STEPHEN SALANITRI WIN GALA AWARD 2012

Obama Doctrine: Slashes Military Amidst Islamist Uprising

With the black flag of al Qaeda flying over the American embassy in Tunisia, the murder of the American ambassador in Libya, the storming of the US embassy in Cairo, the burning of the American flag in London, and the torching of American businesses in Lebanon, the Obama administration is focused like a laser on its top priority: slashing defense.

Today, even as the Islamist Uprising spreads across the Muslim world, ranging from Kashmir to Malaysia, from the North Sinai peninsula to the streets of Sudan, the Obama administration released its sequester report, which discussed just how the automatic cuts required under the Budget Control Act of 2011 would play out. In short, the Obama White House would slash defense with a machete. Obama’s Office of Management and Budget admitted as much:

“No amount of planning can mitigate the effect of these cuts. Sequestration is a blunt and indiscriminate instrument. It is not the responsible way for our nation to achieve deficit reduction. The report leaves no question that the sequestration would be deeply destructive to national security, domestic investments and core government functions.”

Under the sequestration, most defense programs would be cut by 9.4 percent. Others would be cut as much as 10 percent. Medicare, by contrast, would be trimmed by a mere 2 percent.

This is the fault of a president so extreme that his last two budgets did not receive a single vote in the House or Senate. This is the fault of a president so extreme that when Republican House Speaker John Boehner offered him $800 billion tax increases over ten years in exchange for between $3 trillion and $3.5 trillion in spending cuts (or cuts to future growth) and a revision of the tax code, Obama tentatively agreed – then rejected it at the last minute, insisting on another $400 billion in tax increases. That impasse led to the creation of the Budget Control Act, which would have cut $1.5 trillion over ten years via a bipartisan deficit committee – but if the committee could not come to any deal, $1.2 trillion in cuts would immediately take effect.

President Obama insisted that about half of those cuts come from defense. That’s no surprise from a president who wants to unilaterally shrink America’s nuclear arsenal and take a chainsaw to the Pentagon budget. “The tide of war is receding but the question that this strategy answers is what kind of military will we need long after the wars of the last decade are over,” Obama said in January.

He hasn’t changed his tune. Obama and his Democratic allies in Congress continue insist on massive tax increases rather than coming to a budget reduction deal that would prevent such defense cuts; they’d rather watch our embassy security get sliced by $129 million in the midst of a global Islamist firestorm than cut the non-defense budget without dramatically raising taxes.

Meanwhile, of course, Obama is happy to spend unlimited quantities of cash on his favored domestic government programs. And he’s happy to have Fed Chair Ben Bernanke pump up the monetary supply in order to make that easier – even if it dumps America’s credit rating from AA+ to AA to AA-, thanks to Quantitative Easing 3 (or more accurately, Quantitative Easing Permanent).

This is the Obama Doctrine: a more dangerous world, and a weaker military.

BILLY GRAHAM- NEARING HOME

A CELEBRATION OF FREEDOM

William Wallace asked the right question. If you saw the movie Braveheart, you know the story of the Scottish patriot. Mel Gibson directed and starred in the 1995 movie about the Scottish revolt in the 1400's. At one point in the movie, Wallace prepares a rag tag band of rebels for battle. They must face a larger and better-armed English army. 
His says to his men—"I am William Wallace, and I see before me an army of my countrymen here in defiance of tyranny. You have come to fight as free men, and free men you are. You are free, free from badges, free from flesh and free to love. What will you do with that freedom? Will you fight?" 
A tall soldier near the front eyes the huge opposing forces arrayed across the valley and then answers, "Fight against that? No, we will run, and we will live."
Wallace responds, "Ay, fight and you may die, run and you'll live. At least a while! And dying in your beds many years from now, you would be willing to trade all the days from this day to that for one chance, just one chance, to come back here and tell our enemies that they may take our lives, but they'll never take our freedom."

What will you do with your freedom? That's a question to ask ourselves on the 4th of July. It is a good thing when the 4th falls on a Sunday. That way we are more apt to pause to give thanks to the One who bestowed our freedoms upon us. We make a tragic mistake when we separate God from our freedom. Without God, our concept of freedom can easily degenerate into selfishness. Wise men have always known that real freedom can only exist hand in hand with responsibility. William Wallace asked the right question, "What will you do with your freedom."

