Others like the saints everlasting rest Features >>
The Post Rapture Church
Where Do We Go From Here
Finishing Well To The Glory Of God
We Saw Heaven: True Stories Of What Awaits You On The Other Side
Miracles From Heaven
Eternity
Epic Battles Of The Last Days
A New Heaven And A New Earth: Reclaiming Biblical Eschatology
Our Greatest Gift
Angels And Demons
About the Book
"The Saints' Everlasting Rest" by Richard Baxter is a Christian devotional classic that explores the concept of heaven as a place of eternal rest and joy for believers. Baxter highlights the importance of living a faithful life on earth in order to attain this heavenly reward, and offers practical advice on how to prepare for and anticipate the coming rest in God's presence. The book emphasizes the importance of seeking eternal rest in God as the ultimate goal of the Christian life.
Johnny Cash
Johnny Cash, the Man in Black, was a singer, guitarist and songwriter whose music innovatively mixed country, rock, blues and gospel influences.
Who Was Johnny Cash?
Johnny Cash grew up in a poor farming community and joined the Air Force in 1950. He co-founded a band following his discharge, and within a few years Johnny Cash and the Tennessee Two had scored hits with songs like "Walk the Line." Cash's career was nearly derailed in the 1960s by a serious substance-abuse problem, but his marriage to June Carter and acclaimed album Johnny Cash at Folsom Prison (1968) put him back on track. In later years, Cash joined the country supergroup the Highwaymen and released a series of recordings with producer Rick Rubin.
Early Life
Cash was born on February 26, 1932, in Kingsland, Arkansas. The son of poor Southern Baptist sharecroppers, Cash, one of seven children born to Ray and Carrie Rivers Cash, moved with his family at the age of 3 to Dyess, Arkansas, so that his father could take advantage of the New Deal farming programs instituted by President Franklin Roosevelt. There, the Cash clan lived in a five-room house and farmed 20 acres of cotton and other seasonal crops.
Cash spent much of the next 15 years out in the fields, working alongside his parents and siblings to help pay off their debts. It wasn't an easy life, and music was one of the ways the Cash family found escape from some of the hardships. Songs surrounded the young Cash, be it his mother's folk and hymn ballads, or the working music people sang out in the fields.
From an early age Cash, who began writing songs at age 12, showed a love for the music that enveloped his life. Sensing her boy's gift for song, Carrie scraped together enough money so that he could take singing lessons. However, after just three lessons his teacher, enthralled with Cash's already unique singing style, told him to stop taking lessons and to never deviate from his natural voice.
Religion, too, had a strong impact on Cash's childhood. His mother was a devout member of the Pentecostal Church of God, and his older brother Jack seemed committed to joining the priesthood until his tragic death in 1944 in an electric-saw accident. The experiences of his early farming life and religion became recurring themes in Cash's career.
Military Service and Musical Aspirations
In 1950, Cash graduated high school and left Dyess to seek employment, venturing to Pontiac, Michigan, for a brief stint at an auto body plant. That summer he enlisted in the U.S. Air Force as "John R. Cash"âmilitary regulations required a full first nameâand he was sent for training at Lackland Air Force Base in San Antonio, Texas, where he met future wife Vivian Liberto. For the bulk of his four years in the Air Force, Cash was stationed in Landsberg, West Germany, where he worked as a radio intercept officer, eavesdropping on Soviet radio traffic.
It was also in Germany that Cash began to turn more of his attention toward music. With a few of his Air Force buddies, he formed the Landsberg Barbarians, giving Cash a chance to play live shows, teach himself more of the guitar and take a shot at songwriting. "We were terrible," he said later, "but that Lowenbrau beer will make you feel like you're great. We'd take our instruments to these honky-tonks and play until they threw us out or a fight started."
After his discharge in July 1954, Cash married Vivian and settled with her in Memphis, Tennessee, where he worked, as best he could, as an appliance salesman. Pursuing music on the side, Cash teamed up with a couple of mechanics, Marshall Grant and Luther Perkins, who worked with Cash's older brother Roy. The young musicians soon formed a tight bond, with the crew and their wives often heading over to one of their houses to play music, much of it gospel.
Cash, who banged away on an old $5 guitar he'd purchased in Germany, became the frontman for the group, and they honed their unique synthesis of blues and country-and-western music through live performances. "He was a decent singer, not a great one," wrote Marshall Grant, in his 2006 autobiography, I Was There When it Happened: My Life with Johnny Cash. "But there was power and presence in his voice."
