How To Pray With Passion And Power Order Printed Copy

Author: Tommy Tenney
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About the Book

"How To Pray With Passion And Power" by Tommy Tenney is a spiritual guide that aims to help readers deepen their prayer life and connect with God on a deeper level. Tenney emphasizes the importance of praying with sincerity, fervor, and faith, and provides practical tips and insights on how to cultivate a more meaningful and powerful prayer practice. Through personal anecdotes and biblical teachings, the book encourages readers to approach prayer with passion and confidence, believing in the transformative power of communication with God.

Keith Green

Born on October 21, 1953, in Sheepshead Bay, NY; died on July 28, 1982, in Lindale, TX; married Melody Steiner, 1973; children: Josiah (deceased), Keith, Bethany (deceased), Rebekah. Addresses: Record company--Sparrow Records, P.O. Box 5085, Brentwood, TN 37024. Website--Keith Green Official Website: http://www.lastdaysministries.org. Known for his uncompromising approach to both his faith and his music, Keith Green has become a legendary figure in Contemporary Christian music since his death in 1982. Taking on the role of a modern-day prophet, he earned a fervent following thanks to his explicit evangelical message and buoyant brand of pop-rock. Green was a critic both of secular society and of commercial tendencies within the Christian community. Since his passing, he has been the subject of several tribute albums and was inducted into the Gospel Music Hall of Fame in 2001. From early childhood onward, it seemed certain that Green would become a musician. Born in New York, he relocated to the San Fernando Valley area of California with his family not long after. At age eight, he began to perform in stage musicals, appearing in such notable roles as Kurt Von Trapp in a local production of The Sound of Music. In 1965 he published his first song, "The Way I Used to Be," and became the youngest member of the American Society of Composers, Authors, and Publishers. That same year he signed a five-year recording contract with Decca Records and released his first single, "Cheese and Crackers." Though Green was groomed to be a teenage idol, he never quite achieved success. The late 1960s found him experimenting with drugs and dabbling in various Eastern religions. His life began to turn around after he met (and eventually married) songwriter Melody Steiner in the early 1970s. Under Steiner's guidance, Green began to explore fundamentalist Christianity. Before fully embracing the faith, he began keeping company with singer/songwriters Larry Norman and Randy Stonehill, two of Southern California's best-known Christian rock artists. His skills as a singer and composer began to develop as he edged closer to religious conversion. Finally, in 1975 he became a committed Christian after becoming involved with the Vineyard, a well-known San Fernando Valley church. With a convert's fervor, Green became involved in a series of Christian music projects, including the band Good News and the stage musical Firewind. He also began writing spiritually themed songs, among them "Your Love Broke Through," which went on to become a Christian pop standard recorded by Randy Stonehill, Phil Keaggy, and others. Dedicating his reawakened creativity to glorifying God, Green founded Last Days Ministries in 1977. He and his followers evangelized to young rock music fans, street people, and others not being reached by conventional churches. At the same time, he made his debut as a Christian recording artist, signing with Sparrow Records and releasing the album For Him Who Has Ears to Hear. This song collection displays the essentials of Green's musical style: exuberant singing, piano-based melodies, and well-crafted pop/rock production. Among the best-known tracks on Green's first album are "You Put This Love in My Heart," "No One Believes Me Anymore," and "Your Love Broke Through." Balancing the warm-hearted testimony of these tunes are some humorous moments, including "No One Believes Me Anymore," a mock lament sung from the Devil's point of view. Overall, For Him Who Has Ears to Hear introduced Green to the Christian music market as a gifted musical evangelist of enormous potential. As his audience grew, Green made clear that his focus was on spreading Christian teaching rather than providing entertainment. He sought to challenge the assumptions of his fellow believers, criticizing Christians who took their faith for granted. Some compared him with the Old Testament prophet Ezekiel, who decried the loose morals and weak faith of his generation. A number of the songs on Green's 1978 album No Compromise were addressed to the spiritually lazy. Most important among these is "Asleep at the Light," a ringing call for Christian activism sung by Green with palpable emotion. Less intense but still effective is the playful "Dear John (Letter to the Devil)" and the country-tinged "Soften Your Heart." All three of these songs received considerable airplay on Christian music stations. Green was uneasy in his role as an emerging celebrity. He spoke out against the Christian music industry's increasing tendency to imitate secular show business ways. "Why do we idolize Christian singers and speakers?," he asked in a statement issued through Last Days Ministries. "We go from glorifying musicians in the world, to glorifying Christian musicians. It's all idolatry! ... It's true that