We naturally think of our national freedom on July 4th. We should. That's the great legacy of our founding fathers. We live in a land blessed with freedom. Few nations have ever known such liberties. We are free to gather in worship. No government official tells when, or how, or what to worship. We can speak our minds. A free press keeps us informed about our world. We choose where we live and what we do to make a living. We select our own leaders from dogcatcher to president. Many peoples around the world only dream of such privileges.
We celebrate July 4th because on that day our nation's founders signed the Declaration of Independence on that date in 1776. Many call it our country's Birth Certificate. Do you remember its opening words from your grade school social studies class?

"When in the Course of human events, it becomes necessary for one people to dissolve the political bands which have connected them with another, and to assume among the powers of the earth, the separate and equal station to which the Laws of Nature and of Nature's God entitle them, a decent respect to the opinions of mankind requires that they should declare ...

SONGS OF THE SURROUNDED- THE STORY OF THE CHOIR "ECHOES OF LIFE"

THEY WERE SURROUNDED BY THE HOLY SPIRIT AS THE ECHOES OF LIFE INSPIRED A GENERATION IN SONG!

By  Noel Serrano

There are groups and quartets. There are trios and also the endless list of grand Primadonnas that grace the halls ans sanctuaries with splendid song and melody, but there is a Choir that holds a true sentimental place in the heart of our family. This true sentiment has been strengthened through the years, with the loving echoes of songs and praise and worship to a faithful God.

These were songs that were filled with power and great blessings. They were songs of conviction and devotion. The singers were not just engaging in an empty tune and that is what distinguishes the beloved Choir; “Ecos De Vida”! The very name of this Choir serves as a legendary metaphor for what they have become. The Choir that we have chosen to honor in this feature is the official choral body of the beloved “Sinagoga” located in Harlem, New York. This grand Choir was formed in the late 1940s, by a group of devoted people that were filled with the Holy Spirit.During the early 1950s, a tan, majestic woman directed the Choir in its infancy. Her name was Sister Valdez. sister Valdez and her assistant,by the name of Pio Gautier casually led a group of God-fearing singers and slowly began to form the Choir that would go on to edify the lives of many generations. These early members gathered to rehearse the sermon in song for the Sunday services. The Choir; “Ecos de Vida” was formed in the late 1940s and was first directed by Sister Valdez. The Choir was very close to this short and tanned servant of God.. She was very stern and serene, at the same tie. Many described her as the type of person that could get things done with a heavenly ease. sister Valdez was deeply committed to the choir. There were times when Choir members began to talk and giggle at rehearsals and this Woman of Prayer, lowered her head in solemn meditation. she would not say much, for this action was sufficient for the choir to get at attention and back into business. a tear would come down her cheek if there was any mumbling. The Choir had so much respect for this woman, that they would follow her instructions to the letter. sister Valdez led the choir for many wonderful years. she set the stage for the ongoing tradition of the Choir that she loved. the Choir was then, directed for a brief time by sister Gloria Pena. sister Valdez had completed her long tenure and the Choir recognized her long service and devotion to the musical ministry. Sister Valdez had an Assistant in Brother Pepe Gauthier, who helped her with the Tenors and the Basses.The Choir; “Echoes of Life” of the 1950s sang with deep fervor and reflected their devoted lives in song, for the choir prepared long and hard in the message and harmony of the musical numbers. The Choir prayed before every song and it became an enduing custom.