Johnny Cash and the Tennessee Two
In July 1954, another Memphis musician, Elvis Presley, cut his first record, sparking a wave of Elvis-mania as well as an interest in the local producer, Sun Records owner Sam Phillips, who had issued the record. Later that year Cash, Grant and Perkins made an unannounced visit to Sun to ask Phillips for an audition. The Sun Records owner gave in and Cash and the boys soon returned to show off their skills. Phillips liked their sound but not their gospel-driven song choices, which he felt would have a limited market, and asked them to return with an original song.
The trio did just that, beginning work on the Cash-written "Hey Porter," shortly that first Sun session. Phillips liked that song, as well as the group's follow-up effort, "Cry, Cry, Cry," and signed the newly branded Johnny Cash and the Tennessee Two. "Hey Porter" was released in May 1955 and later that year "Cry, Cry, Cry" peaked at No. 14 on the Billboard charts.
Other hits followed, including the Top 10 tracks "So Doggone Lonesome" and "Folsom Prison Blues." But true fame arrived in 1956 when Cash wrote and released "I Walk The Line," which catapulted to No. 1 on the country music charts and sold 2 million copies. He released his debut album, Johnny Cash with His Hot & Blue Guitar in 1957, and cemented his fame with chart-toppers like "Ballad of a Teenage Queen" and "Don't Take Your Guns to Town."
Drugs and Divorce
By the early 1960s, Cash, who had relocated his family to California and left Sun for Columbia Records, was a musical superstar. On the road for 300 nights a year with the group now known as the Tennessee Three, he was often accompanied by June Carter, who co-wrote what became one of the Man in Black's signature songs, "Ring of Fire" (1963). Cash also sought to establish himself as an actor, starring in the movie Five Minutes to Live (1961) and a few Western-themed TV programs.
But the schedule and the pressures that faced him took a toll on his personal life. Drugs and alcohol were frequent tour companions while Vivian, left home to take care of their family, which now included daughters Rosanne (b. 1955), Kathy (b. 1956), Cindy (b. 1959) and Tara (b. 1961) grew increasingly frustrated with her husband's absence. In 1966, she finally filed for divorce.
Cash's personal life continued to spiral out of control. The following year, after a serious drug binge, Cash was discovered in a near-death state by a policeman in a small village in Georgia. There were other incidents, too, including an arrest for smuggling amphetamines into the United States across the Mexican border, and for starting a forest fire in a California park. "I took all the drugs there are to take, and I drank," Cash recalled. "Everybody said that Johnny Cash was through 'cause I was walkin' around town 150 pounds. I looked like walking death."
Remarriage and Revival
Cash got the lifeline he needed from his old touring companion, June Carter, who helped him refocus on his Christian faith and get the drug addiction treatment he needed. The two were married on March 1, 1968.
With his new wife, Cash embarked on a remarkable turnaround. In 1969, he began hosting The Johnny Cash Show, a TV variety series that showcased contemporary musicians ranging from Bob Dylan to Louis Armstrong. It also provided a forum for Cash to explore a number of social issues, tackling discussions that ranged from the war in Vietnam to prison reform to the rights of Native Americans.
The same year his show debuted, Cash also took home two Grammy Awards for the live album Johnny Cash at Folsom Prison (1968). A critical and commercial success, the album was credited with helping to revive the artist's popularity. In early 1970, Cash and Carter experienced more joy with the birth of their first and only child, John Carter Cash.
The ensuing decade offered up more success for the artist, as Cash's music career flourished with the release of hit singles like "A Thing Called Love" (1972) and "One Piece at a Time" (1976). He also co-starred with Kirk Douglas in A Gunfight (1970), wrote music for the feature Little Fauss and Big Halsy (1970) and published a best-selling autobiography, Man in Black (1975). In 1980, he became the youngest living person to be elected to the Country Music Hall of Fame.
Cash continued to maintain a busy schedule, and he increasingly teamed up with other musicians. In 1986, he banded with old Sun Records colleagues Carl Perkins, Jerry Lee Lewis and Roy Orbison to record the widely popular compilation The Class Of '55. Meanwhile, he joined forces with fellow country stalwarts Kris Kristofferson, Willie Nelson and Waylon Jennings to form the Highwaymen, which released three studio albums between 1985 and 1995. In the early 1990s, Cash stepped into the studio with U2 to record The Wanderer, a track that would appear on the group's 1993 release, Zooropa.
Throughout this time, though, Cash's health problems and his continued battles with addiction were nearby. After undergoing abdominal surgery in 1983, he checked himself into the Betty Ford Clinic. In 1988, Cash again went under the knife, this time for double-bypass heart surgery.
