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Voices of "The 99%" Heard in Protests Across Nation
Charles Monaco on October 7, 2011 - 12:05pm
This week, a 3 week-long protest against economic injustice and inequality in the Financial District in New York City gathered momentum as approximately 20,000 people joined a march in solidarity and similar protests against the excesses of Wall Street spread to almost every other state, fueled by a rising sense of urgency on the economy. The "Occupy Wall Street" protest in New York was bolstered by a huge rally on Wednesday organized by labor unions and community groups loudly proclaiming their support for the core group of protesters who have been occupying a plaza a few blocks away from the New York Stock Exchange. As progressive leaders and many elected officials — including state legislators — begin to lend their support to the still-fledgling protest, many are repeating one core message emerging out of the diffuse and leaderless movement: underscoring the increasingly deep economic divide in this country separating the super-wealthy from the 99% of Americans who have borne nearly the entire brunt of the Great Recession and its aftermath.
The show of solidarity for the protest from community groups and unions in New York this week reflected similar efforts by groups and individuals across the nation to do what they could to support an effort which is beginning to have a significant impact on the national debate around jobs and the economy. "We're not trying to grab the steering wheel or to control it," explained Michael Kink, executive director of Strong Economy For All, a New York coalition of community groups, to one reporter. "We're looking to find common cause and support the effort. It's the right fight at the right time, and we want to be part of it." Other leaders in the broader progressive movement seemed to follow a similar approach this week. AFL-CIO President Richard Trumka released a statement stating, "We support the protesters in their determination to hold Wall Street accountable and create good jobs. We are proud that... bus drivers, painters, nurses and utility workers will join students and homeowners, the unemployed and the underemployed to call for fundamental change." And Former Wisconsin Senator Russ Feingold told supporters that he was encouraged by the fact that "people around the country are finally organizing to stand up to the huge influence of corporations on government and our lives," adding that he thought "this kind of citizen reaction to corporate power and corporate greed is long overdue."
As groups and individuals in states around the nation voice their support, more and more protests are also popping up in their own backyards — including in many state capitals. A count of solidarity rallies and "occupations" around the nation by Daily Kos has mapped over 200 such efforts that have either taken place or are in the planning stages across the 50 states. Elected officials from around the nation are also making their way to the main protest site in New York itself to show their support. Speaking at a General Assembly meeting at the site last week, Kansas State Sen. Marci Francisco promised the assembled crowd, "I will take back what I've seen to Kansas."
This rapid national surge of institutional and political support for what was only a few days ago a largely unnoticed gathering of protesters is happening as more and more evidence emerges of a rising sense of economic insecurity among the 99% of Americans who have been left out of the recovery. A survey published this week found that one in three Americans were worried they would not be able to pay their rent or mortgage for more than one month if they were to lose their job. The Census Bureau released numbers last month showing median household income falling and poverty rising. And a new study in a publication by the International Monetary Fund this week reinforced the danger of rising income inequality of the type we are currently seeing in the United States, noting that it threatens to kill national economic growth.
Meanwhile, in the absence of progress on a jobs bill in Congress, states are also continuing to pursue cuts that undermine economic growth and add to the sense of insecurity. Whether they are passing cuts on to cities and localities, enacting cuts that target the most vulnerable, or requiring broad cuts across entire programs that have no fat left to trim, many states are finding themselves themselves compounding economic problems for working families with devastating cuts, three full years after the recession began. Policymakers in states could take a cue from Federal Reserve Chairman Ben Bernanke's advice to Congress this week where he warned against cutting federal spending, saying "we need to make sure that the recovery continues and doesn't drop back and that the unemployment rate continues to fall downward."
As the protests against Wall Street continue to evolve, it is the fate of the economic security of the 99% of Americans who have been left out of the recovery, and feel increasingly left out of the political process, that is quickly becoming the frame through which they are being viewed by observers across the country.
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STAGE: An inside take on Aaron Landsman, Mallory Catlett, and Jim Findlay's interactive 'City Council Meeting'
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Life and death at SF General as everyone's hospital moves into an uncertain period, BART's new policy of rousing vagrants, MEX I AM's latin sounds hit Yerba Bunea Center, and Wolrd War I Films blow up the screen at PFA. Articles Online | Digital Edition
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Budos Band - If you ever hear someone say they find instrumental music boring, all you need to do is point them in the direction of the Budos Band, a 10- to 13-member (depending on the year) Afro-soul group that collectively, with its energetic meanderings through jazz and deep-pocket funk with just the right smattering of British invasion pop-sweetness, commands more attention on stage than many a lead singer I've seen. Daptone Records labelmate Sharon Jones is having a banner year — and with the Budos' first album since 2010, Burnt Offering, due out Oct. 21, we imagine the record company is too. Head to the Independent prepared to get sweaty. 8pm, $25. The Independent, 628 Divisadero, SF. www.theindependentsf.com
Pretty in Ink -- Featuring highlights from the personal archives of comics historian Trina Robbins, Pretty In Ink (Fantagraphic Books) looks at the work of some of the top women cartoonists from the early 20th century, including Ethel Hays, Edwina Dumm, Nell Brinkley, and Ramona Fradon. An exhibit of the same name is currently on display at the Cartoon Art Museum, with original artwork, photographs, and other rare items featuring characters such as Miss Fury and Flapper Fanny — don't miss your chance to head down tonight for a reception and party celebrating both, where Robbins will be on hand to autograph the toon-filled tome. 6-8pm, free. Cartoon Art Museum, 655 Mission, SF. (415) CAR-TOON www.cartoonart.org
Omar Souleyman - Though Syrian singer Omar Souleyman's been performing for two decades and allegedly has over 500 releases to his name, you may not have heard of him until recently. Formerly a regular performer at weddings in Syria, Souleyman performs dabke music, meant to accompany the traditional line dance of the same name. Wild videos of these dances and performances found their way onto YouTube and attracted the attention of Seattle label Sublime Frequencies, which released several compilations of his work and brought him to the attention of the world's music cognoscenti. A Four Tet-produced album and a few inexplicable Bjork remixes later, he's become something of an underground star, performing for audiences across the world — including in San Francisco, where he's set to most likely fill The Independent tonight. 9pm, $20. The Independent, 628 Divisadero, SF. (415) 771-1421 www.theindependentsf.com