there are many men and women of God who are greatly anointed to call down the Spirit of God on His people and the unsaved. But Satan is getting a great victory as we seem to worship these ministers on tapes and records...." Turning away from the California Christian music scene, Green relocated to Lindale, a small east Texas community, in 1978. In addition to maintaining Last Days Ministries, he decided to launch his own record company, Pretty Good Records. Through this label, he released his next album, So You Wanna Go Back to Egypt, in 1980. This eclectic effort pokes fun at weak-spirited believers in its title track and offers a personal confession of need in "I Want to Be More Like Jesus." The most enduringly popular track proved to be "Oh Lord You're Beautiful," a powerful hymn that became a favorite at Christian worship services. In a bold move, Green announced that So You Wanna Go Back to Egypt would be sold for a variable price, even given away for free to those unable to pay. This decision sent shock waves through the Christian music industry, causing other artists to reconsider their album and concert pricing policies. An estimated 200,000 copies of the album were eventually distributed on a "pay what you can afford" basis. Unlike some of his Christian music peers, Green showed little desire to dilute his message in hopes of reaching a wider audience. His 1982 album Songs to the Shepherd concentrates on worshipful material, praising the Lord in musical settings ranging from uplifting pop ("You Are the One") to blues-seasoned rock ("O God Our Lord") to old-fashioned country ("Draw Me"). While these songs were little-heard outside the Christian community, they helped fire Green's already-committed audience to a greater level of devotion. Fusing his work as a performer and evangelist, he toured actively during the early 1980s, mixing personal testimonials and heartfelt exhortations in between his musical numbers. Green's life was cut short just as he began to hit his stride as a musician and minister. On July 28, 1982, he boarded a small Cessna aircraft for a brief sightseeing flight around his property in Lindale. Also on board were his son Josiah and daughter Bethany, along with the pilot and eight other passengers. Overloaded, the plane crashed shortly after takeoff, killing everyone on board. Recovering from her loss, Melody Green decided to carry on with Last Days Ministries and Pretty Good Records. Recordings of her husband's music were released posthumously, beginning with Prodigal Son and Jesus Commands Us to Go in 1983. Though lacking the cohesiveness of the albums released during his lifetime, both these song collections capture Green in strong creative moments. Prodigal Son's dramatic title track is a particular highpoint. Melody Green continued to guide Last Days Ministries through the coming years and, in 1985, also took on the directorship of Americans against Abortion. Green's musical legacy remained vital as well, with many of his best-known recordings repackaged in compilation albums by Sparrow during the 1980s and 1990s. Multi-artist tribute albums also began to appear, starting with 1992's No Compromise: Remembering the Music of Keith Green. 2001 saw the release of Start Right Here: Remembering the Life of Keith Green, featuring spirited interpretations of his songs by such notable Christian rock acts as MxPx, Joy Electric, and Starflyer 59. Your Love Broke Through: The Worship Songs of Keith Greencontains covers of Green tunes by Michael W. Smith, Twila Paris, Rebecca St. James, and other top-rank Christian pop/rock talents. On November 27, 2001, Green was inducted into the Gospel Music Hall of Fame. The honor served as an acknowledgment of his continuing influence in Contemporary Christian music some 20 years after his death. Green's intensity and dedication have continued to make him a role model for younger Christian performers, such as Rebecca St. James, who paid tribute to him in a Sparrow Records press biography. "I think what touches me most about him was that he was so committed to loving God and living for Him," she said of Green. "I know he was very strong-willed and people were sometimes offended at what he did and said, but it all came out of a pure motive of trying to be committed to Him in every part of his life. He wasn't going to back down just because of what people thought of him. That, to me, says that he was more focused on pleasing God than on pleasing man, something I think we should all try to focus on." Keith Green's Career Began career as child stage actor and composer, early 1960s; signed with Decca, released debut single, "Cheese and Crackers," 1965; began writing Christian songs, mid-1970s; founded Last Days Ministries, released first album, For Him Who Has Ears to Hear, 1977; founded Pretty Good Records, released album So You Wanna Go Back to Egypt, 1980. Keith Green's Awards Induction (posthumous), Gospel Music Hall of Fame, 2001. Famous Works For Him Who Has Ears To Hear , Sparrow, 1977. No Compromise , Sparrow, 1978. So You Wanna Go Back to Egypt , Pretty Good, 1980. The Keith Green Collection , Sparrow, 1981. Songs for the Shepherd , Pretty Good, 1982. The Prodigal Son , Pretty Good, 1983. Jesus Commands Us to Go , Pretty Good, 1984. Because of You--Songs of Testimony , Sparrow, 1998. Here I Am, Send Me--Songs of Evangelism , Sparrow, 1998. Oh Lord, You're Beautiful--Songs of Worship , Sparrow, 1998. Make My Life a Prayer to You--Songs of Devotion , Sparrow, 1998.