But, like always, Cash pushed on. He was inducted into the Rock and Roll Hall of Fame in 1992, and in 1994 he teamed with music producer Rick Rubin to release American Recordings. A 13-track acoustic album that mixed traditional ballads with modern compositions, American Recordings earned Cash a new audience and a 1995 Grammy Award for Best Contemporary Folk Album. He followed with another Rubin-produced album, Unchained (1996), and in 1997 he published his second memoir, Cash: The Autobiography.
Final Years, Death and Legacy
Cash's physical health became more of an issue in the late 1990s. He was diagnosed with the neurodegenerative disease Shy-Drager syndromeâa misdiagnosis that was later corrected to autonomic neuropathyâand was hospitalized for pneumonia in 1998.
Still, the artist continued making music. In 2002, he released American IV: The Man Comes Around, a mix of originals and covers, including songs from the Beatles to Trent Reznor of Nine Inch Nails. The album, recorded at the Cash Cabin Studio in Hendersonville, Tennessee, was the fourth Cash-Rubin compilation.
Over the next year, Cash's health continued to decline. He was devastated when his longtime love, June Carter, died in May 2003, but he continued to work. With Rubin at his side, the singer recorded what would become American V: A Hundred Highways. Just a week before his death on September 12, 2003, from complications associated with diabetes, Cash wrapped up his final track.
"Once June passed, he had the will to live long enough to record, but that was pretty much all," Rubin later recalled. "A day after June passed, he said, 'I need to have something to do every day. Otherwise, there's no reason for me to be here.'"
That November, Cash was posthumously honored at the CMA annual awards, winning best album for American IV, best single and best video. In 2005, the story of his life and career through the late 1960s was made into a feature film, Walk the Line, starring Joaquin Phoenix as Cash and Reese Witherspoon as Carter.
In 2006, fans were treated to new music from the late artist. May brought Personal File, a two-CD set of unreleased material recorded decades earlier. In July, American V: A Hundred Highways was unveiled. Starkly arranged and sometimes mournful, the songs highlighted Cash's older and rougher sounding voice, which seared with a raw honesty.
Not surprisingly, Cash's influence continued to resonate. In 2007, the community of Starkville, Mississippi, paid honor to the performer and his arrest there in 1965 for public intoxication with the Johnny Cash Flower Pickin' Festival. The following year, the late artist won another Grammy, for Best Short Form Music Video for God's Gonna Cut You Down.
"I think he'll be remembered for the way he grew as a person and an artist," wrote Kris Kristofferson in 2010, upon Cash's selection by Rolling Stone magazine as the 31st greatest artist of all time. "He went from being this guy who was as wild as Hank Williams to being almost as respected as one of the fathers of our country. He was friends with presidents and with Billy Graham. You felt like he should've had his face on Mount Rushmore."
In 2010, additional material from recording sessions with Rubin were released as American VI: Ain't No Grave. In December 2013, it was revealed that another album from Cash had been unearthed. Out Among the Stars, which had been recorded in the early 1980s but never released by Columbia Records, was discovered by John Carter Cash in his father's archives. Underscoring the singer's sustained popularity, the album became a chart-topper following its release in March 2014.
hero in an unmarked grave - the unusual modesty of john calvin
On May 27, 1564, just after eight oâclock in the evening, a nurse urgently summoned Theodore Beza (1519â1605) to Calvinâs bedside. âWe found he had already died,â Calvinâs friend and fellow pastor later wrote. âOn that day, then, at the same time with the setting sun, this splendid luminary was withdrawn from us.â 1  Calvin was 54 years old. Calvinâs death sent a shock wave throughout Geneva and beyond. Beza writes, âThat night and the following day there was a general lamentation throughout the city . . . all lamenting the loss of one who was, under God, a common parent and comfort.â He records that two days later âthe entire cityâ gathered at the St. Pierre Cathedral to honor their beloved pastor. Despite Calvinâs prominence, the funeral was unusually simple, âwith no extraordinary pomp.â 2  But Calvinâs burial was particularly unusual. Unmarked Grave Eighteen years earlier, on February 18, 1546, fellow Reformer Martin Luther died at the age of 63. As was common practice for ministers, Lutherâs remains were interred inside the church where he had faithfully served. His casket lies in Wittenbergâs Castle Church, near the pulpit, seven feet below the floor of the nave. Lutherâs successor and fellow Reformer, Philip Melanchthon (1490â1560), is buried beside him. So also William Farel (1489â1565), who first called Calvin to Geneva in 1536, is buried in the cathedral of NeuchĂątel, where he spent the final years of his ministry. When Calvinâs friend and successor Theodore Beza died in 1605, he was buried next to the pulpit of St. Pierre, the Genevan church in which he and Calvin ministered together. But Calvinâs remains lie elsewhere. Rather than being interred in St. Pierre, Calvinâs body was carried outside the city wall to a marshy burial ground for commoners called Plainpalais. With close friends in attendance, Calvinâs body was wrapped in a simple shroud, enclosed in a rough casket, and lowered into the earth. Beza writes that Calvinâs plot was unlisted and, âas he [had] commanded, without any gravestone.