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CONTACT: email@example.com
Bush Administration Seeks to Block Challenges to Government Funding of Religious Activities
WASHINGTON - The Supreme Court today heard arguments in an appeal by the Bush administration to severely limit the right of taxpayers to sue over government funding of religious activities. The American Civil Liberties Union and other groups filed a brief urging the Court to uphold legal precedent and protect religious freedom.
"Tax dollars may not be used to subsidize religious activity," said Steven R. Shapiro, Legal Director of the ACLU. "Barring taxpayers from enforcing this fundamental principle in court would effectively license the government to violate the Constitution."
Since its 1968 ruling in Flast v. Cohen, the Supreme Court has allowed individual taxpayers to challenge the use of tax dollars to promote religion in violation of the Establishment Clause of the U.S. Constitution. This longstanding principle prevents the government from using the power of the purse to favor one religion over another or support religion in general. Although that principle has been repeatedly and recently reaffirmed by the Supreme Court, the government is challenging it in this case, which arises in the context of the administration's broader effort to increase federal funding for faith-based groups.
The plaintiffs in the case, Hein v. Freedom From Religion Foundation, are Wisconsin taxpayers who argue that the Bush administration's Office of Faith-Based and Community Initiatives is illegally using federal tax dollars to promote religion.
"The Supreme Court should not give the Bush administration free rein to promote religious activity on the taxpayers' dime," said Daniel Mach, an attorney with the ACLU's Program on Freedom of Religion and Belief. "Many times, the people who bring these lawsuits risk their livelihood and their safety to fight for a freedom that is a cornerstone of our democracy. These courageous Americans should be commended, not silenced."
The ACLU's friend-of-the-court brief in this case is online at www.aclu.org/scotus/2006term/28235res20070202/28235res20070202.html


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MELBOURNE, Jan 28: Thisara Perera produced an outstanding all-round performance to help Sri Lanka to a two-run win over Australia in their rain-affected Twenty20 International on Monday, securing a 2-0 victory in the series that sparked animosity between the two sides.
After making a hard-hitting unbeaten 35 in Sri Lanka's innings of 161-4, Perera bowled a pressure-laden final over to give his team victory under the Duckworth/Lewis Method.
Australia needed 18 runs from Perera's final over to win the match, after being set a revised target of 122 from 15 overs following a lengthy rain delay.
The chase came down to four runs from the last ball but Perera produced a dot ball, after conceding consecutive boundaries from his two previous deliveries, to take the match and the series.
However, the match ended with angry scenes as players from both teams clashed verbally, even during the traditional congratulatory handshakes.
Sri Lanka were displeased that Australian umpires Simon Fry and John Ward ruled the match should continue after an almost 90 minute rain delay, which left the outfield at the Melbourne Cricket Ground damp and slippery.
The fourth One-day International between the teams at Sydney last week was abandoned in very similar circumstances when Sri Lanka were in a strong position to win both the match and the series.
Then, a minor rain shower dampened the outfield causing the umpires to call off the match and costing Sri Lanka the chance to take a winning 3-1 lead in the five-match series. After that match was abandoned, Australia won the fifth game to tie the series 2-2.
On Monday, Sri Lanka would have won the match clearly under the D/L Method if the umpires had abandoned it when rain intervened after the 10th over of the Australian innings. At that point, Australia were 60-2 and trailed Sri Lanka by 15 runs under the D/Lewis calculations.
Sri Lanka's coach Graham Ford and captain Angelo Mathews made clear to the umpires their belief that the match should not continue.
The umpires ruled that play could continue but, when they did so, five overs had been lost and Australia were set a revised chance for 122.—AP

subset: commoncrawl


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Cherry is a popular wood among homeowners. Because of its strength and beauty, manufacturers often use it for furniture and flooring. However, some people who love the look of this wood are not quite in love with its price. Luckily, faux wood finishing isn't a tough do-it-yourself project, and the look of cherry is easy to accomplish.
Although finishing wood can be a relatively easy task, it does require time and supplies. Having everything needed to complete the project on hand before you start will make the job easier. Make sure you have these things handy and work in an open, ventilated area:
Tarps or plastic drop cloths
No. 120 and No. 220 sandpaper
Cleaning cloths
Mineral spirits
Stain applicator (rag or cheesecloth)
Wood stain in cherry color
Wood finish
Pre-stain wood conditioner
Cleaning cloths
Disposal container
Protective gloves
Old clothes
Proper sanding is one of the most important steps in a quality wood-finishing job. Begin with the mid-grade sandpaper, No. 120. Sand the entire surface to be stained, in the direction of the grain. This can be done by hand, although a power sander may be easier for larger pieces. Then sand with the finer sandpaper, No. 220. Remove all of the sanding dust using a dry cloth or handheld vacuum. Pay special attention to end-grain areas as well as any area that may contain dried glue from the object's construction. Check the smoothness by rubbing the sock across the sanded area. If the sock snags, the area has not been thoroughly sanded.
Using the sponge or a clean cloth, wipe down the wood with the mineral spirits to remove grit, grime and any remaining sanding dust. To determine whether the wood is hard or soft, press a fingernail into the surface. If you leave an indentation, it is soft wood, so you should use the pre-stain conditioner. You may want to use a conditioner on end-grain areas, regardless of wood type.
Use the rag or cheesecloth to apply the cherry stain to the sanded surface, making sure to go with the grain. Allow the stain to dry completely. If you want a darker color, apply a second coat.
Apply a coat of finish to protect the wood. The type you use depends on whether the item will be used inside or outside, as well as how much wear and tear it will receive. Polyurethane finishes are the most popular. Combination stains/finishes are also available, although they are best for smaller items.
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About Faux Wood Grain
Do you ever wonder about wood graining when thinking about decorating a room in your home or office? What is wood graining?...


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I spotted what looked like the last bunch of lemon basil at the farmers's market and knew that it had my name on it. There was none at the Hmong stall, where I usually find it alongside holy basil and Thai basil. This lonesome bunch was at Coke Farms, owned by 70 or 80 somethings Tom and Laurie Coke. I grabbed it and as I was paying, a Middle Eastern woman asked if there was more. "No, this is the last one," the Coke's assistant said. I'd seen her before at the market and we'd even exchanged cooking tips. I said I was sorry to ave snatched the last one.
"Enjoy it," she responded with a smile. We both knew the treasure that I'd purchased.
I love this summer time herb and have eaten it with feta, used it to flavor grilled chicken, and made a mojito-like cocktail with it too. Normally, Southeast Asian lemon/lime basil has thin soft leaves, with delicate lemongrass-mint flavors. The bunch of Ocimum basilicum var citriodorum that I bought last weekend was robust by comparison. The thick, sturdy leaves of the lemon basil variety that Coke Farms grows has a slight menthol quality that reminds me of holy basil (hot basil, kaphrao in Thai, tulsi in Hindi). It was also a big bunch. I wanted to ensure it went to good use.
We hadn't had any Thai food for a couple of weeks so I made this easy stir-fry, but instead of holy basil or even regular mint, I used the lemon basil and a little bit of mint that I found in fridge. You could use Thai basil and maybe Italian basil or another assertive herb with similar qualities. The foundational idea is that the herb leaves function like a super-flavorful leafy green vegetable. Yup, you use a lot of it.
Continue reading "Thai Stir-fried Chicken with Basil Recipe" »


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The beginning of the 2008 season is months away and already, the Titans have been given some bulletin-board material.
Following a draft thats been universally panned by the majority of NFL pundits, the Titans continue to get the short end of the stick when it comes to the opinions of the national sports media.
According to Sports Illustrated's Peter King, the Titans are ranked #20 in the first installment of his NFL power rankings for the 2008 season.
In addition to being less than optimistic about the Titans chances in 2008, King appears to be unimpressed by the Titans three-game winning streak that enabled them to qualify for the postseason in 2007.
In his mind, the Titans benefitted from a favorable schedule at the end of the year that allowed them to beat up on the weak sisters of the league; Kansas City and the N.Y. Jets; while winning at Indy against a squad that had already sealed its postseason fate.
Surprisingly, King places last years AFC South cellar dwellers, the Houston Texans (19th), just ahead of the Titans. Interestingly, King justifies this choice by pointing out Houstons strong year-end run, which consisted of victories over the underachieving Broncos and a Jacksonville team that had nothing to play for in the last game of the season.
I guess in Peter Kings mind, the Texans were more impressive than the Titans while beating a playoff teams scrubs in the final game of the season: Double standard, anyone?
It looks like 2008 will be a season where the Titans will have to prove everyone wrong. Heres hoping they are more than up to the task.
The beginning of the 2008 season is months away and already, the Titans have been given some bulletin-board material.