Art + Soul Blues & BBQ Blowout - Live blues music all day in the sunshine, paired with barbecue cooked up by 40 top "pitmasters" from all over California. Need I say more? Oakland's Art + Soul festival has long been a gem in the city's cultural crown, with visual art, kids' activities, and killer musical lineups, this year drawing old-school local favorites like Tommy Castro and the Painkillers and "Oakland Blues Divas" Margie Turner, Ella Pennewell, and more for a showcase presented by the Bay Area Blues Society. How good will the barbecue be? Mayor Jean Quan is presenting California "Chef of the Year" Tanya Holland of Oakland's Brown Sugar Kitchen and B-Side BBQ with a key to the city. So, you know: Officially, city-decreed, smokin.' Through Sun/3, noon to 6pm. $10 adults, $7 seniors and youth, kids 12 and under free. 14th and Broadway, Oakl. www.artandsouloakland.com
The Sturgeon Queens - This quick documentary, which celebrates the 100th anniversary of iconic Jewish fishmongers/New York deli nosh-purveyors Russ & Daughters, is a must-see for delicatessen aficionados, or food history buffs, or, you know, anyone who likes to get really hungry while watching movies. At the film's center are 100-year-old Hattie Russ Gold and 92-year-old Anne Russ Federman, the daughters after which the store was named and the heirs to their family's culinary Lower East Side legacy; guest appearances by loyal celebrity fans of the store include Maggie Gyllenhaal, Mario Batali, and Supreme Court Justice Ruth Bader Ginsberg. 12:15pm, $14 (as part of SFJFF). Castro Theatre, 429 Castro, SF. www.sfjff.org
Bad Suns - The 2012 release of "Cardiac Arrest" was supposed to be a one-time deal from Bad Suns — the band planned to have only one song to its name. But not surprisingly, the catchy, sleek track caught people's attention and blew up on the radio. Opening for groups such as Geographer and The 1975 in the past year or so, the LA-based band finally sets out on its own tour to promote its debut LP, Language & Perspective. With a more impressive repertoire than the members might've imagined, the album is comprised of sunshine-infused '80s-tastic New Wave tunes. Fellow Southern California musical compadres Klev and Hunny join Bad Suns tonight. With Klev, Hunny. 8pm, $15, The Independent, 628 Divisadero, SF. (415) 771-1421 www.theindependentsf.com
Clap Your Hands Say Yeah Hundred Waters are signed to Skrillex's OWSLA label, but don't expect big bass drops from this Florida crew. Rather, they trade in a "digital folk" style that offers an intriguing rural perspective to the retro-futuristic conversation currently taking place in underground electronic circles. Birds chirp in unison with drum machines; Blade Runner synths support Tolkienesque fantasias. At the front of it all is Nicole Miglis, a one-woman choir whose voice seems as perpetually omnipresent as the sun and the sky. 9pm, $20, The Independent, 628 Divisadero, SF. (415) 771-1421 www.theindependentsf.com
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Bach: Mass in B minor
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The King's Consort Baroque Collection
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Part 1 Missa No 01. Chorus: Kyrie eleison
Part 1 Missa No 02. Duet: Christe eleison
Part 1 Missa No 03. Chorus: Kyrie eleison
Part 1 Missa No 04 & 05: Gloria in excelsis Deo & Et in terra pax
Part 1 Missa No 04. Chorus: Gloria in excelsis Deo
Part 1 Missa No 05. Chorus: Et in terra pax hominibus
Part 1 Missa No 06. Aria: Laudamus te
Part 1 Missa No 07. Chorus: Gratias agimus tibi
Part 1 Missa No 08. Duet: Domine Deus
Matthias Ritter (treble), Anthony Rolfe Johnson (tenor), The King's Consort, Robert King (conductor)
Part 1 Missa No 09. Chorus: Qui tollis peccata mundi
Part 1 Missa No 10. Aria: Qui sedes ad dexteram Patris
Part 1 Missa No 11. Aria: Quoniam tu solus sanctus
Part 1 Missa No 12. Chorus: Cum Sancto Spiritu
Part 2 Symbolum Nicenum No 1. Chorus: Credo in unum Deum
Part 2 Symbolum Nicenum No 2. Chorus: Patrem omnipotentem
Part 2 Symbolum Nicenum No 2: Patrem omnipotentem
Part 2 Symbolum Nicenum No 3. Duet: Et in unum Dominum
Part 2 Symbolum Nicenum No 4. Chorus: Et incarnatus est
Part 2 Symbolum Nicenum No 5. Chorus: Crucifixus etiam pro nobis
Part 2 Symbolum Nicenum No 6. Chorus: Et resurrexit tertia die
Part 2 Symbolum Nicenum No 7. Aria: Et in Spiritum Sanctum
Part 2 Symbolum Nicenum No 8. Chorus: Confiteor unum baptisma
Part 2 Symbolum Nicenum No 9. Chorus: Et exspecto resurrectionem
Part 3 Sanctus. Chorus: Sanctus
Part 4 Osanna, Benedictus, Agnus Dei and Dona nobis pacem No 1. Chorus: Osanna in excelsis
Part 4 Osanna, Benedictus, Agnus Dei and Dona nobis pacem No 2. Aria: Benedictus
Part 4 Osanna, Benedictus, Agnus Dei and Dona nobis pacem No 3. Chorus: Osanna in excelsis
Part 4 Osanna, Benedictus, Agnus Dei and Dona nobis pacem No 4. Aria: Agnus Dei
Part 4 Osanna, Benedictus, Agnus Dei and Dona nobis pacem No 5. Chorus: Dona nobis pacem
Since the mid-1730s Bach had grown especially conscious of his own place in the Bach dynasty, drawing up a family tree around the time of his fiftieth birthday in 1735. He was well aware of his musical ancestors from the seventeenth century and regularly performed motets by his uncles Johann Christoph and Johann Michael Bach; he could see that his own sons too were following in the family tradition and becoming notable composers. Bach even went so far as to form an archive of family musical manuscripts. During the 1740s, though he never allowed musical standards at the Thomaskirche to slip, his ambitions moved away from the routine functions of Kapellmeister (which he had been carrying out, in a number of centres, for over twenty-five years) to the pursuit of musical science. In his own work he was not only intent on writing music of the highest calibre, but he was also determined to develop greater structural architecture, internal integrity and inventiveness. In instrumental music the result was Die Kunst der Fuge ('The Art of Fugue'). In sacred music, looking back on a tradition which stretched beyond Palestrina (whose work he knew and admired) to Gregorian chant, his monument was a setting of a text which he felt would not date: the Mass.
In composing this work in B minor, by far his largest setting of the Mass, Bach did not intend to create a single, multi-movement work entirely from scratch. Instead, with an eye to history and posterity, and perhaps to create 'models' of his work, he inserted and adapted movements he had written over the past thirty years. But in no way was this a simple case of compiling movements into an anthology: the work was meticulously structured, with many of the sections based on existing material so heavily reworked that only thematic elements remain of the original composition.
Part I: MISSA
The Missa (comprising the 'Kyrie' and 'Gloria') may have been performed in Dresden around the time of its composition in 1733. Not for the first time in his career, Bach's reason for writing such an outstanding work was a grand calling card – an attempt to further his career and receive a promotion. He presented a set of parts for the Missa to the Elector Friedrich August II of Saxony with the following dedication:
'Most Illustrious Electoral Prince, Most Gracious Lord, It is with the deepest Devotion that I lay before your Royal Highness this trifling product of that science which I have attained in Musique, with the most humble request that you will deign to look upon it with a gracious eye, in accordance with your Clemency, which is renowned throughout the entire world, and not judging it according to the poorness of its Composition; and that you will also deign to take me into your most mighty Protection. For some years and up to the present day I have had the Direction of the Music of the two principal Churches in Leipzig, but have also been obliged to suffer one slight and another quite undeservedly, and also a diminution of the additional Honoraria connected with this Function; the which might entirely be withheld unless your Royal Highness shews me the favour of conferring upon me a Predicate in your Hoff-Capelle, and in respect of this places before the appropriate authority your high Command for the bestowal of a Decree; this most gracious accession to my most humble petition will impose upon me an infinite obligation, and I will offer myself in most dutiful obedience and will show my constant and indefatigable diligence in the composition of Musique for the Church as well as for the Orchestre at your Royal Highness's most gracious desire, and will also devote all my powers to your Service, and remain in unceasing loyalty. Your Royal Highness's most humble and most obedient servant.
