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The video was uploaded to YouTube [11] and EBaum's World in 2006. [12] Daker's first name was misspelled in the original subtitles, so he is sometimes referred to as "John Daker." [3] [1] Jon Graham Daker was born November 19, 1939, in Peoria. [1] Daker grew up on the West Bluff and attended Peoria High School, earning his GED later. [3]
There's power enough in heaven, To cure a sin-sick soul. There is no mention of the balm of Gilead in Newton's poem, but it begins: How lost was my condition Till Jesus made me whole! There is but one Physician Can cure a sin–sick soul. The similarities in the refrain make it likely that it was written for Newton's verse.
Vintage footage of Marsha Stevens and Children of the Day performing "For Those Tears I Died" on the Kathryn Kuhlman television program, c. 1971 Video on YouTube; Christian Century Magazine, March 17, 1999 by Mark Allan Powell; Marsha's tears: An orphan of the church; Children of the Day History; Marsha Stevens-Pino profile on lgbtran.org
"Glory to His Name" (also called "Down At The Cross") is a hymn written by Elisha A. Hoffman in 1878. It is thought that Hoffman was reading about the crucifixion of Jesus in the Bible and began to think about how God saved men from their sins by allowing Jesus to die on the cross.
In order to finance the project, the group borrowed $900 from Calvary Chapel pastor Chuck Smith in order to produce the album, which included what would become the group's best-known song penned by Marsha Stevens, For Those Tears I Died. The well-received album was followed two years later by With All Our Love (1973). Two more albums by the ...
According to the official Jesus Christ Superstar website, in the song: . Caiaphas and the Priests discuss the problems caused by the mob following Jesus. They don't understand how he has managed to inspire people and believe that Jesus poses a very serious threat to their authority and the fragile relationship they have with the occupying force from Rome.
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The spoken intro begins, "Jesus died for somebody's sins, but not mine," being the statement of the album. [11] According to Janovitz, "Smith's intermingling of lascivious sex and religious guilt (or lack thereof) certainly foreshadows similar sacred/profane juxtapositions from ultra-feminine Madonna and androgynous Prince ."