Is anyone having this problem? A few of my songs are being changed to the clean versions, no all of them. When I choose which version to put in my playlist it shows explicit and the second I play it, the E (Explicit) dissapears.

This hymn hangs over our mantle at home. It expresses the foundation of my theology and my life so well that I long to know the man who wrote it.Finally, I want to know why this man struggled with depression and despair almost all his life. I want to try to come to terms with insanity and spiritual songs in the same heart of one whom I think was a saint.

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(I was struck) with such a dejection of spirits, as none but they who have felt the same, can have the least conception of. Day and night I was upon the rack, lying down in horror, and rising up in despair. I presently lost all relish for those studies, to which before I had been closely attached; the classics had no longer any charms for me; I had need of something more salutary than amusement, but I had not one to direct me where to find it.

He came through this depression with the help of the poems of George Herbert (who lived 150 years earlier). These contained enough beauty and enough hope that Cowper found strength to take several months away from London by the sea in Southampton. What happened there was both merciful and sad. He wrote in his Memoir:

The morning was calm and clear; the sun shone bright upon the sea; and the country on the borders of it was the most beautiful I had ever seen...Here it was, that on a sudden, as if another sun had been kindled that instant in the heavens, on purpose to dispel sorrow and vexation of spirit, I felt the weight of all my weariness taken off; my heart became light and joyful in a moment; I could have wept with transport had I been alone.

I well recollect when I was about eleven years of age, my father desired me to read a vindication of self-murder, and give him my sentiments upon the question: I did so, and argued against it. My father heard my reasons, and was silent, neither approving nor disapproving; from whence I inferred that he sided with the author against me (Ibid., 118).

Immediately I received the strength to believe it, and the full beams of the Sun of Righteousness shone upon me. I saw the sufficiency of the atonement He had made, my pardon sealed in His blood, and all the fullness and completeness of His justification. In a moment I believed, and received the gospel ... Whatever my friend Madan had said to me, long before, revived in all its clearness, with demonstration of the spirit and power. Unless the Almighty arm had been under me, I think I should have died with gratitude and joy. My eyes filled with tears, and my voice choked with transport; I could only look up to heaven in silent fear, overwhelmed with love and wonder (Ibid. 132).

In 1780 Newton leaves Olney for a new pastorate in Lombard Street, London where he served for the next 27 years. It is a great tribute to him that he did not abandon his friendship with Cowper, though this would have been emotionally easy to do no doubt. Instead there is an earnest exchange of letters for twenty years. Cowper poured out his soul to Newton as to no one else.

Perhaps his productivity staved off the threatened breakdown of 1783, the next ten-year interval. But the reprieve did not last. In 1786 Cowper entered his fourth deep depression and again tried unsuccessfully to commit suicide. He and Mary move from Olney to Weston that year and the long decline of both of them begins. He cares for her as for a dying Mother from 1790 to 1796, filling what moments he can with work on his translations of Homer and other Greek and French works. He writes his last original poem in 1799, called The Castaway, and then dies apparently in utter despair in 1800.

Notice that he affirms the truth of the doctrine of the perseverance of the saints and does not even quarrel with the reality of his own conversion at St. Albans. What he disputes is that the general truth applies to him. He is the lone exception in the universe. He is reprobate though once he was elect. Ask not why. God gives no account. This is his bleakest way of talking.

One begins to ponder the strange relations Cowper had all his life with older women, wanting them in his life, and yet confusing them with the love poems he would write when he had no romantic intentions. Lady Austen in particular was bewildered by the way Cowper wrote to her. This kind of behavior may have its roots not only in the loss of his mother but in the virtual loss of his father and his horrible experience in boarding school between the ages of six and eight. He hated boarding school and longed for his father:

One would never say it in the eighteenth century. But knowing what we know today about its effects and what we know about boys at that age, it is hard not to raise the specter of sexual abuse. What horrors a little six-year-old boy may have experienced combined with the loss of his mother and the virtual loss of his father!

Despair is relentless in the certainties of his pessimism. But we have seen that Cowper is not consistent. Some years after his absolute statements of being cut off from God, he is again expressing some hope in being heard. His certainties were not sureties. So it will always be with the deceptions of darkness. Let us now, while we have the light, cultivate distrust of the certainties of despair.