Johann Sebastian Bach, Dresden, the 27th Julii, 1733.'
Unlike the job application implied in the 'Brandenburg' Concertos, this attempt by Bach was finally successful, for he eventually received his desired appointment as the Saxon Hofkapellmeister late in 1736.
The Missa that he presented as his justification for promotion was a substantial one, with its two movements (between them containing twelve sections) lasting nearly an hour. In these sections Bach shows his debt to past musical forms – to the Renaissance polyphonists in his use of deliberately archaic styles and by ignoring the 'modern' da capo aria form – but also shows his forward-looking side, with an overall key structure, a handling of styles, and a use of instrumentation and compositional devices that are modern.
The 'Kyrie' falls into the expected three sections, with the spacious opening chordal progression followed by an extensive and complex fugue, worked frequently in six voices, with the two choral sections separated by instrumental fugal episodes. For the 'Christe' Bach indicates that he wants two sopranos: presumably he wanted to match the voices as for much of the movement he pairs them in thirds and sixths. For the third section, the second 'Kyrie', he writes a four-part fugue in the 'prima prattica' style of the Renaissance contrapuntalists, with the instruments reinforcing the vocal lines with note-for-note doubling.
The 'Gloria' opens in the bright major key of D, bringing the first entries of trumpets and timpani. Its opening has been thought by some commentators to be a reworking of an unknown instrumental composition, to which Bach added chorus parts. It leads without a break into the 'Et in terra pax', and a striking comparison of the brightness of heaven and its busy musical exchanges with the more conversational lowliness of earth. But Bach gives the two elements symbolic numerical equality (the hundred triple-time bars of the 'heavenly' first section are matched by seventy-five bars of four-beat writing for earth) and builds up the movement with inexorable power. The eventual entries of the trumpets symbolically unite earth with heaven.
The first solo section of the 'Gloria' is given to the second, lower soprano soloist: he is faced with one of the most technically demanding solos of the work, accompanied by a complex violin solo which itself would not have been out of place in one of the violin concertos. The choral fugue 'Gratias agimus' which follows is a reworking of the first chorus of Cantata BWV29 (1731): its original text ('Wir danken dir, Gott, und verkündigen deine Wunder' – 'We thank you God and proclaim thy wonders') is very similar to that of its new setting ('We give Thee thanks for Thy great glory'). The 'Domine Deus' pairs soprano and tenor soloists, accompanied by the deliciously transparent texture of two flutes in unison (Bach's manuscript is quite specific in requiring both players), muted upper strings and pizzicato bassi. This leads directly into the chorus 'Qui tollis peccata mundi', based on the opening chorus of Cantata BWV46, 'Schauet doch und sehet' (1723), though it is much altered here in its new home. The flutes maintain an important part in the texture, lending 'other-worldly' movement and colour to a dolorous section. Once again Bach takes a movement whose original text ('Behold and see if there be any sorrow') is similar to its new one ('Thou who takest away the sins of the world').
After instrumental solos for violin and flute, the next two movements feature darker colours. The 'Qui sedes' is a duet for oboe d'amore and alto voice, with the strings playing a simple, largely chordal accompaniment. Continuing downwards through the orchestral texture, the scoring of the 'Quoniam tu solus' produces one of the more unusual colours found in Bach's writing (though looking through the cantatas one constantly finds the composer exploring and introducing exotic sounds): to illustrate Jesus in heavenly majesty Bach takes a corno da caccia (literally a hunting horn, though by now an instrument thoroughly integrated into the Baroque orchestra), accompanying it with two obbligato bassoons and continuo, and gives the vocal line to the bass soloist. This mixture of tenor and bass sounds presents a rich picture of heaven without detracting from the full orchestral and choral splendour that is reserved to represent the 'glory of God the Father' in the final chorus 'Cum Sancto Spiritu'. Bach closes his 'Gloria' with a brilliant contrapuntal display for both choir and orchestra, capped by a virtuoso trumpet flourish.
Part II: SYMBOLUM NICENUM
Only two movements of the Symbolum (the 'Confiteor' and the opening 'Credo in unum Deum') are thought to have been freshly composed: both are notable for looking historically backwards in their utilization of a plainsong cantus firmus. Yet if any proof were needed that Bach, despite this apparent recycling, conceived the overall shape of this work with anything other than a majestically clear vision, it is found in the Symbolum, which contains one of the most perfectly symmetrical, self-contained structures in any of his large-scale works.
The three central choruses are surrounded by a double frame, with the overall key structure of the movements forming a cadential progression in D major. The outer frame comprises a pair of choral movements, one composed in the stile antico and featuring a cantus firmus, the other a concertato fugue. The inner frame comprises two solo movements linked by instrumentation. At the centre come three astonishing choral movements:
Credo (stile antico, cantus firmus) D major
Patrem (concertato fugue) D major
Et in unum Dominum (solo) G major
Et incarnatus (chorus) B minor
Crucifixus (chorus, passacaglia) E minor–G major
Et resurrexit (choral fugue) D major
Et in Spiritum Sanctum (solo) A major
Confiteor (stile antico, cantus firmus) F sharp minor
Et expecto (concertato fugue) D major
The first of the pair of movements in that outer frame, the 'Credo', develops the plainsong melody in five choral and two instrumental parts over a running bass, acting almost as a prelude to the 'Patrem omnipotentem' (a parody of a movement from Cantata BWV171, 'Gott, wie dein Name'): although the choir basses immediately begin the new text, the three upper vocal parts at first steadfastly repeat the 'Credo in unum Deum' text of the opening before they too are caught up in the insistent liveliness of the movement. The text of the soprano and alto duet 'Et in unum Dominum' clearly worried Bach at a later date, for his manuscript includes (at the end of the 'Credo') an alternative version which takes the text only as far as 'Descendit de coelis': in his original version of the duet he also sets the words beginning 'Et incarnatus est', which are then repeated in the succeeding chorus. Choosing the second version solves the textual repetition, but loses the word painting of the violins' arpeggionic 'descent from heaven' and the humility of the far-flattened key of 'et homo factus est'.