he carried a cross through the empire - ignatius of antioch (35–107)

Shaded from the heat of a Syrian summer, an old man sits in shackles, speaking earnestly to a secretary. His words mingle conviction and compassion, like a father to his children. In the next room, ten of emperor Trajan’s legionaries drink off another day’s pay. For them, the road from Antioch to the Roman Colosseum will be long, but it is better than being sent a second time into the Dacian wars. It is August, AD 107. The prisoner’s name is Ignatius. Before his arrest just weeks ago, he was the bishop of Antioch. After the Apostles As Ignatius travels to the Colosseum, the church sits in a precarious spot. Ignatius’s mentor, the apostle John, has recently died. For the first time, there is no living witness to the resurrected Jesus. No leader who can comfort or correct the course of the church with apostolic authority. And yet the need for both comfort and correction is great. From outside the church, Roman society marginalizes Christians as “atheists” (those who do not acknowledge the Roman gods), and the authorities respond to rumors of strange rites in Christian worship with intensifying cycles of persecution. External pressure exposes internal fault lines among those claiming to follow in The Way. Doctrinal deviation creeps in, questioning the truth of the incarnation (Docetism) or requiring adherence to the law of Moses (Ebionism). Behavioral aberration crops up, as some take the name of Christian but remain complacent in patterns in sin. Errors in both doctrine and practice multiply as the church continues to expand across the reaches of the Roman Empire. All of which serves to highlight the question of authority. The old ways of answering this question are gone: Christ has ascended, and his apostles have been martyred. The new and perpetual authorities are not yet in place: a creedal consensus on the faith, a recognition of the canon of Scripture, and the biblical structure of the church all remain undetermined. Seven Last Letters At just over seventy years old, Ignatius steps into this crucial moment in the life of the church by writing letters addressed to seven congregations along his route to Rome. His public ministry through these seven letters has been compared to a meteor, his brightest moment coming as he “blazes briefly through our atmosphere before dying in a shower of fire” ( Apostolic Fathers , 166). But Ignatius is much more concerned about his role as a pastor than as a martyr. As he writes, he cares more about the churches’ discipleship than his own death. He may, therefore, be better pictured like a weaver’s shuttle, carrying the thread of Christlikeness from east to west behind him as he passes through the empire, binding the churches together in the beautiful truths of the Christian life. The pattern he weaves, from the threads of his concern for the church as well as reflection on his own situation, is centered on the cross of Christ in at least five ways. 1. Branches of the Cross First, and foundationally, the cross was central to the earthly ministry of the Lord Jesus. Ignatius presented the cross as capturing the essence of Jesus’s life in this world. This acute moment of passive obedience was the consummation of lifelong humiliation. Jesus was, from first to last, “a man of sorrows and acquainted with grief” (Isaiah 53:3). This broad view of the sufferings Jesus endured — “in every respect” (Hebrews 4:15) — opens wide the door for Ignatius, as well as those to whom he writes, to share in the sufferings of Christ. In a stunning adaptation of Jesus’s words from John 15, Ignatius writes, “If anyone is the Father’s planting, they appear as branches of the cross.” To be branches in the vine, to have his life in us, means that we must “die into his sufferings,” not only as martyrs but in our mundane life as disciples (3.1). 2. Foolishly Different Hope Second, the cross is central to the Christian proclamation of the gospel. In the gospel announcement of “Christ for us,” the “passion has been made clear to us,” and we, in turn, must make it clear to others (6.7). Ignatius celebrates the saving power that was released at Calvary: we escape death in Christ’s death; we receive the new birth only because he died on our behalf. Furthermore, as a community of the redeemed, the ministry life of the church is shaped by the crucifixion. Ignatius pictures the cross as a crane lifting living stones into the temple of God (1.9). It is this cross-shaped congregation that is regularly re-formed around the broken body and spilled blood at the Lord’s Table (1.20), proclaiming the Lord’s death until he comes. This is why the church must reject those who soften the weak and foolish offense of the cross. “[Be] deaf whenever anyone speaks to you apart from Jesus Christ — really born, really persecuted, really crucified, really raised” (3.9). Otherwise — if our hope is not evidently and “foolishly” different than that of this world — someone “might praise me but blaspheme my Lord” by denying that he was God in the flesh (6.5). 