I am having a lot of trouble finding out how to download songs off my premium duo account. I read a premium account should be able to download songs, but I am not seeing that option. PLEASE HELP! I am trying to figure out how to get songs for my son on his MP3 player:))

Silly Songs with Larry is a regular feature segment in Big Idea's cartoon series VeggieTales. Often secular, they generally consist of Larry the Cucumber singing a humorous novelty song either alone or with some of the other Veggie characters. Occasionally, another character, like Mr. Lunt, Bob the Tomato, Junior Asparagus, Laura Carrot, Archibald Asparagus, Oscar the Polish Caterer, and the French Peas Jean-Claude and Philippe, or an ensemble is featured in Larry's place. The Silly Songs have proven to be a very popular part of the show and have also prompted the release of several "sing-along" and compilation videos of these segments, some wrapped with new material that threads them into a fresh context. Some of the silly songs have been nominated for a GMA Dove Award.[1]

Sometimes a Silly Song is introduced with a static picture of Larry. Then, an unseen narrator, sometimes Archibald, says the following: "And now it's time for Silly Songs with Larry, the part of the show where Larry comes out & sings a silly song." However, this format is used loosely; sometimes it is renamed, adapted to the context of the episode, or eschewed altogether.

The Silly Song, if present, always appears in the middle of an episode, usually at a cliffhanger moment or between two separate segments, and usually has nothing to do with the episode storyline. The segment either takes place on the familiar countertop which opens and closes some of the episodes, or is presented in another setting off the countertop. On some videos, the background scenery often appears as a stage set, behind which electrical outlets and ceramic tile can be seen.

The segment typically ends, unless pre-empted or replaced by another character, with the same unseen narrator saying "This has been Silly Songs with Larry. Tune in next time to hear Larry say/sing...."

Mike Nawrocki has written and directed a majority of the silly songs for the past 20 years. Kurt Heinecke has served as producer and composer for nearly all of the silly songs of the past 20 years.[4] Christian songwriter Steve Taylor wrote the 2009 silly song entitled "Sippy Cup."[5]

The segment was briefly discontinued after the original series ended in 2015 and were not featured in the Dreamworks spinoff series VeggieTales in the House (2014-2016) or VeggieTales in the City (2017). On his podcast (entitled The Holy Post) in late spring of 2019, Phil Vischer announced that the silly song segment will be returning with new songs in the new series The VeggieTales Show (which premiered in October 2019).[6]

This song was written for (but, as it turns out, wasn't actually used in) the 2003 film of the same name, which itself is loosely based on the Evelyn Waugh 1930 novel Vile Bodies. The title phrase does appear repeatedly in the novel, but otherwise the lyrics have little or nothing to do with the book. So the "literary reference" here is tenuous at best. (Thanks to my frequent site contributor Jeffrey Durst—a fan of Waugh as well as of the Pet Shop Boys—for confirming the "tenuousness" of this connection.)

Giacomo Casanova (1725-1798) wrote his famous (and infamous) Memoirs in his old age, as described by the Pet Shop Boys in this song, though they almost certainly take some liberties with the details. The song itself, however, was more immediately inspired by another literary work, the 1918 novella Casanovas Heimfahr (titled in translation as either Casanova's Homecoming or Casanova's Return to Venice) by the Viennese writer Arthur Schnitzler.

In the booklet that accompanies the 2001 reissue of Bilingual, Neil notes that this song was inspired by the novel Hadrian VII by the relatively obscure late nineteenth/early twentieth-century British author Frederick William Rolfe, alias Baron Corvo. He also states that the "ring the bells" portion was inspired by the poem "A Sane Revolution" by a far better-known British author, D.H. Lawrence. The poem concludes with the line "Let's make a revolution for fun!"

The line "You don't have to be in Who's Who to know what's what" is borrowed (unwittingly, although Neil has confessed upfront his conviction that the line wasn't original with him) from the title of a 1979 book by the American writer and humorist Sam Levenson (1911-1980). Another line, "Just to thyself be true," echoes the famous advice of Polonius to his son Laertes in Shakespeare's Hamlet: "To thine own self be true." 0852c4b9a8

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