In August of 2007 Living University (if it may be properly called a "university"- which confers legitimate, recognized graduate level and doctoral degrees in various professional fields) began enrolling more than 150 students online from 18 countries. Of the 150 students who originally enrolled, more than 50 of the 150 are Living Church of God church elders, deacons and deaconesses.On May 19th, 2008, Living University graduated its first class in the Living Church of God auditorium. Everything was prim and proper, except arguably, the most important missing dimension of all: accreditation. Opening was all "Pomp and Circumstance" by Elgar; followed by "The Star Spangled Banner" with printed lyrics, by Francis Scott Key; then Living University president Michael Germano welcomed the crowd. Of course, Chancellor of Living University and Chairman of the Board of Regents, theology professor Roderick C. Meredith, Th.D., age 79, was on hand to personally confer the credentials to his Ambassador graduates, uh, make that Living, graduates. Two candidates actually received the coveted credentials of some sort, the remainder of the credentials were awarded "in absentia".
Living University commencement gallery photos, here.
Revel in the 2008 Living University commencement schedule here.
Living University commencement gallery photos, here.
Revel in the 2008 Living University commencement schedule here.
5 comments:
Stan,
Thanks for posting the link to the LCG pictures - first time I have seen a picture of Meredith, Wannail, Germano and others in years. I almost felt a little sorry for them - how the mighty have fallen.
Also note that this proves once again that Spanky is alive and well. So much for that fifth thunder. All I hear is the sound of crickets.
A Picture of Garner Ted
In his stately Pasadena home, the well-known artist Basil Hollerton meets Garner Ted Armstrong. Garner Ted is a cultured, wealthy, and handsome young man who immediately captures Basil’s artistic imagination. Garner Ted sits for several portraits, and Basil often depicts him in a heroic way or as a charming mythological figure. As the story opens, the artist is completing his first portrait of Garner Ted as he truly is, but as Basil admits to his friend Lord H.W. Armstrong, the painting disappoints him because it reveals too much of his sympathy for his subject. Lord Armstrong, a famous wit who enjoys celebrating the selfish pursuit of pleasure, disagrees, claiming that the portrait is Basil’s masterpiece. Garner Ted arrives at the studio, and Basil fears Lord Armstrong will have a damaging influence on the impressionable, young Garner Ted.
Basil’s fears are well founded; before the end of their first conversation, elderly Lord Armstrong upsets Garner Ted with a speech about the transient nature of beauty and youth. Worried that these, his most impressive characteristics, are fading day by day, Garner Ted curses his portrait, which he believes will one day remind him of the beauty he will have lost. In a fit of distress, he pledges his soul if only the painting could bear the burden of age and infamy, allowing him to stay forever young. In an attempt to appease Garner Ted, Basil gives him the portrait.
Over the next few years, Lord Armstrong’s influence over Garner Ted grows stronger. The youth becomes a disciple of the “New Morality” and proposes to live a life dedicated to the pursuit of pleasure. He falls in love with Shirley Vane, a young actress who performs in a family theater in Hollywood. He adores her acting; she, in turn, refers to him as her valiant “Prince Charming” and refuses to heed the warnings of her brother, David Vane, that Garner Ted is no good for her. Overcome by her emotions for Garner Ted, Shirley decides that she can no longer act, wondering how she can pretend to love on the stage now that she has experienced the real thing. Garner Ted, who loves Shirley because of her ability to act, cruelly breaks his engagement with her. After doing so, he returns home to notice that his face in Basil’s portrait of him has changed: it now sneers. Frightened that his wish for his likeness in the painting to bear the ill effects of his behavior has come true and that his sins will be recorded on the canvas, he resolves to make amends with Shirley the next day. The following afternoon, however, Lord Armstrong bears the bad news - Shirley has killed herself. At Lord Armstrong’s urging, Garner Ted decides to consider her death a sort of artistic triumph—she personified tragedy—and to put the matter behind him. Meanwhile, Garner Ted hides his portrait in a remote upper room of his mansion, where no one other than he can watch its transformation.
Lord Armstrong gives Garner Ted a yellow booklet that describes the wicked exploits of a rich nineteenth-century aristocrat; it becomes Garner Ted’s bible as he sinks ever deeper into a life of sin and corruption. He lives a life devoted to garnering new experiences and sensations with no regard for conventional standards of morality or the consequences of his actions. Eighteen years pass. Garner Ted’s reputation suffers in circles of polite society, where rumors spread regarding his scandalous exploits. His peers nevertheless continue to accept him because he remains handsome and telegenic. The figure in the painting, however, grows increasingly wizened and hideous.
Late on a dark, cloudy night, Basil Hollerton arrives at Garner Ted’s home to confront him about the rumors that plague his reputation. The two argue, and Garner Ted eventually offers Basil a look at his (Garner Ted’s) soul. He shows Basil the now-hideous portrait, and Hollerton, horrified, begs him to repent. Garner Ted claims it is too late for penance and kills Basil in a fit of rage.
In order to dispose of the body, Garner Ted employs the help of an estranged friend, a doctor, whom he blackmails. The night after the murder, Garner Ted makes his way to the studio, where he encounters David Vane, who attempts to avenge Shirley’s death. Garner Ted escapes to his country estate. While entertaining guests, he notices David Vane peering in through a window, and he becomes wracked by fear and guilt. When a hunting party accidentally shoots and kills Vane, Garner Ted feels safe again. He resolves to amend his life but cannot muster the courage to confess his crimes, and the painting now reveals his supposed desire to repent for what it is—hypocrisy. In a fury, Garner Ted picks up the knife he used to stab Basil Hollerton and attempts to destroy the painting. There is a crash, and his servants enter to find the portrait, unharmed, showing Garner Ted Armstrong as a vital young man. On the floor lies the body of their master— an old man, horribly wrinkled and disfigured and dead.
A. Nonny Mouse
Notice how RM is smiling into the camera?
The majority of folks who are no longer involved with the Church of God, especially those who maintain a grasp on the truth of God, including government, are, I would imagine. those who really didn't prove the doctrines of the Church in the first place.
They seem to be those, not unlike gang members and members of cults and occults, who "just need to feel a sense of belonging to something".
Those who remain are those who actually took the time to prove the things they were professing to believe.
It seems that all those who are unable to get on with their lives without harboring useless resentments should maybe take "re-look" at those things they professed to believe in the first place. Or.... Let It Go!
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