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For over ten years, Windsor Oak Farm has specialized in the breeding of toy and small breed dogs, for clients located in the Baltimore and D.C area. If you are looking to own a Yorkie, poodle, Maltese, Bichon, or even a Morkie or Shih-Poo, look no further than Windsor Oak Farm. We are a professional breeder with an outstanding reputation, and our proud pet owners can back us up!
Puppies bred by Windsor Oak Farm are non-shed, purebred and hypoallergenic, and you as a potential owner can rest assured their vaccinations and deworming will be up to date and keeping to veterinary recommendations. Located in New Windsor, one hour from Northern Virginia and the Baltimore area, our location is ideal for prospective pet parents in the Howard, Montgomery and Prince Georges counties.
If interested in adopting a new four legged friend, please call, text or email us to coordinate a time and date with our breeder.
Please browse our site for a list of our available dog breeds, our hours, and take a look at our photos of all our puppies looking for new, loving homes. We are looking forward to hearing from you and finding you your new canine companion!


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Partial movements have been the cornerstone of various forms of sports training for years. Little scientific research has gone into understanding how it works. The truth is that scientific minds have amazingly limited insight into how muscles will really work and how they adapt to different stimuli and grow at a molecular level.
Controversy still exists about hypertrophy and hyperplasia and which is the predominant form occurring within a muscle. It is likely that eventually both forms of muscle growth will be proven, depending on the area of muscle from which the biopsy sample was taken.
| What Does Hypertophy Mean?
Enlargement of a tissue or organ of the body resulting from an increase in the size of its cells.
What Does Hyperplasia Mean?
Until that time, a lot of people will swear they have the answers and charge you a pretty penny to convince you of it. But let's face it: Most people don't care why a certain training technique works; they just care if it works. Results are what it's all about.
What We Know & Don't Know
About Muscles
When you are faced with a problem and science has no clear answers, you must use the science that you know to help best explain the theories that we have. Physiology goes a long way to unlocking the secrets of partial reps. If you stress a tissue, it will respond in a direct relationship to the amount of stress placed upon it.
This is known as Wolf's Law and is one of a few constant facts associated with physiology. If you lie out in the sun, your skin will respond by becoming suntan or burn if you lie out to long. If you lift weights, your muscles will respond by growing or become injured if you lift too much.
| Wolf's Law:
A theory developed by surgeon Julius Wolf in the 19th century. The theory basically states that bone in a healthy person or animal will adapt to the loads it is placed under. If loading on a particular bone increases, the bone will remodel itself over time to become stronger to resist that sort of loading. The converse is true as well: if the loading on a bone decreases, the bone will be adapted and become weaker.
The key is to stress the area and then allow adequate time for recovery. Many of the parameters associated with this type of exercise were defined by Dr. Fox, who founded interval training and wrote the book Sports Physiology. A key point of his work indicated that the recovery time needed is in direct relationship to the amount of stress applied to the tissue. The more weight you lift, the longer it takes to recover from exercise.
Several factors contribute to each tissue's recovery, but two are major overriding factors; blood and nerve supply.
If your nerve supply is not adequate then the flow of blood to the area is compromised and recovery will be limited.
Blood supply to an area is largely determined by the area itself and the genetic pre-ordained blood supply that has been established for it.
Many of my patients are amazed at how long it takes for connective tissue to recover. Injured ligaments can require more than 250 days to heal, as compared to a broken arm which can heal in a matter of weeks.
It is well established in the literature that by stressing the tissue properly, you can increase the tendon or ligament's cross-sectional area and thereby increase their strength. Keep in mind that lifting efficiently is only half the battle. Proper nutrition and rest are also major factors and recovery and muscle growth.
The Nerve Of You
Neurological training occurs when we do partial reps. When you lift weight above that which your body normally is used to lifting, the neurological system quickly responds by allowing larger number of nerve groups to work together in a more coordinated fashion.
|Partial Reps Video Guide:
Windows Media Player (330 KB)
Mpeg (1 MB)
Click Image To Enlarge.
Special Thanks To
Frank Thomas, Brian Yersky, Craig Miles & Joe Decaminada
For Helping To Put Together The Video Guides.
Exercise does this at every level of stress, but a particularly unique involvement of multiple nerve units occurs when you overload a muscle. The nerves also adapt by closing off specific sensors called, "Golgi tendon organs." These little switches inside of your muscle tendons will shut your muscle down and immediately when overloaded.
| The Golgi Apparatus:
In cell biology, the Golgi apparatus (also called a Golgi body, Golgi complex, or dictyosome) is an organelle found in most eukaryotic cells, including those of plants, animals and fungi. The name comes from Italian anatomist Camillo Golgi, who identified it in 1898. The primary function of the Golgi apparatus is to process proteins targeted to the plasma membrane, lysosomes or endosomes, and those that will be formed from the cell, and sort them within vesicles. Thus, it functions as a central delivery system for the cell.
Partial movements and plyometric training both capitalize on this effective neurological change. Neurological adaptation happens quickly, but is limited by various factors of your genetic makeup. The brain responses in a similar fashion and will be discussed in the next paragraph.
Now that we have laid the groundwork for some basic physiological facts, we can see what happens to the tissues when a body part is stressed using partial movements.
Psyching Up For Partials
Psychological influences have a major effect on your lifting abilities. We have all heard the story about the mother who lifted a car off her child in a moment of crisis. Well that may be an extreme example, but we can all benefit from a similar process when we lift weights.
There are a large number of nerves geared toward stopping a muscular contraction. We have already discussed the limiting nature of Golgi tendon organs. Inside of your brain are also millions of nerves designed to control or limit behavior and subsequently muscular contraction.
They keep you from moving around when you are dreaming at night and control movements to make us seem controlled. To some of us, increasing our bench press by 5 pounds may seem like nothing - or it may seem like a lot. Currently, several individuals are squatting more than 1,100 pounds.
A few years ago, no one was doing that kind of weight. Psychologically someone has to break the "unbreakable" barrier. Once that limitation has been broken, it seems as though it is much easier for thousands to follow. It almost seems that all of the negative thoughts are removed and now it is possible.
Making progress in the gym means building confidence and eliminating negative thoughts. These negative thoughts activate those nerves that tell your body, "NO!"
This is a key factor to remember when beginning a partial-reps program; lifting in a stronger, shorter range of movement, means you'll be moving much heavier weights than you ever imagined. To get the most out of such a program, you cannot let yourself be intimidated by the greater poundage's.
Please understand, you should not go crazy and suddenly think you can throw the safety pins away and handle the whole stack of weight. Lifting with partial movements can be dangerous, believe me - I have the scars to prove it. So pay close attention and realize you are about to lift weights many people can't handle mentally let alone physically.
Stepping Up For Partials
You must begin with total concentration and impeccable form and a good consistent program. Soon you'll be hoisting weight that may now seem like unbelievable poundage, but you must do so safely and effectively.
Use a good strong lifting cage or power rack. The best types of racks are the kinds that have poles that can be adjusted to various heights.
Use only the basic lifts for partials: Bench presses, squats, deadlifts and power cleans.
Make sure that you have an abundance of spotters.
Make sure that you have lifted for over five years - to insure proper bone development.
You should be devoid of all disease and/or other limiting factors that could result in injury.
You should be eating twice your body weight in grams of protein a day and an equal amount of carbohydrates minimum.
Partial Example:
I will give you in example of how to incorporate partials with your lifting by using squats.
Place the bar on a rack about the same level you would start a squat. If for example, your full range maximum is 500 pounds, load the bar with 525-550 pounds.
Take a position under the bar with your knee slightly bent, remember that you are not going to go all the way down, or in some cases not down at all.
Begin by just lifting the bar out of the rack and taking a step backward. Replace the bar.
The following week, lower the bar only an inch or two. Perform this for 2-10 reps. Replace the bar to the rack.
Once you have achieved 10 repetitions, then you are able to move the poles down a few more inches. This is a variable on the progressive weight program.
Continue this cycle into you have reached the desired squat depth. It should take approximately 7-10 weeks. After that time you can take two weeks off of heavy lifting and return the bar to the top position and begin again, after resting with 575-600 pounds.
|Squat Partials Video Guide:
Windows Media Player (898 KB)
Mpeg (3 MB)
The Science Of Partials
Most lifters and bodybuilders need at least three weeks to get accustomed to any partial-reps program. Usually by the fifth to seventh week, your body becomes overtrained and taking additional rest is necessary to completely recover.
Franco Colombo, Mr. Olympia winner and one of bodybuilding's strongest men, used a similar technique.
Several times he would have to go away and travel for speaking engagements. He would overtrain himself prior to his departure and when he would return to his training he would note an increase of strength and size. Sometimes the hardest part of training is doing nothing. You grow when your body rest.
The heavier you go and a more intention or exercise, the longer you will need to recover. If you do not notice increases in strength than try the following:
- Get more sleep.
- Improve your diet.
- Increase your weights on partials.
- Take more rest.
- And finally, work on your attitude.
Since you need to avoid serious over training on this program - a real concern - try monitoring your pulse rate, also known as your, resting heart rate. Keep track of a resting heart rate in a journal. Take it every day. If you're resting heart rate is 10 beats above what you normally have been recording, it means you are in the over-trained/over-stressed zone.
Make sure you continue to monitor your heart rate until your morning resting heart rate returns to the pre-stress levels. Keep in mind that everything affects heart rate:
Do not try to hit and new maximum lifts, if you are not ready, and a big key is your resting heart rate. Pay attention to your body - it is calling the shots. After mastering the technique with the basic movements, you can start experimenting with other exercises and movements. The applications are endless.
Remember do not attempt this type of lifting if you're a beginning lifter.
Additional Reading:
- Fox, E. L., SPORTS PHYSIOLOGY. Philadelphia: Saunders, 1979
- Arms,S.W.,et.al., The Biomechanics of the Anterior Cruciate Ligament Rehabilitation and Reconstruction. American Journal of Sports Medicine. 12:8-18, 1984
- Grana,W.A.,et. al, The Effect of Exercise on Laxity in the Anterior Cruciate Ligament-Deficient Knee. American Journal of Sports Medicine. 16:586-588, 1988
- Always, S.E. et. al., Regionalized Adaptations in Muscle Fiber Proliferation in Stretch-Induced Enlargement. Journal of Applied Physiology. 66: 771-781, 1989


