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The current world confusion and condition of human affairs is a natural phase within an evolutionary process that will ultimately lead to the unification of the human race into a single social order. This processhas passed throughstageswe should consider as being analogous tothose of infancy and childhood, and is now in the culminating period of adolescence approaching its long-awaited coming of agean age of universal peace and justice. This has been the promise given throughout all the major faiths of the world. The social fabric of the world is out of balance and through Divine interventionnations willform together in a collective consciousness recognizing the need for a revolutionary shift of spirit to undertake those measures creating lasting harmony and peace. Dr. M. Scott Peck speaks of world-views as being religious. To move away from war, we must distinguish between "true religions and false religions, true prophets and false prophets," and that "truth in religion is characterized by inclusivity," while "falsity in religion can be detected by its one-sidedness and failure to integrate the whole." History clearly shows that some form of a universal legislative body is not only essential, but also inevitable.Such a system is not conceived from the mind of mortal man; rather, it is a Divine System that was set in motion over 6000 years ago. The purpose in writing Melchizedek & the Temple is to show the story of this evolutionary processa journey through time, culminating with the promise of an earthly kingdoman all-inclusive world government, free from tyranny, hate, prejudice and war.Melchizedek & the Temple offers a practical, and compelling alternative to antiquated ideas that in reality prevent humankind from achieving what it longs foruniversal peace and justice. It is a message of warning and of promise.
Excerpt from The Friersons of Zion Church and Their Descendants Judge Fleming, in his Genealogy of the Frierson Family, antici pates a query and makes an answer in these words, It might be asked why I, William Fleming, take so much interest in pre serving the genealogy of the Frierson family as to write it up at length. I can simply answer that both my grandmothers were Friersons, which really makes me about as much Frierson as those who bear the name. I, Theodore Frierson Stephenson, can make like reply; both my grandmothers were Friersons. Paternal from two lines, William, 3-3, and maternal, Robert, 5-b. And another personal statement I may be permitted to make. I have been gratified, and very pleased to find, in compiling this genealogy, so many bearing as a middle name my surname. This I esteem an unsolicited compliment to the Stephenson name. And, too, I may adopt the words of Hon. William Stuart Fleming, J r., who added to the original genealogy the Sketch of Zion Church and published that first book on the subject: I trust that present and future generations may not only be interested in, but profited by, learning who their ancestors were, and how they loved and honored the living God, and how He blessed and cared for them. For this purpose this book is published. We regret the omission of the name from this volume of any individual on this American continent in whose veins Frierson blood flows. Should this book fall into the hands of such individuals sufficiently interested to send their records we will gladly arrange and preserve them for use in another edition of this genealogy. More than a half century has passed since the former compila tion was made. Doubtless, before so long a time has passed again, some interested person will carry on. For such a person we will prepare, and bequeath, such records as may come to hand. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.
Rock & roll has transformed American culture more profoundly than any other art form. During the 1960s, it defined a generation of young people as political and social idealists, helped end the Vietnam War, and ushered in the sexual revolution. In Dixie Lullaby, veteran music journalist Mark Kemp shows that rock also renewed the identity of a generation of white southerners who came of age in the decade after segregation -- the heyday of disco, Jimmy Carter, and Saturday Night Live. Growing up in North Carolina in the 1970s, Kemp experienced pain, confusion, and shame as a result of the South's residual civil rights battles. His elementary school was integrated in 1968, the year Kemp reached third grade; his aunts, uncles, and grandparents held outdated racist views that were typical of the time; his parents, however, believed blacks should be extended the same treatment as whites, but also counseled their children to respect their elder relatives. "I loved the land that surrounded me but hated the history that haunted that land," Kemp writes. When rock music, specifically southern rock, entered his life, he began to see a new way to identify himself, beyond the legacy of racism and stereotypes of southern small-mindedness that had marked his early childhood. Well into adulthood Kemp struggled with the self-loathing familiar to many white southerners. But the seeds of forgiveness were planted in adolescence when he first heard Duane Allman and Ronnie Van Zant pour their feelings into their songs. In the tradition of music historians such as Nick Tosches and Peter Guralnick, Kemp masterfully blends into his narrative the stories of southern rock bands --from heavy hitters such as the Allman Brothers Band, Lynyrd Skynyrd, and R.E.M. to influential but less-known groups such as Drive-By Truckers -- as well as the personal experiences of their fans. In dozens of interviews, he charts the course of southern rock & roll. Before civil rights, the popular music of the South was a small, often racially integrated world, but after Martin Luther King Jr.'s assassination, black musicians struck out on their own. Their white counterparts were left to their own devices, and thus southern rock was born: a mix of popular southern styles that arose when predominantly white rockers combined rural folk, country, and rockabilly with the blues and jazz of African-American culture. This down-home, flannel-wearing, ass-kicking brand of rock took the nation by storm in the 1970s. The music gave southern kids who emulated these musicians a newfound voice. Kemp and his peers now had something they could be proud of: southern rock united them and gave them a new identity that went beyond outside perceptions of the South as one big racist backwater. Kemp offers a lyrical, thought-provoking, searingly intimate, and utterly original journey through the South of the 1960s, '70s, '80s, and '90s, viewed through the prism of rock & roll. With brilliant insight, he reveals the curative and unifying impact of rock on southerners who came of age under its influence in the chaotic years following desegregation. Dixie Lullaby fairly resonates with redemption.