This procedure led to place the Choir and the congregation in true communion for the delivery and preparation of a blessing. This Noble Choir has shown the consistency, through the long, turbulent years.The early years set the stage for an enduring age of musical triumph. The Holy Spirit surrounded the early singers and the congregation would be swept up in thunderous adoration and praise. The choir sang just moments before the Sunday sermon and cleared a path between the devotion and the evangelical message of the evening. The choir would come marching down the long corridors, with the ladies wearing their well-pressed black skirts and glossy white blouses.They wore black tie ribbon-laces around their collar. The men wore black suits and ties.The Choir; “Echoes of Life” formed a now-familiar circle in front of the original Sinagoga in 109Th in New York. Among the early choir members of the 1950s were Felicita M. Serrano, Nieves Bosch and a very young Joaquin Maldonado. There was a young man that was preparing himself in the academic and the musical world. He was quickly becoming involved in the church and he was destined to direct the choir. In the early 1960s,Raul Gonzalez led the choir to new heights and God blessed the musical ministry with a string of triumphant deliveries, for they were surrounded by the spirit of the Lord The majestic echoes reverberated throughout the large new Temple on 125Th St. each Sunday Evening. The Tall man came up to the piano and directed the Choir to stand. The familiar scene was spectacular and certain children could recall the choir, moving and resembling a long-winding “train” as they positioned to the platform that overlooked the congregation.It was now the early 1960s. The choir; “Echos of Life” was now singing the introduction to the radio program of the church; “The pentecostal Hour on WBNX in New York. “Estad por Cristo firme” (“Stand up, stand up, for Jesus”) God was truly blessing this choir and many new selections were being added to their growing repertior. Raul began to coach the voices with weekly intensity. The late Choir member Felicita M. Serrano, lovingly recalled the many times that Raul would exercise their voices with a continuous scale of La-La-La-. this was a repetitious vocal exercise that as designed to strengthen and refine the vocal range and quality. Deep fervent prayer was never compromised. All of the members were God-fearing people that lived the daily life of true devotion. They also had deep respect for their director. the Choir was now able to sing in other churches. There was an evening where the selected song of the day did not really go according to plan. It was the Latin classic; Propter Magnum Glorium”.The Choir had rehearsed this number for many weeks and Raul was certain that they were ready. some choir members recall that night as the choir began to sing this selection. They were overlooking a large Hall with overhead balconys that join in both ends of the auditorium. This was the evening that the sopranos went one way and the Tenors went another way. fortunately the congregation did not notice, for it was sung in Latin.Carmen Ortiz, Raul’s sister laughed as she recalls the event. everything was going great, but at the last verses, the four singing sections went in different directions. The Tenors were on left field when they should have been in the right. The Choir survived this evening and went on to see many other moments, some great and others that were memorable.The Choir was now singing with a heart-filled conviction. They had been tested by fire. They had tasted the experience of scorn and ridicule, they had experienced the painful realities of life and now the echos of that devoted life were resounding in song,The multitude in the grand sanctuary froze in solemn communion as the great man sitting high at the altar, gazed towards the Choir that was now in the front of the pulpit. The Pastor was pleased with this musical ministry. He was very proud of his Choir. Raul, the tall, dignified director began to play the choir introduction for the choral entry The singer’s eyes were now on Raul Gonzalez.
Raul would direct with his eyes as his fingers were methodically engaged with the powerful piano chords. The sounds of Hallelujah reverberated throughout the great Hall as the choir echoed their rendition of the beloved classic. Rev Abelardo Berrios was so moved, that on the night that the choir sang the Hallelujah chorus. He asked the Choir to come back to the platform and sing it one more time. The Choir stood up and sang. They gave an encore, much to the delight of the Pastor and the congregation.The Choir was well-disciplined and versed in their selections, for they toiled for many hours at long and hard rehearsals every Thursday evening on the 2nd floor of the sanctuary. Raul was a very systematic Director. He was very stern and meticulous. He wanted the chords to be as sharp as is trumpet. There were moments of levity and the young ladies would find something to giggle about. Raul would stop the rehearsal and turn to the ladies and with a stern countenance, declare; “You should all be crying!” (“Debieran de estar llorando!”)