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Anita Dobson to Make Royal Shakespeare Company Debut in THE MERRY WIVES OF WINDSOR
According to the Daily Mail's Baz Bamigboye, Anita Dobson will make her Royal Shakespeare Company debut in The Merry Wives of Windsor, beginning Oct. 25 in Stratford-upon-Avon.
"[Director Phillip Breen] said I'd be a perfect fit because I work well with an audience," Dobson told the Daily Mail.
Read the original report here.
Dobson will play Mistress Quickly (a role played by Judi Dench in the last RSC production of the show) opposite Desmond Barrit as Falstaff, under the direction of Phillip Breen.
Most recently seen as a contestant on Strictly Come Dancing, Dobson has also played Gertrude in a production of Hamlet and is known for her role as Angie Watts in the soap EastEnders. She also appeared in The National Theatre's Frozen, for which she was nominated for an Olivier Award. Dobson has also appeared in the West End's Leave Him to Heaven (1976), Budgie (1988), Nine (1992), Thoroughly Modern Millie (2003) and in a London concert production of Into the Woods (2006).


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Wolf Minerals Limited Awards Hemerdon Engineering Contract to GR Engineering Services
Wolf Minerals (ASX:WLF) awarded a £75 million engineering contract to GR Engineering Services Limited for for the design, construction and commissioning of a 3Mtpa tungsten and tin mineral processing plant plus associated infrastructure at the Hemerdon Tungsten and Tin Project. A formal commencement date on the project work under the contract will be given by the Company to GR Engineering upon satisfaction of the conditions precedent which form part of the financing arrangements for the project.
As quoted in the press release:
The EPC contract with GR Engineering compares very well with the Definitive Feasibility Study (DFS) estimate announced in May 2011, which allowed £77 million (A$114 million1) for the contract scope.
The Contract term is 24 months from the commencement date.
Click here to read the Wolf Minerals (ASX:WLF) press release
Click here to see the Wolf Minerals (ASX:WLF) profile.