The three central choruses are magnificently poised. First comes the B minor 'Et incarnatus est', with the dropping arpeggios of the chorus echoed by an even more poignant, chromatically embellished arpeggio in the violins, all anchored over a slowly pulsing bass line. The earliest source Bach utilized anywhere in the Mass is found in the 'Crucifixus', based on the opening chorus of Cantata BWV12 'Weinen, Klagen, Sorgen, Zagen' (written in Cöthen in 1714). It is a mournful passacaglia in E minor where the grief of the chorus and the wistful sighs of the flutes and strings are tied over a melancholy, chromatically falling bass. During the last four bars the key turns to G major, allowing the crucifixion scene to end peacefully. It is also a tonal preparation for the brilliant return of D trumpets in the 'Et resurrexit' which scholars have suggested may be a reworking of a lost instrumental concerto. Certainly the orchestral writing is extensive and complex: the movement ends with an orchestral sinfonia. Even the 'break' for the chorus basses at the midpoint is thoroughly instrumental. The second solo movement of the 'Credo' is the 'Et in Spiritum Sanctum', where the two oboists (who had featured in a supporting role in the 'Et in unum Dominum') now take on a more soloistic role on oboes d'amore in their pairing with the solo bass (singing in a much higher tessitura than his first solo). Here is pure chamber music. Closing the 'Credo' comes the same combination of choral movements as opened it. The 'Confiteor' is again composed in the stile antico and features a cantus firmus, but is more 'modern' in feel, winding down to the adagio of 'in remissionem peccatorum' and a deliciously mournful 'Et expecto resurrectionem mortuorum'. As if not wishing us to comprehend the significance of the text, Bach leads us on, stressing the melancholy of 'mortuorum', until the message dawns – it is not the dead we are mourning, but the resurrection of the dead we are celebrating. Jubilation breaks out: still setting the same text, Bach presents a brilliant concertato fugue, reworking the 1729 'Wedding' Cantata chorus 'Jauchzet, ihr erfreuten Stimmen' (BWV120) from four choral voices into five in the most exultant writing.
Part III: SANCTUS
The 'Sanctus' is known to have been performed during Bach's second Christmas in Leipzig in 1724 and again (in a revised version) in the 1740s. At the three principal Church Feasts in Leipzig the 'Sanctus' was sung in an elaborate musical setting, closing the Preface (and so leading into the Eucharist). Here, Bach's scoring includes three oboes (as opposed to the two utilized up to this point), but no flutes. Orchestrally this allows for three separate three-part instrumental groupings (upper strings, oboes and trumpets), and the six-part choir too pits three parts against three parts. All this is set over a magnificently inexorable bass line. As elsewhere in the work, Bach's numerological symbolism comes to the fore: the text repeats the word 'Sanctus' three times and additionally alludes to the Holy Trinity. There is symbolism too in the total of five groups (three orchestral, two choral), for the text of the Preface refers to the five groups who give praise to God: Angels, Archangels, thrones, principalities and all the Company of Heaven. The triple-time second section, 'Pleni sunt coeli', is a brilliantly conceived fugue with two expositions.
Part IV: OSANNA, BENEDICTUS, AGNUS DEI and Dona nobis pacem
In normal liturgical use the 'Sanctus' would be followed immediately by the 'Osanna', 'Benedictus' and second 'Osanna', but in Leipzig these movements (and the 'Agnus Dei') were relegated to the function of music sung during the administration of the Sacrament. That said, the 'Osanna' does seem to be linked directly with the 'Sanctus', both in key and the use of an identical triple-time metre. Its source is a movement from a Cantata, 'Es lebe der König, der Vater im Lande' written in 1732 to celebrate the name day of August II (BWVA.11, music now lost), and involves the largest vocal scoring of the work, with two four-part choirs. All four movements of the final section (the 'Osanna', 'Benedictus', 'Agnus Dei' and 'Dona nobis pacem') are thought to have been assembled in Bach's final years. Whereas we know the source for the 'Osanna', that for the 'Benedictus' is presumed by scholars to be an unknown aria. There is mystery too attached to which instrument should play its melody line, for Bach's score (more constricted in space in the manuscript than most other movements) gives no indication. In the nineteenth century, perhaps following the example of Beethoven's Missa solemnis, a violin usually played the solo, but the flute seems more likely, given the line's compass (never dropping below the flute's bottom D yet rising to notes that the Baroque violin did not usually play), its convenient flute-like key, and its overall style and phrasing, not to mention the instrument's unique colour.
For the opening of the 'Agnus Dei', Bach turned to the first section of a movement from the 1735 Ascension Oratorio (BWV11) 'Ach, bleibe doch'. Here, in its more concise form and a tone lower in G minor (the only time that a 'flat' key is used in the whole Mass), it proves to be a most moving setting of the text. Bach's final architectural block in this massive structure is a reworking of the 'Gratias agimus' from the Missa (with the prescribed text, 'Dona nobis pacem', here containing far fewer syllables). Here, as elsewhere, Bach's writing is magnificently uplifting, with the final gesture of trumpets, as ever symbolic of heaven, soaring above all other voices and instruments.
When Bach sent his Missa to August II, he followed tradition in only sending a set of parts: he kept for himself the fair copy of the score, and it is this manuscript (dated 1732/3 by watermarks on the manuscript paper) which forms the first half of the final autograph. The second half of the manuscript (the Symbolum onwards) dates in all probability from 1747–1750, and shows that Bach's absorption in the work was total, for even this supposedly final manuscript (especially the 'Credo') was subjected to numerous corrections and refinements.
On Bach's demise in 1750 the manuscript passed (with many other works) to his son, C P E Bach: on his death in 1788 all the manuscripts were offered for sale, but the Mass was not considered especially worthy, only finally being auctioned in 1805, when the music publisher Hans Georg Nägeli bought it. Still it was not paid much attention, and Nägeli's planned publication of the Mass was delayed through lack of subscribers until 1833 (for the first half) and 1845 (for the remainder) by Nägeli's son Hermann. At this point jealousy took its place in the proceedings, with Nägeli refusing to let the newly formed Bach Gesellschaft see the manuscript, lest they interfere with his plans for publication. He was eventually forced to sell the volume, which he had already pawned, to pay off debts, but even then subterfuge was required at the sale-room, with the buyer pretending to purchase the manuscript for the King: instead he handed it over to the great editor Chrysander. Once the Gesellschaft had revised their edition they handed over the volume to the Royal Library in Berlin, where it remained until the Second World War, during which it was hidden in south Germany. Afterwards it passed to the University of Tübingen, and thence to its present resting place, the Prussian State Library.
Not all the marks in that preserved score are the master's own. For a performance of the 'Credo' in 1786 C P E Bach added some figures to the bass line, new notes, dynamics and other alterations, and later users have added bar numbers, numbers for the individual sections and even crosses where they saw or felt there were mistakes. Nonetheless, Bach's hand is distinctive, and in most cases it is clear where a later hand has made additions. Comparison of twentieth-century editions with Bach's autograph shows a surprisingly large number of diversions from the composer's manuscript which the performing version for this recording corrects. One significant change is found in the 'Et in unum Dominum'. As oboe players will testify, the movement has never sat happily on d'amores; the manuscript shows that Bach actually wrote for oboes and, equally significantly, also indicates a number of tacets for the instruments, including the opening ritornello. Throughout the work numerous 'new' phrasing and bowing indications have been followed as closely as possible.