TAKING THE INITIAL STEP

The Choir began to rehearse for their first and only record. The planned selections were “Peace in the Valley”, (Paz en el Valle) “The Holy City” (La Ciudad Santa) Raul Gonzalez also planned for a trumpet solo; “His love for me” (Fue su amor por mi ) The small record was an instant favorite and marked a watershed in the life of this beloved Choir. the record reveals the classic sound of the Choir: “Ecos de vida” The range and the dynamic crescendo of voices are still a delight to hear. If one listens very closely, Joaquin’s voice is heard and Felicita, Nieves and Carmen can be clearly acknowledged. It was in the mid-sixties when to Choir was to endure a major crisis. Raul Gonzalez had parted from the Lord, the church and the Choir that he never stopped loving. The Choir was now being guided by Raul’s sister, Carmen Ortiz. Carmen was officially appointed by Rev. Berrios to direct the church Choir who was known by many in the choir as “Lala”, would be the Director who guided the Choir trough this difficult period.

Carmen was directing a group of ladies from the choir for many months. Rev. Berrios had told the church that he had been praying for guidance when the Lord had indicated that Carmen Ortiz was to lead the Choir. He gazed at the Choir and gave them full support by replenishing additional Choir robes. The Choir was now resuming in official capacity. The Choir would use these robes on special occasions like Christmas and Easter. Rev. Berrios loved when they wore the robes. He once indicated that the choir should wear them everytime that they sang. The dark blue robes were enhance with long, golden collars with the embossed initials “Ecos de Vida” It was a majestic visage as the grand choir marched down the aisle to be positioned at the Choir loft on the right-hand side of La Sinagoga. The rehearsals for the Choir resumed on Thursday at 8:00 PM

Carmen Ortiz, a tall, energetic woman hurried to the second floor of the church and headed towards the piano. a small service and prayer would take place before each rehearsal. The specific tune was practiced with each group, going to the piano and then rehearsing separately. The groups would join as soon as we all heard the familiar voice calling “Toditos” (ALL) The choir would then come together and the song was born. Great friends were developed. They have existed for many years due to the closeness of this ministry.

Many weeks of rehearsals would be spent on the Easter and Christmas songs. The revered “Canticos Nuevos” and the Hallelujah Chorus were among the favorites of the Choir. There is a haunting song that comes to mind during the 1960s. It is vintage of the times and the very mysterious melody…”Huye Cual Habia Tu Monte” The gentle staccato and soft cadence entwined with powerful delivery and message inspired all listeners and God blessed the congregation. “Oh Alma Angustiada De Mal” bellowed the Choir as God lifted the chorale to a spiritual mount where the blessings flowed in profound ways. Carmen Ortiz diligently directed the Choir throughout the period of the sixties. Carmen was still directing the choir through 1995 She directed with the same consistency and devotion that the past Directors had. Carmen increased the list of the selections , with notable musicals such as “Manda Tu Luz”, EL Triunfo De La Cruz” and “Los Cielos Proclaman La Gloria De Dios” The Choir rehearsed for many years for the Easter classic, “Los Cielos Proclaman” When the day finally arrived, there was great anticipation and excitement. The choir was in full regalia as they prepared to sing this very difficult, but angelic melody. The song had many counterpoints and the melodic phrases were magnificent. The congregation was very attentive this night.

It was on Easter Sunday of 1974 and the Choir began with a thunderous delivery, “Los Cielos Proclaman La Gloria De Dios!” this selection had four soloists. Margie and Blas Ortiz along with Clarita Maldonado and Damaris Rosario. The existing recording is spellbinding for all who have ever heard it. The Choir was a well tuned instrument and all voices were synchronized in true fashion. It was as if angels were surrounding them and aiding in additional voices. The faces of the congregation reflected a deep reverence. Many recalled the powerful song and the way the Spirit of the Lord manifested throughout the sanctuary.