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Main Page
| Cantatas BWV 1-50
| Cantatas BWV 51-100
| Cantatas BWV 101-150
| Cantatas BWV 151-200
| Cantatas BWV 201-224
| Other Vocal BWV 225-249
| Chorales BWV 250-438
| Geistliche Lieder BWV 439-507
| Other Vocal BWV 1081-1127, BWV Anh
| Instrumental
| Chorale Melodies
| Sources
Discussions: Scores of Bach Cantatas:
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| Part 2
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| Scoring of Bach's Vocal Works
Scoring Tables of Bach Cantatas:
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Cantata BWV 127
This is based upon the NBA study score that can be viewed at: http://www.bach-cantatas.com/Scores/BWV127-M1-1.htm
Some of the various ways that Bach can treat a melody:
He can
1. embellish it
This involves special way of including additional notes between the basic melody itself.
'division' : a florid musical passage; a variation of a theme; a succession of long notes are divided into many short ones.
This is a type of variation form where it often becomes a matter of 'seek and ye shall find' because the listener must contend with 'Umspielung' = 'a playing around' the melody which remains embedded in the texture of the passage. Some of the techniques used involve standard embellishments such as trills and turns, but others can be extended to become melismatic demonstrating extremely florid treatment which seems to cover the melody so that it becomes almost unrecognizable; however, in most instances, the melody will still be present even though certain notes of the melody will appear in unaccented, secondary positions where they are not expected.
2. hide it where it might not be expected, but state it directly note for note
Examples for this technique are found in Bach's quodlibets where the melodies, although appearing unchanged from their original form, appear unannounced/unmarked in the middle of a movement or composition. A similar use occurs in the cantatas when Bach presents instrumentally an unsung chorale melody in the form of a chorale incipit or one even the entire chorale melody stretched over an entire movement. In the former instance, the melody may also be embellished as well.
3. transform it
While the limitations imposed upon the above techniques usually require that each note of the melody must occur in the correct sequence albeit with a note or several additional notes intervening, this type of treatment dispenses with this requirement and relies simply upon the 'Gestalt' of a melodic sequence. This means that Bach can depart from the restrictions imposed by embellishing or quoting a note-for-note version of the melody in an unexpected fashion where the listener must be able to recognize the statement of the theme or it presents itself clearly upon closer examination of the score. Now Bach is able to rely upon the mind's ability to register the "Gestalt," a shape or general outline of the melody. Just how far Bach is able to take this technique of modifying a melody is nothing short of amazing. Out of the 8-note sequence that identifies the chorale incipit [in this case, the chorale "Herr Jesu Christ, wahr' Mensch und Gott" upon which BWV 127 is based], Bach is remarkably able to change up to 5 of these 8 notes and still have it be in a recognizable form. Think of it! Almost 2/3 of the melody has been changed to different notes with different intervals between some of them and the listener will still be able to perceive these as representing the same chorale melody. Of course, the given context plays an important role here and if the correct shape or form of the melody is 'hammered' in by repetition (about ¼ of the iterations of the melody are correct or exact), then the chances are definitely enhanced that the variant forms will also be recognized. My own experience upon hearing this movement (BWV 127/1) the first few times is that I was simply not aware of the great number of changed forms of this melody and simply assumed that most of them were exactly alike. Only upon closer examination did all these variants present themselves with their sometimes astounding deviations from the original melody.
Compositional Strictures?
The question that comes to mind after making this discovery is:
Was Bach forced to make all these variants because of compositional strictures such as key shifts, harmonic progressions, ranges of instruments and voices, etc.? My personal view on this is that Bach controlled all these factors, they did not control him.
Bach's major objective in which he succeed superbly was to find ways to musically illustrate the text. Having established this objective (to focus on the latent and inherent musical possibilities in a chorale text or libretto), Bach made the music do his bidding, not vice versa.
If we assume this observation to be true, then we should be able to find instances where Bach manipulates the melodic shape of a fixed chorale incipit in an effort to illustrate by word painting certain images, concepts, or feelings that are prompted by the text. It is one thing to illustrate thunder in the basses or the tearing of a curtain in a recitative because there is a much greater range of compositional freedom allowed in such instances than when working with much more closely defined structures as the chorale melody which still needs to be recognizable for the listeners. The following description of the variants of a single chorale incipit within the course of a single movement should reveal how Bach carefully considered almost each occurrence, specifically the ones which deviate from the norm, and made almost each one represent an aspect of the surrounding text with which it is associated and which it attempts to illustrate musically. Variants of the chorale incipit reveal important aspects of the text as different things are being emphasized at different points throughout the chorale cantata movement.
The following was written earlier than the foregoing, but I will leave it stand as is. [Forgive the unnecessary repetition!]
Some important definitions:
Permutation (a changed form) , transmutation (change of condition); mutation (alteration or change in form or qualities) variation (the fact of undergoing modification or alteration, especially within certain limits) variation (a modification with regard to the melody by which on repetition it appears in a new but still recognizable form
Gestalt a 'shape', 'configuration', or 'structure' which as an object of perception forms a specific whole or unity incapable of expression simply in terms of its parts [e.g. a melody in distinction from the notes that make it up.]
In the course of movement 1 of BWV 127, Bach uses the eight-note incipit of the chorale melody "Herr Jesu Christ, wahr' Mensch und Gott" a total of 84 times within the 80 measures/bars of the entire movement. There are generally 7 eighth notes followed by a single quarter note. These notes are moving twice as fast as the cantus firmus which is in the soprano part.
The number 84 is significant for Bach since, according to a standard form of gematria, B = 2; A = 1; C = 3; and H = 8. In this instance the numbers 2 and 8 ('B' and 'H') are combined, according to a permissible operation under gematria, to form a single number '28.' Now we can calculate according to these rules: 3 (for 'C') times 1 (for 'A') times 28 (for 'B' and 'H' combined) = 84, or simply 3 * 1 * 28 = 84, the number of short 8-note incipits in the entire movement. Bach has thus placed his musical 'signature' in this movement which stands out as the most important one in the entire cantata and may have served in a prominent position in a lost Passion by Bach.
It should be remembered here that, as explained earlier, in this movement Bach is juggling a number of other unsung chorale melodies in addition to the expressly sung main chorale which appears in the cantus firmus sung by the sopranos. These unsung chorales are the Agnus Dei "Christe, du Lamm Gottes", "O Haupt voll Blut und Wunden" and "Vom Himmel hoch da komm ich her." Most of these move in long notes in contrast to the faster moving incipit of "Herr Jesu Christ, wahr' Mensch und Gott," which is the subject of this investigation.
Upon closer examination many interesting details will be revealed regarding the latter. The most important of these is the fact that upon hearing these 84 separate iterations of this melody, it always remains recognizable to the listener who may even come to think that they are, with the exception of a few startling variations, essentially the same. The human ear apprehendthis incessantly repeated motif as being a reference to the same chorale melody despite the fact that it undergoes subtle transformations, but, at times, some astounding permutations which are easily overheard because there are so many other things to be concentrating on in this movement. I have found 21 different forms of the original incipit! These can be classified into families or groups as seen in the illustration below. With the aid of capella software, I have been able to highlight in red the changed notes which are not part of the original melody pattern. At first you will see some which have only a single note changed (often only at the beginning or the end of the incipit) but as the movement progresses, Bach uses more and more notes that were not part of the original until he has a few variations of the theme with more than half of the notes not appearing in the original motif. What is truly remarkable is that the listener can still recognize them as representing the same motif. Bach must have tested the limits of a normal listener's ability to discern a changed melody as still being essentially the same as the original motif. What is at work here is the mind's ability to perceive a 'Gestalt' (definition: a 'shape' which is the object of perception; this 'shape' forms a specific whole or unity which can not simply be expressed in terms of its individual parts {e.g. a melody in distinction from the notes that make it up} or as mathematical relationships or formulae.) Having an intuitive grasp of this phenomenon, Bach is able to change/vary the individual notes and use these changes/variations for expressive purposes to bring out certain aspects of the text that are sung by the cantus firmus.
Here is the list of all the variants with a list of occurrences within the movement. The numbers refer to the numbers I used when I counted all the instances on the NBA score. The only exception is the final variant which I discovered subsequently. Here the numbers refer to actual measure numbers.
For the purpose of easy comparison, I have transposed about 2/3 of the iterations to make them appear the same on the page. Anyone should now be able to play the notes on a keyboard (or perhaps some other instrument) and hear the differences between the variants. I have divided these 21 variants into 7 families/groups that have a certain element in common such as a drop of a major or minor third, an extra repetition of the same note, etc.
The chorale incipit in its pure form looks like this:
Group 1. The only significant change occurs on the final quarter note which is sometimes different because Bach is quickly shifting harmonically away from the established key/mode of the chorale. However, sometimes the final note indicates a special word such as the unexpected F# [14 Alto, 1st Violin] (remember that the bulk of these examples have been transposed so that in reality the note in question in this instance is really a B natural) on the word 'Gott.' [God is raised or high above?] The final note becomes the highest note in the motif phrase:
The second example [10 bc] drops back down a full step but I see no reason harmonically for this change unless it is to prepare for the beginning of "O Haupt voll Blut und Wunden" which begins immediately on the next note that is played. Perhaps this dropping back alludes to a common depiction of Jesus' head leaning to one side on the cross, all of this referred to in the chorale that follows directly:
Group 2. The 'new' element common to all the members of this group or family is the narrower drop of a minor third after the first four notes rather than a major third as in the chorale melody. The motif with only one change of this particular note occurs only once near the beginning of the movement with the oboes [3 Oboes.] This happens in the same measure that introduces fragments of the Passion Chorale that are preparatory to bc's first statement of this unsung chorale:
The same motif as the latter, but with a drop back to the minor third on the last note as well can be found in six separate instances [6, 54, 64 Flauti, 12, 43, 77 Oboes] all of which are related to the Passion chorale as follows: they anticipate by one beat a similar figure in the bc which illustrates the unsung word 'Wunden' ['wounds.'] from the Passion Chorale:
The connection between this variant motif:
and the exact position where 'Wunden' occurs is maintained in every instance throughout the movement. Note how the incipit of the Passion Chorale enters on a different note each time it is played in the bc. Here are the first two notes in each instance with measure numbers given: 6 G, C; 14 C, F; 43 E, A; 52 A, D; 65 G, C; 77 C, F. Here are the corresponding notes on which the 5 variants of this type enter: Eb, Ab, C, F, Eb, Ab. The linkage between the two sets/motif variants is clear.
A single occurrence of a leap upward by an interval of a seventh followed three notes later by a drop of a minor third is perhaps the most remarkable variant that Bach uses of this incipit motif:
It stands out easily by virtue of the unexpected: it is the only time that the sopranos sing something other than the cantus firmus. Being placed high in the sopranos' range as they need to jump up a 7th and land on a high Ab, it serves as a climax and high point of the pleading and praying of human sinners who are begging for mercy. A listener may be able to perceive the anguish with which the pleas of each voice are cried out, but this soprano entry is particularly poignant because it is near the top of the sopranos' range.
A further modification occurs when Bach adds yet another raised note (sharps) to the basic sequence of the main motif: not only the 5th note has a sharp before it, the 6th and the final note are also raised by a half step. This change occurs only twice in the bc [41 and 52 bc] where stands directly before the unsung Passion Chorale which is found only in the bc. The connection with pain and suffering ["O sacred head now wounded"] is announced/anticipated by inserting these additional 'raised' notes which stand out clearly to draw the attention of the listener to this event:
Group 3. This is the largest family/group of variants almost solely because of the various ending notes that appear. Basically the major change here is in the fourth note as the step down from the third to the fourth note is not a half-step or semi-tone but rather a whole step/tone down:
With only this single note changed, the character of the chorale melody undergoes a qualitative change that is quite recognizable to the ear when attention is called to it. In this movement there are a total of 9 examples of this. The key linkage of the variant to the text occurs when the tenors [27 Tenor] sing these notes to the words "der du littst Marter, Angst und Spott" ["you who have suffered martyrdom, fear and ridicule."] This gives Bach the opportunity to express the 'Affect' of this phrase and contrast it with the incipit as it appears in its original form where it describes the nature of Jesus Christ as human being and God. The lowering by a whole step at this critical point in the main motif suddenly introduces a 'flattening' effect on the keyword "martyrdom" which is being emphasized here. Later on, both the altos and tenors [65 Alto; 66 Tenor] sing this lowered interval on the word "Sünder" ["sinner"] when asking for mercy. Certainly 'sinner' is a lowered state just as 'martyrdom' would be. Only the alto [45 Alto] has a text that does not relate in the same way as the others (here the word in question is 'Vater' {"father"}), but this is not of any great consequence since an objective study of Bach's opening chorale movements will reveal that Bach, in treating a barform chorale with a 'Stollen' which repeats the same notes but with different text, rarely composes different music for such a repeat. T means that a keyword linkage involving word painting may fit perfectly the first time, but upon repeating the 'Stollen' with different words the connection between the music and the words is lost. But what about the other instrumental instances of this variant? Do they also show any kind of meaningful connection with their musical environment?