â 3 Why did Calvin command that he be buried, contrary to common practice, in an unmarked grave? Some speculate that he wanted to discourage religious pilgrims from visiting his resting place or to prevent accusations from the Roman church that he desired veneration as a saint. 4  But the answer lies somewhere deeper â in Calvinâs understanding of Christian modesty. Forgotten Meaning of Modesty When we speak of modesty today, we most often mean dressing or behaving in such a way as to avoid impropriety or indecency. But modesty more generally refers to the quality of being unassuming or moderate in the estimation of oneself. For centuries, the church understood the connection. Immodest dress was not simply ostentatious or sexually suggestive; it reflected an overemphasis on appearance. As Jesus warned, outward appearance can mask impiety (Matthew 6:16) or pride (Luke 18:12). This is why both Gentile women converts in Ephesus and the Jewish Christians addressed in Hebrews are urged to consider how their outward appearance relates to the disposition of the heart. Excessive adornment could be evidence of self-importance (1 Timothy 2:9). Acceptable worship requires a posture of reverence, not pretension (Hebrews 12:28). Thus, a modest person represents himself neither too highly nor too meanly because he understands both the dignity and the humility of being transformed by the grace of God. âModesty is simply the outward reflection of true Christian humility.â Modesty, then, is simply the outward reflection of true Christian humility. It obliterates pride by embracing the reality that a Christian is both creaturely and beloved. In this light, self-importance becomes absurd. Grandiosity becomes laughable. Celebrity becomes monstrous. We Are Not Our Own For Calvin, the gospel radically reshapes our view of self. As those created in Godâs image, provisioned by his goodness, redeemed by his mercy, transformed by his grace, and called to his mission, those who belong to Christ no longer live for themselves. âNow the great thing is this,â Calvin writes, âwe are consecrated and dedicated to God in order that we may thereafter think, speak, meditate, and do, nothing except to his glory.â Calvin continues, If we, then, are not our own but the Lordâs, it is clear what error we must flee and whither we must direct all the acts of our life. We are not our own : let not our reason nor our will, therefore, sway our plans and deeds. We are not our own : let us not therefore see it as our goal to seek what is expedient for us according to the flesh. We are not our own : in so far as we can, let us therefore forget ourselves and all that is ours. Conversely, we are Godâs : let us therefore live for him and die for him. We are Godâs : let his wisdom and will therefore rule all our actions. We are Godâs : let all the parts of our life accordingly strive toward him as our only lawful goal. Oh how much has that man profited who, having been taught that he is not his own, has taken away dominion and rule from his own reason that he may yield it to God! For, as consulting our self-interest is the pestilence that most effectively leads to our destruction, so the sole haven of salvation is to be wise in nothing through ourselves but to follow the leading of the Lord alone . 5 âModesty blossoms when we experience the freedom from having to prove ourselves to God or one another.â Modesty and humility flow from a heart transformed by the Spirit of Christ. âAs soon as we are convinced that God cares for us,â Calvin writes, âour minds are easily led to patience and humility.â 6  The Spirit shapes us with a kind of moderation that âgives the preference to othersâ and that guards us from being âeasily thrown into agitation.â 7  Modesty blossoms when we experience the freedom from having to prove ourselves to God or one another. âModesty, His Constant Friendâ Calvinâs life reflected this reality. Despite the doors that were opened to him through his writing and network of connections, he was committed to âstudiously avoiding celebrity.â 8  When the Institutes  was published in 1536, he was so successful in his object to ânot acquire fameâ that no one in Basel knew that he was its author. For the rest of his life, wherever he went, he took care to âconceal that I was the author of that performance.â 9  Calvin even sought to avoid a wider ministry in Geneva, having âresolved to continue in the same privacy and obscurity.â He was drawn into the limelight only when William Farel warned him âwith a dreadful imprecationâ that turning down the post would be refusing Godâs call to service. 