In 1975, The Choir: “Ecos De Vida” was scheduled to sing at Randalls Island. There was a “Yiye Avila” Revival and many churches were assembling. There was much anticipation in the choice of the selections for that evening. Two songs were selected for the revival. “Engrandecido Sea Dios” and “Los Cielos Proclaman La Gloria De Dios” The Choir had rehearsed for this event but there were some problems with the second song. The timing and the counterpoints were not coming together in the rehearsals. There were also different soloists for this second time around, never the less, the Choir positioned themselves in the large platform overlooking the crowded stadium at Randall’s Island. The Choir was accompanied by the Pastor, Rev. Berrios, who was sitting with the other ministers in a special box in front of the platform. The Ministers were all asking “who is this Choir?” “Whose Choir is this?” The Pastor joyously replied, “It’s my Choir, that Choir is mine” He was so proud of his beloved “Coro” and repeated “Ese es mi Coro” The rich blue robes were now shimmering in the windswept evening and the moon was now visibly high above the crowded stadium. The Choir sang “Engrandecido Sea Dios” and it was clear and powerful. This song was an old favorite and it went smooth. The Choir then, began to sing the very difficult classic “Los Cielos Proclaman La Gloria De Dios” There were acoustical problems and this attributed to the breakdown in the sequence of counterpoints and the smooth flow of voices. It is amazing that the sopranos continued the selection and never faltered and that attributed to the fact the the bulk of the Choir was able to regain the harmony throughout the very difficult musical rendition.
The Choir had completed the choral melody and never imagined what laid ahead. The Pastor, realizing that something went wrong, was red-faced in the midst of the Ministers. The following day, the news spread of the Choir’s “sour notes” There were reports that the Pastor was a little upset. a few chorale members did not go to the Choir loft for fear that they would be ridiculed. Needless to say, the tired and true faithful group went on to rehearse. A solemn and composed Carmen Ortiz spoke to the Choir and declared: “There are rumors that we failed yesterday, but, my brethren, do not pay any attention, we did our best and we sang for the Lord!” Carmen was uplifting morale of the Choir, as she was accustomed to doing throughout her long and dedicated tenure with her beloved Choir. And so it was that on September 7, 1975, the day after the performance in Randall’s Island, the Sunday services had already commenced and the Choir: “Ecos DeVida” slowly marched up to the choral loft of the church.
The Pastor would look up at us from high above the podium and it was very intimidating. He would look at us with a stern look. It seemed as an eternity had passed when the Choir was finally given the opportunity to sing the evening selection. The Choir, humbly stood up and sang right from the Choir loft. The Choir began to sing “He is Real, I Know He is Real! the congregation was in deep communion and there was an unprecedented hush within the the church. Every note and every voice was enhanced with the power of the Holy Spirit. The Choir was now singing with a heart-filled conviction. They had been tested by fire, they had tasted the experience of scorn and ridicule, they had experienced the painful realities of life and now, the echoes of that life were resounding in song. “Pero Es Real, Es Real, Oh, Yo Se Que El Es Real!” declared an invigorated Choir. The Choir seemed as if they were lifted up in a cloud of splendor and the church was now filled with a special blessing and the congregation was now feeling a spark that ignited many to speak in tongues and the Spirit of the Lord was manifested upon the Great Hall. the Choir kept on singing with more power and from the depths of their souls, they poured out a clear and definitive declaration “Mi Cristo Me Ha Salvado Y Mi Salvacion Es Real!!!”

The Pastor’s face slowly turned to the Choir. His stern countenance quickly melted away and gave way to his famous smile. Rev. Berrios stood up and motioned the congregation to rise and bask in the Glory of the Lord. Half of the Choir now began to shiver in the spirit and it was evident that the Lord was sending a Choir of Angels to surround and support this beloved Choir that had toiled and labored in worship for so many years. The Choir began to speak in tongues. A tear of joy fell from Carmen’s eyes as she turned to face the congregation and echoed the melody that God had used to bless and edify the congregation. “Es Real, Real, Oh …Yo Se Que El Es Real!!” The Choir continued to sing to the Lord and many felt a warmth that now surrounded their heart, for they were truly worshipping the Lord. The Pastor was now smiling at the Choir and he finally took the microphone. He declared: “The Choir is in their home!” “El Coro esta en su Casa!” God had revealed a great lesson to the Pastor and to the Choir on that blessed evening. This experience was symbolic of the many trials that the choir had gone through. There were times when the many choir members would sing when their hearts were crying due to the many trials of life. There were many who sacrificed to ensure that the Choir would continue. Many devoted lives echoed the sounds of praise and worship that were transformed in memorable song. This was not just a Choir. This was and still is a musical institution with a powerful legacy. may God continue to bless the Choir: “Ecos de Vida” and may God continue to surround them and their enduring songs with His Holy Spirit.