The strings [5, 11, 42, 53, 63 Str.] announce this variant of the motif each time in conjunction with the appearance of the Passion Chorale in the bc. Now the connection with Jesus Christ's 'martyrdom' which was required to save the 'sinners' is expressed through the related image of "O Sacred Head Now Wounded."
All the other variants in this group bear one resemblance with each other: in addition to having the fourth note lowered by a whole step, the final note differs as well from the established pattern. Actually, the altos [17 Alto] and tenors [17 Tenor] sing the motif in parallel 6ths, but end it by dropping down with different intervals for the last note:
and altos:
The keyword connections here are with the fourth note lowered/flattened on the word "Christ" and the last note being sung to the word "Gott" ["God."] Perhaps the parallelism between both vocal parts helps to underline the harmonious connection between "Christ" and "God."
The occurrence of non-colla-parte statement of the variant motif [16 Flauti] while the full choir is singing is unexpected and perhaps for this reason Bach makes it stand out more by using such a modified variant of the motif. Otherwise it might not be registered by the listener as being truly distinctive.
The non-colla-parte statement of this variant by the recorders [44 Flauti] is clearly anticipatory of a very similar one by the altos [mentioned above as 45 Alto.] All of the entrances [4, 52, 62 bc] of this modified motif by the bc precede directly the Passion Chorale which follows each time.
We are left with two separate instances [24, 36 Bass, bc] of word painting on the final note which matches up with the text as follows: the 24th iteration of the motif has the bass voice landing on the word "Spott" ["ridicule."]:
This carries some meaning connection, but not as strong as drop by an interval of a 7th to the word "starbst" ["you died"][36 Bass, bc.] This is incontrovertibly word painting par excellence since only the change of a single note is fraught with great meaning/significance:
There still remain the upward leaps from the first to the second notes of the motif:
These occur in the final choral segment that treats the plea for mercy. Each voice in turn repeats the insistent and now persistent cry by leaping upward to continue the main motif. Each entry is different here as if emphasizing the individual nature of each human being. Compare this with the first three entries of this motif at the very beginning (in all but the soprano part which is the cantus firmus) and you will find that they are all exactly alike. Is Bach representing the body of the church or the congregation as being unified in their beliefs while at the very end the individuals stand apart from each other in their personal appeals for mercy?
Group 4. There is only a single variant in this special group which is characterized by the lack of a drop by an interval of a 3rd after the fourth note in the motif. After this there is a stepwise, scalar ascent not to the original note but to a whole step above the one that is expected:
There is only a single occurrence of this variant sung by the alto voice together with the 2nd violins playing colla parte. It comes at a crucial (pun intended) point in the entire movement when the cantus firmus sings "Kreuz" ["cross"] just once in this chorale verse text. The soprano and tenor voices both have a 'raised' note (B natural where a Bb is expected from the key signature) and the altos overshoot even the other high ending (the final note in the motif) [14 alto; 1st violin] which has a single instance of F# to attain a G, which is the highest note of all in this final position. In this way the 'raising' of the cross is illustrated musically by Bach. Why would he otherwise have selected from the entire movement only this particular beat on the word "Kreuz" ["cross"] for marking this moment with an extreme gesture? Play this variant by itself in order to hear the special meaning that Bach has assigned to it. This is not sheer coincidence, use of a filler note or something that is unavoidable because it is required by a harmonic progression. Bach controlled the musical progressions he used; they did not control him and force him to use these notes which did not conform to the established chorale incipit motif.
Group 5. The main characteristic of the 5th group/family of variants consists of a drop of a minor third right after the repeated three-note pattern instead of drop of a semi-tone/half step as in the original pattern.
The first example from this group is [47 Tenor, Bass; 49 Bass, bc]:
Here we have the tenor and bass voice singing this pattern in parallel thirds, an effect which definitely places an emphasis on this particular variant. It is immediately repeated by the bass voice and bc for further emphasis. The words sung here are: "Und mir deins Vaters Huld erwarbst" with special emphasis on "Vaters" ["Father's"] All I can think of here is that the sudden drop of a minor third on "Vaters Huld" signifies the direction of the Father's bestowing of benevolence upon mankind: coming from above to human beings here on earth.
The remaining instances of this variant [67 Bass, bc; 69 Bass, bc] occur twice only sung by the bass and played colla parte by the bc. Now the emphasis is on "Sünder" ["sinner"] as part of the prayerful plea:
"Du wollst mir Sünder gnädig sein" ["Have mercy on me a sinner"] which, in essence, awaits goodness/kindness to be bestowed from above. This also seems to fit the dropping down by a minor third instead of the usual half-step in the basic incipit.
The second and third members of this group of variants not only drop down by a minor third in the position indicated above, but they also follow this with either a drop of a major or minor third as well.
The pattern with the major third is found in [46 Oboes; 48 Flauti; 50 Str.; 51 Oboes; 55 Alto; 56 Tenor; 57 Bass; 68 Flauti; 72 Oboes]:
We should best be able to find a clue for this pattern emerging from the vocal lines where the text should lead us to an interpretation [55 Alto; 56 Tenor; 57 Bass.] All of the vocal parts involved in 'interpreting the words with separate entries that follow one another in a descending pattern from highest to the lowest pitches are here helping to express particularly the word "bittre" ["bitter"] which clashes with the word "Leiden" ["suffering"] which is either being played or sung simultaneously [this is the pattern of notes in the 7th group which is discussed below.]
[46 Oboes; 48 Flauti; 50 Str.] These are all associated with the unsung words of the Agnus Dei "trägst die Sünd' der Welt" ["you carry the sins of the world"] which leaves [68 Flauti] that appears which "Sünder" ["sinner"] is being sung. Only [72 Oboes] seems to be unrelated to anything in particular.
The last variant in this group is distinguished by a minor third (rather than a major third) drop to the fifth note after which the pattern rises in scalar fashion as the one just preceding this:
The first instance [9 Flauti] occurs as the unsung word of the Agnus Dei "Gottes" ["of God"] is being completed by the oboes. Then there are 4 repetitions [28 Flauti; 29 Oboes; 30 Flauti; 31 Oboes] in succession in the section of the "Trinity" motif (where the nature of God is explored musically with the '3-in-One' motif. Finally in [40 Flauti], there is no recognizable connection with the text.
Group 6. This group of variants stands out conspicuously from all the others by virtue of its extra repeated note at the beginning. Instead of 3 repetitions of the first note thare now 4.
What happens now is what distinguishes the members of this group from each other:
a) there is a drop of a minor third after which the notes ascend in scalar fashion until reaching a semi-tone above the original starting note. This is found in the section where "Kreuz" ["cross"] and "starbst" ["you died"] are being sung or played simultaneously. Such significant words call for a very special treatment which is apparent here [34 Bass; 35 Oboes]:
b) there is a drop of a major third, then ascending by whole steps until dropping by a fifth to the last note
This is already set in the long range for the strings. Perhaps the drop off interval to the final note prepares for the octave jump which the bass voice performs immediately thereafter:
c) this is the same as (b) but with an octave jump to the second note and no drop off interval at the end
This is the plea sung by the tenor voice as the final iteration of the motif. It repeats the pattern of the upward leaping intervals of the other voices, but then maintains the final to match the other occurrences of it, giving us a total of 5 or 6 repetitions of the base note (F in the examples) depending upon whether the lower octave note is included in this count. This is more than any other variant except the following which is in a class by itself.
Group 7.
The unique character of this variant prevented me from counting it at first along with the others. This is the reason why, on the NBA score which I provided with each variant counted separately, it was not included my initial counting where my final number in measure 79 listed as '78.' I was very intent at the time in seeing how close Bach came to having the chorale incipit pattern occur in each bar of the movement.
You will find this unusual variant of the motif marked with red numbers instead of blue. There are 6 instances, each occurring either with one of the 3 vocal parts (the cantus firmus does not enter into this form of expressive embellishment) where other instruments play colla parte, or with instruments or voice alone. What may seem confusing is that this variant appears in the voices as counterpoint another voice or instrument singing or playing another variant of the motif. What is important to note here, however, is that Bach, in this section (marked as line 5 of the main chorale,) does not, as would usually be the case, have the instruments play colla parte with the initial motif (i.e. 55 Alto; 56 Tenor; 57 Bass; 58 Alto {Flauti not in unison}; Bass {only here together with the bc.}) The fact that this motif does also stand alone [55 Flauti; 59 Oboes; 60 Flauti – note carefully that these are measure numbers and not iterations of the motif!] announcing poignantly the suffering of Jesus Christ, means that Bach has elevated it to greater importance than simply secondary material (counter-subject and the like.) If there is any particular variant which a listener would pick up upon first hearing, it would have to be this one, since it stands out above all others by its very unparalleled nature. There is only a single note which deviates by only a half-step from all the others! Such an economy of means in expressing effectively all the trauma and emotion associated with "Leiden" ["suffering."] Yet, at the same time Bach is still able to have the listener relate to the motif which is hinted at by 4 notes which have still remained the same as the original motif. These are the important notes at the beginning and the end. This coupled with the three repeated notes representing the Trinity allows the listener to perceive the connection with the chorale incipit which dominates this movement.
Contributed by Thomas Braatz (January 24, 2005)
Cantata BWV 127
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Aww isn't love grand?! As if we weren't all envious of the publicity stunt of a relationship that is paparazzi-loving couple Kanye West and Kim Kardashian, Kanye has written a new song for his curvaceous lil'lady! And hey, guess what this sweet tune is called?! Perfect Bitch! Yup! Ladies, I think it's pretty clear … romance is NOT dead! Kanye once again you are proving you are the classy lovahman we all thought you were.
The New York Daily News reported that on Saturday night at PH-D Rooftop Lounge in New York's Meatpacking District, Kanye dropped some unreleased tracks, including Perfect Bitch, from his upcoming album Cruel Summer.
On Tuesday the true romantic acknowledged his muse, tweeting, "I wrote the song Perfect Bitch about Kim." What a wonderful term of endearment! I know I dream of my man publically calling me a perfect bitch. What gal who values herself wouldn't?! And what woman would want to be called beautiful or lovely when she can be called a "bitch"?
Related: Kanye West Says Timing is Everything
Clearly Kanye has proved the epitome of adoration and respect for a woman. Hey Shakespeare, it's time to cut your losses and stuff those lofty sonnets down the drain; Sorry Robert Browning, you should probably burn all those love letters; Oh and Lord Byron, she may have once "walked in beauty," once but no one give a f*ck now – 'cause we got a new romantic sheriff in town – Kanye West!
I know women all over the world must be jealous they can't get an awesome boyfriend like Kanye. How can any other boyfriend even dare to compare? They can't. Guess we will all just have to settle for men that call us "beautiful," "sweetheart" or "baby." Oh the outrage!
Related: Kim Kardashian's Cry Face
Perfect Bitch isn't Kanye's first foray into immortalizing Kim in the halls of music history. In April, West released "Way Too Cold" (formerly titled "Theraflu"), where he rapped about being in love with Kim when she was still married to Kris Humphries. Also another Kanye class-act move.
Maybe Kanye's next lyrical ode to Kim will be a sampling of Prodigy's Smack My Bitch Up. Wouldn't that be heavenly?!
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That's a special giant crawler crane Liebherr, that raises a metal railway bridge. This is necessary, 'cause that bridge is old; the railway line will have a new bridge. That's a bridge over the river. The railway line, is the line of the province of Venice, in Italy.
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NEW YORK (TheStreet) -- When it comes to pure new-age business disruption, it may turn out there will be no beating driving 12,000 head of sheep through the Montana wilderness.
"It's an amazing thing to see 35 dogs and 15 men on horseback driving a massive herd 60 miles through the Gravelly Range," said Robert "Bernie" Bernthal, president of a brand-spanking-new domestic woolen apparel startup called Duckworth.
"But we own the largest flock of fine wool sheep in the United States -- and it lets us rip 25,000 miles out of the global apparel supply chain."
Bernthal has spent the past few weeks educating me on how his five-person, Bozeman, Mont., business plans to give the world's clothing manufacturers a run for their money when it ships product early this summer.
Bernthal is betting that so-called revolutionary manufacturing technologies such as 3-D printers, low-cost robotics and even big data are beside the point. What Duckworth is ramping up to prove is that what will really lower costs while improving quality is having old-fashioned control of everything from the fibers that go into garments to where the garments are made and, finally, where they are sold.
"We are a high-end retail apparel company that also happens to be owned by sheep farmers," Bernthal said. "And by connecting the front end of the business to the back end, you can utterly change the way woolen garments get made."
Caring about the fiber
What's rich for investors in the evolving manufacturing world is that Bernthal's background is not farming or even manufacturing. He's a hard-core brand marketing professional who cut his teeth with brutally competitive outdoor sports industry brands such as Swatch and K2.