We are fairly sure that Bach never heard his Mass performed in its entirety and, indeed, the evidence is that he did not expect to do so. Thus any argument on the intended style and scale of performance is necessarily theoretical. Scholars such as Joshua Rifkin are convinced that the Mass should be performed by minimalist forces; others have argued equally convincingly for larger forces. (It has to be said that, to many listeners, the minimalist theory, whatever its scholarly basis, does seem to work better in the recording studio than in live performance.) Strengthening the case for larger forces, in an Entwurff laid before the Leipzig City Council on 23 August 1730, Bach set down the numbers of performers that he felt were necessary to enable regular performances to take place in the city churches. Each vocal group would require three or four voices (including at least one 'concertist' able to take solos), the strings needed at least two or three players per line, and wind and brass players would be called as necessary, making a total ensemble of at least twenty-one players and (taking a five-part vocal ensemble as the rule) at least twenty singers. For grand occasions (such as Christmas or Easter, or for a special service) this choir and orchestra were regularly enlarged. In Dresden, where the Missa is thought to have been first performed, both the choral and the orchestral ensembles were larger than in Leipzig. So, assuming Bach still maintained the sound in his mind for which he first wrote the Missa (and knowing that the 'Sanctus' was written for Christmas, one of those 'grand' occasions when large forces were present), it is fair to argue that the composer may well have envisaged 'grand' forces to sing and play his Mass in B minor.
We know that Bach did not use women's voices in any of his sacred compositions: his choir at St Thomas's Leipzig used boys' voices on soprano and alto lines for both choruses and solos. So as much as using 'baroque' violins or 'natural' trumpets, any performance that tries to follow historical precedents must use boys' voices in both the soprano and alto lines of the choir and in the upper-voice solos if it is to have much validity. It is true that voices broke later in the eighteenth century than they do in the twentieth (due largely to our greatly improved medical and sanitary conditions which give young bodies fewer diseases to fight, and thus allow them to grow and mature sooner), but it is fair to presume that those eighteenth-century voices also 'strengthened' later as well: comparison of the relative sizes of eighteenth-century children with their twentieth-century counterparts shows them to be consistently smaller and less developed physically. Bach's best boys were probably fourteen to sixteen years old: similar twentieth-century ones tend to be twelve to fourteen. It is not unreasonable to imagine that the sound produced by both groups is fairly similar. Musicianship is not automatically 'better' in an older child than a younger one, for one is often astonished by the innate musicianship of a younger child over that of an older one, and (as any experienced cathedral organist will tell you) a choir and its voices can change radically over the course of just a few months – it is hard to imagine Bach having any easier a task with the cultivation of his choristers than does a twentieth-century cathedral organist!
A much more important consideration is to use voices which produce a 'continental', strongly chest-voiced style of delivery, far removed from the 'white' head voice that is sometimes produced by English choristers, and to use not only boy sopranos but also the unique sound of boy altos. The argument that Bach's boys possessed an enhanced musical maturity through their greater years has been advanced as a reason for not using boys' voices at all: the substitution of women's voices seems to be a radical one, creating a sound which Bach could not have expected to hear. Whilst it is far harder work performing Bach's Mass using children on choruses and solos than it is calling on experienced and technically more assured female adults, the sound of unbroken soprano voices and the astonishing timbre of boy altos is inimitable and, in the end, seems so utterly right for Bach's music. It is this choral sound which he heard almost every day of his working life. So, whilst we would be foolish to suggest that with this recording we have got any nearer to Bach's actual performing intentions than has anyone else, we have tried to lay in every possible store to do so.
from notes by Robert King © 1997


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News and Talk
Classical Music
U.S. Sen. Bill Nelson Says Congress 'Starved' NASA of Funding
July 07, 2011 | WMFE - U.S. Senator Bill Nelson (D-FL) has long been a strong advocate for the nation's space program and even flew into space himself aboard Space Shuttle Columbia in 1986.
"The problem was that NASA was starved of funds over the course of the last seven or eight years, so that the new rocket was not built in time." Nelson said.
Nelson suggested that Congress is starting to catch up. He says the NASA Authorization bill passed last year sets the space agency on a path to do two primary things. The first is to develop rockets to take cargo and crew to the International Space Station. That mission is on track, Nelson says, with NASA planning to launch an experimental unmanned rocket in the fall and contracting with commercial space companies for research on human-rated rockets.
The other mission is more ambitious.
"The President has set the goal - to go out and explore the heavens," Nelson said. "The goal is Mars, and the interim goal is to land on, and return from, an asteroid by 2025."
The Senator says Congress has already approved funding for those efforts for this year, and he vowed to fight for continued funding for NASA's future projects.
None of these new projects is running now, however. Not many of the thousands of space shuttle workers losing their jobs will find immediate employment in NASA's new ventures. Nelson said that is one of his biggest regrets.
"That is the human tragedy," he said.
When President Obama visited Kennedy Space Center last year, he promised $40 million to help with economic development efforts on the Space Coast, including retraining for laid-off shuttle workers. Nelson says $15 million of that has already been allocated, but the balance has not.
"The [Obama] Administration has got to step forward and push for that funding," Nelson said. "They can do it through the Department of Commerce with existing economic development funds. They don't need to have an appropriation for that."
Nelson said he will continue to lobby the Administration to deliver those funds.
Senator Nelson is one of only three American lawmakers to ride on a Space Shuttle. Republican Senator Jake Garn of Utah was the first in 1985, when he flew aboard Shuttle Discovery. Nelson, then a Democratic member of the House, followed a year later on Columbia. Democratic Senator John Glenn, the first American to orbit the earth as a Mercury astronaut, returned to space aboard Shuttle Discovery in 1998.
Nelson says he plans to be at Cape Canaveral to watch Shuttle Atlantis lift off on the final shuttle flight, scheduled for 11:26 on Friday morning.


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Budget Accommodation Africa South Africa Cape Town
Cape Town is the second largest and southernmost city in South Africa and capital of the Western Cape province. It is also arguably one of the most beautiful cities in world.
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Worst place we ever stayed. Payed 1200 ZAR for 3 single rooms, while we booked two twins. Rooms we very small, very dirty, my sheets were washed out and full with dirty spots. On New Year's Day cleaners were extremely noicy at 8 am and even put on very loud music. Bad location. ... more
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I am a single female traveller, doing a voluntary project in South Africa. After this project I will be in Cape Town between 15th October and the beginning of November. I am looking to meet up with other female travellers who will be in Cape Town at this time. Please reply x ...
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flying. Overall though we were very impressed with SAA's service and flights. We got to Cape Town at 1:30. The plane was a same type Airbus that brought us from New York,and it was full. Cape Town weather ...
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June 24 - 25
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Buxton Solid Color Cut-Out Embellished Daisy Shoulder Bag
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Hudson Valley Journal
Click through Anthony Bourdain's Photo Journal for the Hudson Valley, NY.Filed under:
A CIA student we dragooned into getting an on-camera "tattoo" of my logo. It'll come right out. Eventually. I think.
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Thoke wrote:Site News wrote:
This is really painful to say, but Xin is having serious trouble getting pages done on time. Among other things, this week is the one year anniversary of her mom's passing. She's struggling pretty badly.
So today's update will be delayed until Thursday, October 25 (with an outside possibility of Friday). Next week we will do two texts instead of a text and a comic page. It's nothing she can help, but she is trying mightily. Thanks for bearing with us.
I thought to bring this up, if anyone missed.
I don't mind, especially if both of the text updates are Book 0
thanks for letting us know
If it can get a break to Xin, so she can back on top of things. Then it's good news. Knowing ahead of the time, changes the anticipation.