10  In brief autobiographical comments he wrote the year that he died, we see a glimmer of his own surprise over Godâs sovereign hand through his life. God so led me about through different turnings and changes that he never permitted me to rest in any place, until, in spite of my natural disposition, he brought me forth to public notice. . . . I was carried, I know not how, as it were by force to the Imperial assemblies, where, willing or unwilling, I was under the necessity of appearing before the eyes of many. 11 It is no surprise, then, that a few days before his death, Calvin exhorted his friends to not be those who âostentatiously display themselves and, from overweening confidence, insist that all their opinions should be approved by others.â Instead, he pleaded with them to âconduct themselves with modesty, keeping far aloof from all haughtiness of mind.â 12  For Beza, Calvinâs modesty â forged by his vision of Godâs glory, Christâs redeeming love, and the Spiritâs animating power â was his defining characteristic. After Calvinâs burial, Beza captured it in verse: Why in this humble and unnoticed tomb Is Calvin laid â the dread of falling Rome; Mournâd by the good, and by the wicked fearâd By all who knew his excellence revered? From whom evân virtueâs self might virtue learn, And young and old its value may discern? âTwas modesty, his constant friend on earth, That laid this stone, unsculptured with a name; Oh! happy ground, enrichâd with Calvinâs worth, More lasting far than marble is thy fame! 13 Free to Be Forgotten In old Geneva, on the grounds of the college Calvin founded, stands an immense stone memorial to four leaders of the Protestant Reformation. At its center are towering reliefs of Calvin, Beza, Farel, and John Knox (1513â1572). Calvin would surely detest it. But the monument is a metaphor. We live in a culture that fears obscurity and irrelevance. We measure ourselves against others and build our own platforms in the hope that we will not be forgotten. We attempt to distinguish ourselves at the expense of the humility and modesty that honors Christ. Calvin would have us be free from such striving. For however anyone may be distinguished by illustrious endowments, he ought to consider with himself that they have not been conferred upon him that he might be self-complacent, that he might exalt himself, or even that he might hold himself in esteem. Let him, instead of this, employ himself in correcting and detecting his faults, and he will have abundant occasion for humility. In others, on the other hand, he will regard with honor whatever there is of excellences and will, by means of love, bury their faults. The man who will observe this rule, will feel no difficulty in preferring others before himself. And this, too, Paul meant when he added, that they ought not to have everyone a regard to themselves, but to their neighbors, or that they ought not to be devoted to themselves. Hence it is quite possible that a pious man, even though he should be aware that he is superior, may nevertheless hold others in greater esteem. 14 We may rightly regard Calvin as a hero of the faith, but he didnât ultimately see himself that way. Humility had taught him to walk modestly before God and others â and, in the end, the freedom to lie down in a forgotten grave. Theodore Beza, âThe Life of John Calvinâ in Tracts Related to the Reformation  (Edinburgh: Calvin Translation Society, 1844), 1:xcv. ⩠Beza, Tracts , 1:xcvi. ⩠Beza, Tracts , 1:xcvi. ⩠Eighteenth-century guidebooks indeed list the disused Plainpalais cemetery as an important stop for tourists, though they warn that pilgrims will search for Calvinâs resting place in vain. By the nineteenth century, keepers of the burial ground staked out a âlikely-enoughâ site for Calvinâs grave (complete with a rudimentary marker) simply to avoid the irritation of being so frequently asked. ⩠John Calvin, Institutes of the Christian Religion , ed. John T. McNeill, trans. Ford Lewis Battles (Louisville, KY: Westminster John Knox Press, 2011), 3.7.1 (emphasis mine). ⩠John Calvin, Commentaries on the Catholic Epistles , trans. John Owen (Edinburgh: T. Constable,1855), 149. ⩠John Calvin, Commentaries on the Epistles of Paul the Apostle to the Philippians, Colossians, and Thessalonians , trans. John Pringle (Edinburgh: T. Constable, 1851) 52â53. ⩠John Calvin, Commentary on the Psalms , trans. James Anderson (Edinburgh: Edinburg Printing Company, 1845), 1:xli, xlii. ⩠Calvin, Psalms , 1:xlii. ⩠Calvin, Psalms , 1:xlii. ⩠Calvin, Psalms , 1:xli, xliii. ⩠Beza, Tracts , 1:xci. ⩠Beza was widely known for his literary works. As a humanist, he became famous for his collection of Latin poems in Juvenilia , published just before his conversion in 1548. He continued to write poetry, satires, and dramas until the end of his life. Francis Sisbonâs nineteenth-century translation attempts to capture the sense of the Latin in a more familiar poetic form (Theodore Beza, The Life of John Calvin , trans. Francis Sibson, [Philadelphia: J. Whetham, 1836], 94). For the original text, see Calvin and Beza, Tracts , 1:xcvi. ⩠Calvin, Commentaries on the Epistles of Paul , 53. â©