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Brand new hdd is about to die already? Plus questions about partitioning and backup
I'm having some creepy error messages, and GSmartControl suggests me to backup my data, due to some of them (soft read error rate being the most "alarming" one, for some others it's saying that the value of the attribute is non-zero, but there's no "official" SMART warning yet, but still says there is risk of future data loss).
This is the sort of kernel message I get:
Can this all be some funny misunderstanding, or is it time to stop denying that my hdd is in its last days on this Earth? I've just read in this forum that it's very common that even new hdds fail, that's what is most likely to fail on a new pc... I'm a bit boggled, somewhat skeptical, however, because before I was using almost ancient hdds (40 and 80 GB sized) that never gave this sort of error (I'm still using them in an older pc).
I was looking through smartmontools pages, and there was some instructions to "manually" fix some stuff. Anyone knows if this is just the same thing that fsck would do automatically anyway, or something "better", that may turn to show that the hdd isn't doomed after all, that the most scary messages are false-positives? (Oh, the blind hope).
The hdd is a Samsung HD502HI, the failing partition is ext3.
And about partitioning, can it have any effect on this sort of thing?
The way I've done is the following:
The first two ext3 are for filesystem roots, to ease distro/release hopping, the remaining one is /home.
I don't understand much about primary/extended and what it means, I just know that it wasn't possible to have them all as primary, according to the partitioner I've used (from linux), as I've been warned when I first tried it. Is this partitioning scheme something that is not recommendable, health-wise?
Finally, if this is all really bad, and I have to replace the hdd as I'm afraid I'll have to, can I still back up it all as it is -- including the installation of the operational systems -- with something like dd in that situation, or this is not advisable?
Thanks a lot.
if hard disks fail, it is in the very beginning of their life, or after a few years. (Although I have some which have been spinning for 15 years 24/7)
You should not preclude a hard disk failure because it is only a few days old, on the contrary.
I too have seen drives fail within the first week of being installed. It is very possible that is what is happening
The failure rate on hard drives looks like a bath tub. Especially on the left hand side. Higher failure rate in the first few months, it drops down and then starts increasing years later.
A hard drive that moves around a lot, such as in a hard drive may have errors occur more frequently as a result of handling. These errors are often handled in the background with bad blocks being replaced.
This message doesn't look good: auto reallocate failed
It wasn't able to replace the bad blocks.
Your partitioning scheme is fine - the 4 primary limitation is inherited from DOS. Windows is similarly constrained - which is why the Linux tools are like they are.
New schemes are coming to relieve the bottleneck - gpt.
dd is never a good choice of backup - more so on a (potentially) flakey disk - it doesn't tell you of error conditions. Choose a filesystem aware backup - rsync, cp -a ..., something like fsarchive might be the go as it CRCs the data (haven't tried it myself). Or clonezilla ...
For the NTFS, use Windoze to back it up, or ntfsprogs to manually handle it - moving a Windoze system partition is always a problem.
Thanks, everybody. I've run the samsung diagnostic tool, which indeed confirmed the problem after the long surface test. I've replaced it sometime ago, and the new one has been running ok since then. :)
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Academy Award nominated score to the cult classic
Mondo is thrilled to be releasing Jerry Goldsmith's absolutely astounding score to one of the greatest science fiction films of all time: the original Planet of the Apes. Nominated for an Academy Award, Goldsmith's score is unlike anything moviegoers had heard before - avant garde, experimental and using every instrument Goldsmith could get his hands on. It stills spins heads today. Essential listening for soundtrack collectors, and fans of the franchise.
A1. Twentieth Century Fox Fanfare (1953 Version)
A2. Main Title
A3. Crash Landing
A4. The Searchers
B5. The Search Continues
B6. The Clothes Snatchers
B7. The Hunt
C8. A New Mate
C9. The Revelation
C10. No Escape
C11. The Trial
C12. New Identity
D13. A Bid For Freedom
D14. The Forbidden Zone
D15. The Intruders
D16. The Cave
D17. The Revelation (Part II)
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Sumitra Mahajan was elected as Lok Sabha Speaker and Union Minister Prakash Javadekar was chosen unopposed as RS member.
Besides cellphones, a note pasted outside MoS, Agriculture, Sanjeev Balyan's office even bans pens, apparently keeping in mind that "spy pens" are available easily now.
Frustrated by disruptions, Chidambaram contemplated tabling his speech without reading it but continued after party top brass nudged him to weather it out.
SC said the Union ministers has all the rights to criticise a judgment,but should act responsibly.
PRESS TRUST OF INDIA NEW DELHI,DECEMBER 17 THE father of Indias Deputy Consul General in New York Devyani Khobragade on Tuesday met Union ministers here to complain about the arrest and strip search of his daughter by US authorities which he termed as violation of human rights and Vienna Convention. Uttam Khobragade,father of 39-year-old Devyani,met […]
Two senior Trinamool Congress leaders,a Union minister from north Bengal,a state Cabinet minister,a retired IPS officer,a journalist who has held important positions in two popular Bengali dailies,two senior CPM leaders,including a member of CPM district secretariat in South 24-Parganas,and an important functionary of a football club are the nine persons whom TMC MP Kunal […]
K V Thomas and Jairam Ramesh got caught in a game of musical chairs.
Rahul sent the letter to PM hours after the President summoned the union ministers.
With the state facing 70 per cent deficit rainfall,Haryana government on Friday demanded an assistance of Rs 4,050 crore from the Centre to bail out the state from the drought-like situation.
Want a fancy registration number for your new car?
Arvind demanded establishment of fast track courts for disposal of cases related to 'corrupt' MPs.
The Congress on Sunday held an impressive show of strength at Nahan as top leaders,including feuding Union ministers Virbhadra Singh and Anand Sharma,shared the stage,reaffirming the partys resolve to stage a comeback in the coming Assembly polls.
All senior leaders,known more for their infightings these days,will now have to travel together for the rallies in a specially-designed bus.
In foreign visits,ministers,former PMs spent Rs 499.89 cr in 2011-12 against budgeted Rs 46.95 cr.
With the state going to the polls by year-end and the party being torn in factions,Congress president Sonia Gandhi on Tuesday invoked unity whip on top leaders from Himachal Pradesh.