I really enjoy the text update, book 0, book 2 or klogs. it's all good to me, there fun to read, I just hope, the 3 text update, Saturday, Wednesday, Saturday follow each other to make it more epic


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Crovius wrote:I believe you got to the user control panel, then in the board preference under global settings you change your time display to custom and put in D M d, Y g:i s a That will show Date Month day, Year then 12 hour time:minutes seconds and then am/pm.
Also I'm ready.
LTDave wrote:Sinrus - the Cities produce multiple units already - one per level. Would it really be worth having a character that increases this by one?
If yes, I think it would be called a Pop-A-Mancer.
As to Characters and Combat, I have a different view of the scale here.
As the rules stand, Characters influence combat (Warlords, Heal-A-Mancers, etc) but don't add measurably to it.
That's because what I call a unit is represented in the comic by thousands of units. A unit of infantry isn't one guy with a spear, it's a thousand guys with spears.
So the Characters are powerful yes, but not up to a thousand guys with spears. In the comic, Ansom gets croaked by a single twoll, and we have the stats for the twoll, so Ansom can't be all that special. In consort with other units, and in leadership, yes, very special.
Combat in erfworld is about multipliers - which I've tried to represent with the tactical bonuses. If you've got a warlord attacking a non warlord stack, you're already up +2, which will help you be the superior side, and inflict the most hits.
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Basketball stars may linger on campus a while longer
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VIDEO: A year after marathon bombing, Boston remains strong
The City of Boston came together Tuesday to honor those who were injured and lost their lives at the Boston Marathon on the one-year anniversary of the bombing. While the day was sure to be emotional, those affected by last year's race are showing they won't let the tragedy keep them down.
Wildcats aren't champs but we're all still watching Calipari
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As the Kentucky Wildcats prepare for their 16th Final Four appearance this weekend, they've reawakened the passions of fans across the country, including one woman who watches every game on TV, even though she can't clearly see the players' faces.
For April Fools' Day: A sampling of scientific hoaxes over the centuries
Speaking of jokes, in honor of April Fools' Day, Discovery magazine's Jonathon Keats briefly recounts some scientific hoaxes perpetrated over the centuries. His catalogue of cons includes "Aristotle's Masterpiece," a 17th-century mishmash of bogus medical texts and sex advice that remained in publication for 200 years.
Census: U.S. has fewest births since 1998
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VIDEO: Two dead at SXSW after car hits crowd
A suspected drunken driver fleeing police crashed through barricades at the South By Southwest festival in Austin, slamming into a crowd outside a nightclub and killing a man and woman on a moped early Thursday, police said.
In this tech age, how can a plane go missing?
Call 911 from the side of the road, and GPS satellites can tell dispatchers exactly where to send help. Airline passengers have access to detailed maps that show exactly where they are during their journey. Hop onto WiFi, and somehow Google knows whether you're logging on from Lima or London, and will give you detailed suggestions about what to eat.
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QR at worlds 2005 I would bet!
QR at worlds 2005 I would bet!
So I spent a few days checking out records, trying to find the "next runner up". Turns out I was wrong about Stojko - he hasn't landed nearly as many quads as I thought.
I'm missing some data, of course (for early comps under 6.0 for which I could not find youtube clips) so I will list the precentage of competitions I managed to cover. Who wold you guess came next to Jobert and Plushy?
Yagudin - I managed to cover all of his competitions except for some qualifying rounds and easrly comps of 1996. With 92% of his competitions accounted for I have him at 56 quads at an astounding success rate of 90%! And to think he seemed vulnerable next to Plush.
For Goebel I covered 86% of his comps. I have him at 48 quads and an amazing success rate of 89%! I estimate his total at 56 (48/86%) - so about the same as Yags.
Lambiel I also covered 86% of his comps. Luckily there were more under CoP. I have him at 46 confirmed quads. His success rate is 72%.
Elvis is somewhere in the mid 20s, with a success rate of about 60%. Amazing that he's had such an impact on the sport with these stats.
Of the skaters in competition today I have:
Kevin Reynolds at 31 quads and a success rate of 63% (he tends to underrotate)
Takahashi at 23 and a 61% success rate
Chan at 20 and a 74% success rate
Brezina (mentioned above as "the next king") at only 7 quads and a success rate of 58%.
Will check up Fernandez and Amodio next. Anyone else?
Of course, Joubert and Plushenko are still competing, as well...
It's worth noting that unlike current competitors, the success rate of 6.0 skaters wasn't affected by UR calls. OTOH, not all of them had as many opportunities to include quads in their programs, due to SP requirements at the time.
Not that these guys go into the Kings of Quads running (it was a different time) but each made quad history in their own way - Urmanov landed the first successful quad in Olympic competition at Albertville (his OGM performance four years later in Lillehamer, 1994, was quad-less and I think way off his best in many respects but he won); Kulik was the first OGM to land a successful quad as part of his O's winning performance (Nagano, 1998)
Last edited by Willowway; 07-03-2012 at 11:21 PM.
I think the person who might come close to their totals, if he sticks around long enough, is Yuzuru Hanyu - mainly because he's still so young and started putting quads in his programs very early in his career: his first successful one, according to Wikipedia, was at the 2010 NHK Trophy (he was only 15 at the time).
How did you even find competition results of Plushenko, before 2000? He has a bunch of ancient competitions, I didnt know they existed.
Finlandlia trophy I never saw a video from there
anyway I found this data on his previous website, does it agree with your search?
Lol look what you can find on web archives, a comment about Filandia Trophy, the date is in 2000 ancient yahoo grooups???Number of quads (clean) per season.
Total: 96 quads in competition
- 1997-1998: 1
- 1998-1999: 7
- 1999-2000: 12
- 2000-2001: 22
- 2001-2002: 15
- 2002-2003: 14
- 2003-2004: 16
- 2004-2005: 9
- 2005-2006: 7
Just a few quick notes, and I will try to check some more info later.
Its very difficult to predict. It would take years to accumulate a large number. A skater would have to stay focused, dedicated and healthy to do that. With the demands of CoP skaing, Im not sure the latter is possible. Time will tell.I think the person who might come close to their totals, if he sticks around long enough, is Yuzuru Hanyu - mainly because he's still so young and started putting quads in his programs very early in his career: his first successful one, according to Wikipedia, was at the 2010 NHK Trophy (he was only 15 at the time).
The number 96 agrees with my data (I will compare yearly numbers later) but the sum of all the yearly numbers is higher than 100 so I think either it is for all competitions, not just international ones, or it is the number of attempts. Oh, well, the search contiunues
Yeah, but it doesnt actually say what happened.Lol look what you can find on web archives, a comment about Filandia Trophy, the date is in 2000 ancient yahoo grooups???
^no it doesnt say, but he is supposed to have landed at least one quad there to comment sth likeThats why i posted it, i thought it was a help. The previous message has the results. Sokolova and Liashenko..ah..Is Evgeny FINALLY hitting all his quads?.This
has got to be his year
The data I found though are really not dated because they stopped in 2006, but probably they have counted his russian competitions too.
I have updated the "quad files" in honor of the Europeans, coming in under 3 weeks. Our two old warhorses will be going head to head.