3. Greatest When Most Hated Third, the cross is central to Christian discipleship. This is true for Ignatius as he is on the way to Rome to “die for [Christ] as he died for us” (4.6). His caravan has become a classroom — “I am just now learning to be a true disciple” (1.3). But Christian discipleship is deeper and wider than the spiritual gift of martyrdom. It is wider because it applies to every believer — we are all to bear “the stamp of God” rather than “the stamp of the world” (2.5). And it is deeper because the cross places a claim on the whole of our life; once we have “taken on new life through the blood of God,” our new and “righteous nature” delights to reflect the cruciform character of God in Christ. The Spirit of Christ within us enables us to imitate him rather than the world. In response to their anger, be gentle; in response to their boasts, be humble; in response to their slander, offer prayers; in response to their errors, be steadfast in the faith; in response to their cruelty, be civilized; do not be eager to imitate them . . . [instead] let us be eager to be imitators of the Lord, to see who can be the more wronged, who the more cheated, who the more rejected, in order that no weed of the devil may be found among you. (1.10) As he wrote to the church in Rome, “Christianity is greatest [most like Jesus] when it is hated by the world” (4.3). 4. Doorway to God Fourth, the cross is central to Ignatius’s longing to commune with Christ. One of the most striking aspects of these letters is the way Ignatius pleads with the believers in Rome not to interfere with his impending martyrdom out of misplaced concern. Reflecting the way Christ has turned life and death upside down, he writes, “do not hinder me from entering into life, and do not desire my death” (4.6). Ignatius’s journey to the Colosseum is, in a tangible way, a journey into the presence of God. “To be nearer to the sword is to be nearer to God” (4.2). Yet even on the way, communion with Christ in his sufferings has turned the chains draping his body into “spiritual pearls” carried “in Christ” (1.11). In this, Ignatius sets himself as an example for us to imitate. We too must “stand firm, like an anvil being struck by a hammer” (7.3). We too are storm-tossed ships still on the way to the harbor. We too “lack many things so that we may not lack God” (3.5). And yet we do not lose heart because, as the persecuted church gathers together, Christ himself is present among his people. And Christ is he “than whom nothing is better” (2.6). Indeed, “nothing is better than him” (7.1). Because of his cross, we die into his sufferings. But because of his resurrection, suffering has turned into birth pangs, the grave has been turned into a womb, and death is a doorway into life full and everlasting. 5. Scripture Unlocked Fifth, and perhaps most immediately relevant for twenty-first-century disciples who seek to follow Ignatius as he follows Christ, the cross is central to his interpretation of Scripture. Rejecting the accusation that a crucified Messiah is unknown in Israel’s Scripture, Ignatius installs the Christ of the Gospels as the “unalterable archives” out of which the wisdom of God is to be read. The lens through which the Old Testament can be rightly understood must be the person and work of Christ (5.9). For the church in the first century and the twenty-first century, Christ is known, proclaimed, worshiped, and followed as he stands forth from the Book of God, unlocked by the key of his cross and resurrection. Christ of His Cross In considering the example of Ignatius, we can receive encouragement from his faithful witness. The testimony of his life did not seep into the sand of the Colosseum to be lost but, spread through his seven letters, watered the church. We can rejoice in the Spirit-led process by which the canon of Scripture was not only recognized but was faithfully summarized in the creeds of the church, providing us with firm ground on which to stand. Most of all, however, our attention must be drawn to the cross Ignatius carried across the empire, and to which he called the church. In many ways beyond those few listed here, the Christ of this cross is our hope, our joy, and our life.