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Thursday, January 30, 2014
Freezing temperatures are creating near-record demand for natural gas in the U.S. as shivering Americans turn up the heat and plug in their electric blankets.
Natural-gas prices have jumped in response, topping $5 per million British thermal units for the first time since 2010 as fuel has been pulled from underground storage vaults to keep furnaces running and electric utilities humming.
But compared with past cold snaps, such as in 2000, the price surge has been muted, according to utilities and other big gas users.
That is good news for businesses and consumers. Manufacturers that consume large amounts of the fuel—steelmakers, for example—say they have trouble planning for sharp price changes. And homeowners on fixed incomes can be hit especially hard when utilities raise prices.
The difference today is the U.S. energy boom, which over the past few years has created vast supplies of the fuel, in part through hydraulic fracturing.
Today, there is a lot of "production to build back inventory levels to normal," said Jack Weixel, director of analysis for Bentek Energy, which tracks natural-gas data. "You can climb back onto the horse a lot quicker." Gas consumption on Tuesday was the second-highest on record, he said, nearly eclipsing the record set Jan. 7.
For the full article, go to www.wsj.com.


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Judge overturns firing of prison nurse in inmate dehydration case
Posted March 6, 2015
Raleigh, N.C. — A prison nursing supervisor fired after a mentally ill inmate died of dehydration last year will get her job back, a North Carolina judge ruled this week.
Jacqueline Clark appealed after state corrections officials last year dismissed her for unacceptable personal conduct and "grossly inefficient job performance" following the death of inmate Michael Kerr. In his decision, Administrative Law Judge Augustus Elkins wrote that, although Kerr's death was "tragic in every sense of the word," the state failed to prove that Clark violated policy or inadequately supervised staff in the days leading up to March 12, when Kerr was found dead in the back of an inmate transfer van at Central Prison.
Kerr, who suffered from schizoaffective disorder, was left handcuffed in solitary confinement for five days at Alexander Correctional Institution in Taylorsville before prison officials decided to move him to Central Prison. By then, the restraints were so caked with fecal matter, officers had to remove them with bolt cutters.
"This and other evidence evokes great emotion, but this case should and must be singularly focused on this Petitioner, who had assumed her Nurse Supervisor III role just two months prior to the death of Mr. Kerr," Elkins wrote.
A federal grand jury and the State Bureau of Investigation, which is overseen by the same administrative department as the prison system, are investigating the incident for possible criminal conduct.
Clark was one of 25 corrections officers, nurses and mental health staff disciplined at Alexander Correctional after an investigation by the Department of Public Safety. That includes 10 who resigned or received dismissals.
Several of those employees contested their firings, including a prison captain who lost his appeal in December.
Michael Byrne, a Raleigh attorney representing Clark and several other fired prison workers, said she was one of many disciplined, despite having only "tangential involvement" with Kerr before his death. Although he couldn't say when or if Clark would return to work, he said she's glad a judge agreed many of the state's allegations against her were false.
"The way DPS handled this took a bad and tragic situation and made it worse than it was, in that people innocent of any responsibility were nonetheless publicly blamed for it," Byrne said. "That was wrong."
DPS spokeswoman Pam Walker declined to comment on the ruling, saying by email that the department had not had time to review it.
"The department took all the personnel actions at Alexander CI, in relation to this case, based on a preponderance of evidence and testimony," Walker wrote.
Clark is entitled to full reinstatement, back pay and benefits for nearly a year off the job, as well as about $22,000 in attorney fees.
DPS has 30 days to appeal the decision to the North Carolina Court of Appeals. State officials have not said whether they plan to appeal.