Plushenko currently has 94 landed quads under his belt and Joubert has 96. It is unlikely that he will land the 4 he needs to complete the first one hundred in this competition (especially in view of his current training and coaching situation) but if he has a good competition he stands a chance to do it at Worlds. Plushy would need at least two competitions to complete his 6.
If you remember (or you can go upthread) the closest skaters after Joubert and Plushenko were three retired skaters - Yagudin with 56, Goebel with something in the low 50s (I don't have all of his results) and Lambiel with 46.
I have updated the files and added a few skaters I did not consider when I started this project. Would you care to guess who – of the skaters currently competing – leads the group charging after Joubert and Plushy?
I'm going to assume nobody is too close in terms of number of quads landed, but if I had to guess who had a relatively large number, then in addition to Takahashi, Chan and Reynolds whom you've already mentioned, I'd go with Fernandez, because he's been doing a fair number of quads the last few years; and Tomas Verner, because for all that he pops a lot of jumps, he has been around forever and he didn't pop all of them.
Good guesses, Zemgirl, but you are not even close. I'll post updated numbers for Verner and Fernandez later.
Amazing thread, great work going through all the stats!
Pretty incredible to think that Plushenko and Joubert are so far ahead of everyone else. Really highlights how unique they are for competing at the top level for so long. It still boggles my mind that Plushenko first competed at Worlds in 98 and is still a relevant medal contender 15 years later. Can you imagine how many quads and/or World titles he could have had he competed more post-2006?
Who has the highest success rate between the two of them?
Also interesting about Elvis "only" landing 20-something quads yet having such an impact. I think the impact would be seen in his win percentage when landing the quad (at least in the 90s). The quad was his edge over the rest of the field. Without it he was hard to beat, but with it he was nearly unbeatable. At least that's how i remember it and that was certainly the mentality that pushed others to start doing it.
Here's hoping Plushenko and Joubert can both cross the 100 mark before they retire (one would think next year).
Interesting indeed - my guess would have been Plush by a mile, but Joubert has certainly stuck with it!
As for Elvis and others whose main competing years were in the 90s, I think had there been more competition and more payoff, Elvis would have done more as would others. In those days it was a highlight, something to send them over the top, sort of like icing on the cake - now that it also results in big points, it makes sense to do them more often rather than just saving the effort for one jump in the LP.
Quads weren't allowed in the SP until 1998-99.
Kurt landed the first quad in competition at Worlds in 1988. He landed a second (and much better one) at the Canadian Championships the following year. The second person to land a quad in international competition was Petr Barna at Worlds in 1989. (Kurt also landed a quad at 1989 Worlds but had a slight touchdown with his free foot so under the rules at that time it didn't count).


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GNC Ultra Mega® Green Women's
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Whole Food Enhanced Multivitamin
- 1,600 IU of vitamin D-3 for breast & bone health*
- 8 nutrient-rich, antioxidant superfood blends
- B-vitamins for energy support*
- Premium cell-protecting ingredients to support immunity*
- Features eight wholesome fruit , vegetables and green blends. These nutrient-rich blends supply cell-protecting antioxidant nutrients that also support immune health.*
- Provides 1,600 IU of vitamin D-3. Emerging research suggests that adequate daily vitamin D intake may play a role in supporting breast, bone, and immune health.*
- Enhanced with n-zimes®, a proprietary blend of digestive enzymes, with proven bioactivity. n-zimes® are active in both acidic environments of the stomach and the alkaline environment of the small intestine. Lab tests show that n-zimes® work throughout the digestive tract, contributing to a more complete digestion of nutrients.* This superior formula helps promote protein, carbohydrate and fat digestion.*
- Supplies essential B-vitamins that are important for cardiovascular health and the production of energy.*
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- Contains chromium that plays an important role in normal glucose utilization and a premium blend of antioxidants including selenium and vitamin C and E to aid in supporting the body's immunity.*
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As a dietary supplement, take two caplets daily with food.
Serving Size 2 Caplets Servings Per Container 30 Amount Per Serving % DV Magnesium (as Magnesium Oxide) 25.00 mg 6% Vitamin A (as Retinyl Acetate) 5000.00 IU 100% Vitamin C (as Ascorbic Acid) 500.00 mg 833% Vitamin D (as Cholecalciferol D-3) 1600.00 IU 400% Vitamin E (as Natural d-alpha Tocopheryl Succinate) 30.00 IU 100% Thiamin (Vitamin B-1)(as Thiamin Mononitrate) 25.00 mg 1667% Riboflavin (Vitamin B-2) 25.00 mg 1471% Niacin (as niacinamide) 25.00 mg 125% Vitamin B6 (as pyridoxine hydrochloride) 25.00 mg 1250% Folic Acid 400.00 mcg 100% Vitamin B-12 (as Cyanocobalamin) 250.00 mcg 4167% Biotin 50.00 mcg 17% Pantothenic Acid (as Calcium d-Pantothenate) 25.00 mg 250% Calcium (as calcium carbonate) 60.00 mg 6% Iron (as Hydrolyzed Protein Chelate) 18.00 mg 100% Iodine (as Potassium Iodide & Kelp) 150.00 mcg 100% Zinc (as zinc oxide) 15.00 mg 100% Selenium (as L-selenomethionine) 200.00 mcg 286% Copper (as Cupric Oxide & Hydrolyzed Protein Chelate) 2.00 mg 100% Manganese (as Hydrolyzed Protein Chelate) 2.00 mg 100% Chromium (as Hydrolyzed Protein Chelate) 120.00 mcg 100% Molybdenum (as Hydrolyzed Protein Chelate) 75.00 mcg 100% Greens Blend 360.00 mg ** Barley Grass Powder (Hordeum vulgare) Alfalfa Juice Powder (Medicago sativa) Chlorella Powder (Chlorella vulgaris) ** Spirulina Powder (Spirulina platensis) Kelp Powder (Ascophyllum nodosum) Wheat Grass Juice Powder (Triticum aestivum) ** Antioxidant Blend 175.00 mg ** Green Tea Leaves Extract (Camellia sinensis) Pomegranate Fruit Extract (Punica granatum) ** Apple Fruit Skin Extract (Malus domestica) White Tea Leaves Extract (Camellia sinensis) ** Rosemary Leaf Extract (Rosmarinum officinalis) Bilberry Fruit Extract (Vaccinium myrtillus) ** Beauty Blend 100.00 mg ** Green Tea Leaves Extract (Camellia sinensis)Collagen MSM (Methylsulfonyl-methane) Horsetail Rush Stems (Equisetum arvense) L ** Vegetable Blend 80.00 mg ** Spinach Powder ** Cauliflower Powder ** Broccoli Juice Powder ** Tomato Paste Powder ** Broccoli Sprouts ** Beet Root Powder ** Carrot root powder ** Fruit Blend 75.00 mg ** Cranberry Juice Powder ** Whole Apple Powder ** Blueberry Puree Powder ** Cherry Puree Powder ** EFA Powder Blend 50.00 mg ** Flax Seed Oil Powder (Linum usitatissimum) Borage Oil Powder (Borage officinalis) Safflower Oil Powder (Carthamus tinctorius) ** Liver Health Blend 49.00 mg ** Artichoke Leaf Extract (Cynara scolymus) Milk Thistle Leaf Extract (Silybum marianum) ** n-zimes® Proprietary Blend 48.00 mg ** Amylase Protease 4.5 Lipase Glucoamylase Protease 3.0 Bromelain Protease 6.0 Papain Cellulase Malt diastase ** Bean Blend 10.00 mg ** Black Bean Powder ** Kidney Bean Powder ** Garbanzo Bean Powder ** Fermented Soy Bean Powder ** Para-Aminobenzoic Acid (PABA) 50.00 mg ** Choline Bitartrate 25.00 mg ** Inositol 25.00 mg ** N-acetyl-L-cysteine (NAC) 15.00 mg ** Alpha lipoic acid (supplying R-ALA) 10.00 mg ** Oat Bran Flour (Avena sativa) 5.00 mg ** L-Glutathione 5.00 mg ** CereCalase® Proprietary Blend 2.00 mg ** Hemicellulase beta-gluconase Phytase ** Digestive Enzyme Blend GNC 1.00 mg ** Amylase Cellulase Protease Lipase ** Boron (as Hydrolyzed Protein Chelate & Boron Gluconate) 1.00 mg ** Silica 1.00 mg ** Lutemax 2020™ Lutein 950.00 mcg ** Lycopene 950.00 mcg ** Zeaxanthin (as Zeaxanthin Isomers) 190.00 mcg ** ** Daily Value (DV) not established
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Multivitamins May Protect Men Against CancerMultivitamins May Protect Men Against CancerMen taking the multivitamin were diagnosed with 8% fewer cancers overallMany Westerners are concerned that they may not be getting all the nutrients they need everyday for optimal health, which has made multivitamins a popular choice for many people. Study results on multivitamins often conflict, with some showing benefits, and others finding either no benefit or even potential harm. Now, much-anticipated results from a large, randomized, controlled trial of multivitamins have been released, and this one falls on the side of benefit, showing a modest but significant decrease in cancer occurrence for men who take a basic, daily multivitamin.
