Legendary broadcaster Vin Scully dies at age 94

Legendary Dodgers baseball broadcaster Vin Scully has died at the age of 94. He is known as one of the greatest voices in all of sports.

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Author: Rafael

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15 thoughts on “Legendary broadcaster Vin Scully dies at age 94

  1. RIP Vin. I lost my Dad 6 weeks ago, he was a HUGE Dodger fan. He too was born in 1927. He would be proud to know Vin had the same years as he had
    Dad 1927 -2022
    Vin 1927 – 2022

  2. We English gave a lot to the world. Now our 1% upper n middle class entitled Toffs, want to replace us with people from around the world. That is Not going to happen, period. Their greed can be seen from China, Japan, Africa, Asia and most of the world. Believe me as far as my family are and I are concerned, we lost our empire because of these 'woke' fools. Money means everything to them, it is their greed that will destroy them in the end. All this hate for Donald Trump, it is them and nobody else that is behind all this nonsense. They own your banks, corporate companies and much much more than the average Yank can see. Believe me, these people are dangerous !

  3. The voice of summer baseball, almost the Bing Crosby of sports- so poetic that one of the best things we could say about how you called a game was how ‘musical’ you were- truly one of a kinder, more innocent era- we will miss you, Vin Scully, RIP.

  4. https://youtu.be/YsY905W3oB8Sweet Hour of Prayer  by William Walford  in 1845
    Sung by Steven F Gooden-Cohen.

    William Bradbury

    Sweet hour of prayer! Sweet hour of prayer!
    That calls us from a world of care,
    And bids me at my Father’s throne
    Make all my wants and wishes known.

    In seasons of distress and grief;
    My soul has often found relief,
    And oft escaped the tempter’s snare
    By thy return, sweet hour of prayer!

    This hymn goes to the heart of one of the most intrinsic Christian practices: prayer. For William W. Walford (1772-1850), prayer was an intensely private affair where one seeks refuge from temptations and trials and pours out the depths of one’s soul before God who already knows our “wants and wishes.”
    LYRICS:  SUNG  BY STEVEN F GOODEN-COHEN ( MUSICAL ARRANGEMENT BY STEVEN F GOODEN-COHEN AND JERRY ADAMOS )
    Sweet hour of prayer
    Sweet hour of prayer
    That calls me from a world of care
    And bids me at my Father's throne
    Make all my wants and wishes known
    In seasons of distress and grief
    My soul has often found relief
    And oft escaped the tempter's snare
    By Thy return, sweet hour of prayer
    Sweet hour of prayer
    Sweet hour of prayer
    The joys I feel, the bliss I share
    Of those whose anxious spirits burn
    With strong desires for Thy return
    With such I hasten to the place
    Where God my Savior shows His face
    And gladly take my station there
    And wait for Thee, sweet hour of prayer
    Sweet hour of prayer
    Sweet hour of prayer
    And wait for Thee
    Sweet hour of prayer

    The kind of prayer fostered in this hymn is private prayer, rather than prayers of the body of Christ gathered in worship.

    Stanza one focuses on petitionary prayer that responds to “seasons of distress and fear.” Stanza two focuses on prayers of thanksgiving where the singer shares “the joys I feel.” Stanza three returns to petitions, but the focus is on the God “whose truth and faithfulness engage the waiting soul to bless.”

    The text appears to come from Walford, an obscure, blind lay preacher who served in the hamlet of Coleshill, Warwickshire, England, in the mid-19th century. He owned a small trinket shop in the village.

    The story goes that a Congregational minister and friend, Thomas Salmon, stopped by Walford’s shop one day in 1842. Walford asked if Salmon would write down his new poem on the subject of prayer. Three years later, Salmon was in the U.S. and showed the poem to the editor of the New York Observer, who printed it in the Sept. 13, 1845 issue.

    The text first appeared in the 1859 Baptist hymnal Church Melodies, edited by Thomas Hastings and Robert Turnbull. The famous American gospel song writer, William Bradbury (1816-1868)—who composed music for so many beloved gospel hymns such as “Just As I Am” (Charlotte Elliott), “The Solid Rock” (Edward Mote) and “He Leadeth Me” (Joseph H. Gilmore)—also wrote the music for this favorite hymn in 1861.

    The tune and text appeared together for the first time in Bradbury’s collection Golden Chains, from which it has become a staple of hymnals around the world.

    The late William J. Reynolds, noted Baptist hymnologist and former author of this column, questioned the authorship of the hymn as described by Salmon. His extensive research could not locate a William W. Walford in Coleshill, but did note that there was a Rev. William Walford, a Congregational minister who served as president of Homerton Academy, who wrote several books including The Manner of Prayer.

    Coleshill and Homerton are about 110 miles apart, more than two hours by car today, but much longer in the mid-19th century. Reynolds noted, however, that there are similarities between The Manner of Prayer and the hymn.

    It is entirely possible that Salmon embellished his story to the editor of the New York Observer. It is also possible, Reynolds suggested, that William W. Walford of Coleshill and William Walford of Homerton are one and the same.

    The original stanza four has been dropped from many hymnals today, but it stresses the eschatological nature of prayer as the gateway to heaven:

    Sweet hour of prayer, sweet hour of prayer,
    May I thy consolations share,
    Till, from Mount Pisgah’s lofty height,
    I view my home, and take my flight.

    This robe of flesh I’ll drop, and rise,
    To seize the everlasting prize;
    And shout, while passing through the air,
    Farewell, farewell, sweet hour of prayer.

    At the risk of offending some, I should point out that this view of devotional prayer, while certainly valid, should not be confused with public prayers of thanksgiving, adoration, petition, intercession and blessing that are a part of the gathered body of Christ.

    While I believe this hymn has a place in a hymnal, it does not for example stress prayers for the world—or prayers of the people, as they are sometimes called. This is not a hymn that fosters corporate prayer, but private devotions.

    The romanticized language adds a tone that stresses withdrawal from the world rather than engagement with the needs of the world as the body of Christ.

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