the good news of Jesus and, presumably, win converts to the faith.
Using rock music as an evangelical tool would have been unthinkable to most Christians in the 1950’s. This was not because the songs’ lyrics were necessarily objectionable, but because many worried that the sight of Elvis shaking his hips, coupled with rock’s “primal” 4/4 beat, might encourage teenagers to engage in promiscuous behavior. Today the sound of Christian rock is nearly indistinguishable from mainstream rock ’n’ roll. The same aggressive guitar riffs and driving drum beats listeners objected to 50 years ago can be found in songs by Christian bands like Jars of Clay, Third Day and Audio Adrenaline.