The ideal study population
Researchers randomly selected 14,641 male physicians to receive a daily multivitamin-mineral supplement or placebo for approximately 11 years. The physicians were 50 years or older, and 9% had a previous history of cancer. Other factors, including age, height and weight, tobacco and alcohol use, diet, other medications, and family history of cancer were similar in the supplement and placebo groups.
The multivitamin provided around 100% of the daily value for most essential vitamins and minerals, with a few exceptions. It contained no iron, and for vitamins E and B12, the multivitamin provided significantly more than 100% of the daily value. For vitamin K, biotin, calcium, magnesium, and chromium, it provided significantly less than 100%. The supplement contained some additional nutrients, including lutein and lycopene.
Moderate multivitamin, less total cancer
Men taking the multivitamin were diagnosed with 8% fewer cancers overall than men in the placebo group.
There were no significant differences between the supplement and placebo groups in terms of specific cancer types, such as prostate and colorectal cancers. There were no significant differences in the risk of death due to cancer between the two groups.
Finding balance
The study multivitamin was similar to "common," moderate-dose products available in any supermarket or pharmacy. Given that past studies have suggested multivitamins may increase cancer risk, these findings are reassuring. However, according to lead study author Dr. J. Michael Gaziano, "It would be a big mistake for people to go out and take a multivitamin instead of quitting smoking or doing other things that we have a higher suspicion play a bigger role, like eating a good diet and getting exercise."
Keep this in mind as you consider our tips on creating your own cancer risk reduction plan:
- Be modest. Steer clear of mega-doses, and follow the American Cancer Society's advice: eat a balanced diet, and if you take a supplement, choose a balanced multivitamin that contains no more than 100% of the daily value of most nutrients.
- Seek the experts. A person's diet may get out of balance for a variety of reasons, such as illness, nutrient depletion or malabsorption caused by a drug, medical condition, food intolerance, or allergy. If this describes you, discuss your diet with your doctor or dietitian to identify specific nutrients that may be missing.
- Consider context. The study population was healthy, older males, most of whom don't smoke, and many of whom eat a balanced diet and exercise regularly. If you smoke, are obese, or have additional risk factors for cancer, heart disease, or other chronic disease, these findings may not apply to you.
- Get bang for your buck. Regardless of whether you take a multivitamin, you can never go wrong by adopting basic cancer prevention strategies: avoid tobacco, drink alcohol modestly or not at all, move regularly, eat plenty of vegetables and fruit, use sunscreen consistently, and maintain a healthy body weight.
(JAMA 2012; 308:doi:10.1001/jama.2012.14641)Suzanne Dixon, MPH, MS, RD, an author, speaker, and internationally recognized expert in chronic disease prevention, epidemiology, and nutrition, has taught medical, nursing, public health, and alternative medicine coursework. She has delivered over 150 invited lectures to health professionals and consumers and is the creator of a nutrition website acclaimed by the New York Times and Time magazine. Suzanne received her training in epidemiology and nutrition at the University of Michigan, School of Public Health at Ann Arbor.
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GNC Mega Green offers a superior blend of greens, fruits, vegetables, antioxidants and enzymes to help support good health. I got mega daily before. I think Mega Green is better than Mega daily.
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i used the product to help me have more energy and i feel i didn't get enough fruits and veggies in my diet so i decided to try this.i noticed a difference within 2 days. This product has helped with every problem i had and more. my skin, hair, nails and energy just gets better. i got the 60 day supply and now i've ran out!(have to get more). the only down side is it's big, hard to swallow but with alot of water i get it down, i could tell if it's working by the color of my urine, it will be a concentrated lime green,i just drink alot of water to flush my system. other then that it's defenitley a great vitamin. ALL THOSE FRUITS AND VEGGIES AND INCLUDING A DIGESTIVE ENZYME!YOU CAN'T BEAT IT
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This is a good whole food enhanced multivitamin. The container would not need to be so large due to the fact that it is less than half full.
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I have been using these vitamins for about 5 months and I feel great, energetic my hair and skin are radiant. No after taste. I take one in the morning and one at night. Oh and they sure help with your digestion a plus, and I think with losing some weight as well..:)
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It's the first to buy the Multi for my parents. I believe it would be useful for their health. But the size is too big to swallow. The smaller, the better.
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I feel great taking this multi twice a day. I ran our of them and bought a bottle of something I thought was similar at the store, but I can definitely tell the difference in how I feel. The only problem is the size. I've never had a problem swallowing pills before I tried these.
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I actually use the Women's 50 Plus (even though I'm only 31) because it doesn't contain iron (which makes my stomach upset). I can say I have way more energy throughout the day and no side affects! I would recommend this multi to my family and friends.
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This is the first multi vitamin that does not make me sick to my stomach. It have been talking these for 1 month now and I am much happier to take 2 of these horse pills (I do one in the morning and one at night), then just one of the "One a Day" types at big box stores. If you have a problem taking pills, these might be tough. DO NOT smell the inside of the bottle! Oh that smells bad...but I haven't had a problem with any after tastes or smelly breath or anything. This is for sure a permanent switch for me :)
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