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Power Punch : Botsa Satyanarayana on joining YSRCP - NTv
Sun, Jun 07, 2015, 01:33 PM
Former PCC President Botsa Satyanarayana has joined the YSRCP in presence of YS Jaganmohan Reddy at his lotus pond residence. Botsa while talking to the media clarified that Congress party has not done betrayal nor done injustice to him but due to present political situation and ruling party scenario over making own profits . Botsa added that to fight against these injustices he has joined YSRCP for getting a platform .


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Allardyce eyes safety mark after win over Wigan
Sam Allardyce hailed Blackburn's fighting spirit after goals from Benni McCarthy and Ryan Nelsen moved his side to within one more win of securing Premier League survival.
McCarthy struck on the stroke of half-time and Nelsen nodded home his first league goal in 111 appearances as Rovers seized the opportunity to see off Wigan 2-0 and leapfrog Hull and Sunderland into 15th place.
Allardyce said: ``We've done the job and it should give us a lot of confidence. It's a great show of character and determination from the lads and heroic defending was necessary on occasions.
``We're not safe just yet but we're nearly there. I think we've now accumulated 24 points in the 17 games since I've been here which is an excellent record and now we've got one more win to get.''
It might have been a different story if Antonio Valencia's third-minute shot not clattered the underside of the bar or had Rovers keeper Paul Robinson not been in excellent form to deny Charles N'Zogbia and Emmerson Boyce.
Wigan boss Steve Bruce admitted: ``When Antonio hit the bar you did wonder if it was going to be one of those days and it was. It summed it up in the last minute when they cleared three shots off the line.''
Rovers once again resorted to using centre-back Chris Samba as a makeshift striker in the absence of Jason Roberts and Roque Santa Cruz, and he proved a real handful as he harried the visiting defence early on.
Lee Cattermole had to boot an El-Hadji Diouf header off the line in the 23rd minute while N'Zogbia and Ben Watson came close for Wigan before McCarthy struck in the 45th minute, heading Morten Gamst Pedersen's corner past Chris Kirkland.
Bruce added: ``We spent all week talking about set-pieces then they go and score from a corner and a free-kick. That made the difference because I don't think they created too many opportunities and we hit the bar and their keeper was man of the match.''
Rovers made sure of the points on the hour when McCarthy delivered an excellent free-kick into the box and Nelsen flicked the ball on for his historic first goal for the club.
Despite a late rally from the visitors, Robinson was in outstanding form to shut out the likes of Valencia, Paul Scharner and Daniel De Ridder, leaving Allardyce an immensely satisfied manager.
Allardyce added: ``Ryan has been here for four years and that was his first goal. It was the quality of the ball first and foremost, and then a great little touch. Ryan's goal came at the right time to help take the pressure off.''
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Courtesy of ABC News
The National Rifle Association stood its ground today in arguing that the answer to gun violence in schools is an armed security force that can protect students, while blaming the media and violent entertainment and video games for recent deadly shootings.
"The only thing that can stop a bad guy with a gun is a good guy with a gun," NRA executive vice president Wayne LaPierre said in presenting the NRA's first comments about the Connecticut school shooting since it occurred a week ago today.
LaPierre offered no olive branch to gun-control advocates who have called for tougher laws in the wake of the shooting at Sandy Hook Elementary School. Instead, he called for schools across the country to recruit armed security professionals to protect their students.
"It's not just our duty to protect [our children], it's our right to protect them," LaPierre said at a news conference. "The NRA knows there are millions of qualified active and reserved police, active and reserve military, security professionals, rescue personnel, an extraordinary corps of qualified trained citizens to join with local school officials and police in devising a protection plan for every single school."


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This is an archived article that was published on sltrib.com in 2014, and information in the article may be outdated. It is provided only for personal research purposes and may not be reprinted.
When is stealing from the American people not a crime? If every rancher in the West decided to graze their cattle where they pleased, and there was no government action to stop them, what do you think our national parks and open lands would look like?
The people who think Cliven Bundy is a hero to be celebrated for destroying our public lands without at least some compensation are idiots, plain and simple. The man should be put in jail just like any other thief.
Ron Neisler


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Matt Damon is moving his family-of-six from New York City to Los Angeles.
The Elysium star – along with wife Luciana and their daughters Alexia, 15, Isabella, 7, Gia, nearly 5, and Stella, 2 – are preparing for the bicoastal move. "Our oldest one is excited," Matt told Us.
"The younger ones, I think it's kind of hard for them to grasp it," he added. "They'll have a yard, and they're really excited about that. That's not something you get [in New York City]."
During a Tuesday appearance on TODAY, Matt explained their move, saying he'll be closer to good pals like Ben Affleck and Jennifer Garner.
"Basically all of our friends with little kids are out there [in L.A.]," Matt shared. "We're a little conflicted. We love it here, we're really happy here and New York will always be here. It might just turn out to be a little jaunt out there and then a return…It's hard to leave here."
He went on to talk about getting in shape for his latest role in the upcoming sci-fi flick, Elysium.
"It was really hard because I love to eat and I love to drink," he confessed. "I'm at the point in my life where somebody was silly enough to marry me and won't leave me if I put on a few pounds. It's very hard to motivate me to get in shape."


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I just bought Spotify and tried to run the Installer on Windows 7 but it won't install -- I get the message in the Subject header.
What do I need to do?
Solved! Go to Solution.
Hi Right click on the program icon before double clicking it. then choose run as admin. If that don't work right click on the icon again and click trouble shoot capatability then it will ask you if it fix the problem. Before you choose one do the install for the last time then if it works which it did for me then choose save these settings and enjoy..Hope this helped..
This is what worked for me:
1. Find the folder where you downloaded the installer (setup file) to. If you're using firefox, click on the little arrow in the upper right corner, then right-click "Spotify-Setup.exe" and select "Open Containing Folder."
2. Right-click SpotifySetup, select "Share with..." and then select "Homegroup." If you set up your network as a work computer this might be called something different, not sure. Basically it needs to be shared.
3. Double-click and run it like normal.
This worked for me:
Right Click: run as an administrator (this WONT work).
Next normal click, this WILL work.
just right click on the installer, and click properties. Then click "compatibility" and check the box that says "run in compatibility mode" and make sure the dropdown is selecting windows 7. Click OK, then run. Voila.
you need activate all admissions:
1-Propriaties of installer
4- click 2 times in your administrator user
5-and click in total control
6-and click in OK
7-now close all windows and run the instaler
8-now it is work
Try to Install Spotify with Administrator privileges. Just click installer and click Run as Administrator. If this does not help, create another account to your Windows and try again. You can also try account without admin rights.
Oh, and welcome to the community!
Hey, thanks for the welcome.
The installer doesn't have an option for Admin login, so I'm stumped. In order to create another user name, do I need another facebook acct., too?
You can just right-lick in your mouse in Spotify Installer and then select Install as Administrator.
If you want to try then another Windows account, just create it in Windows - you do not need any other Facebook account for this.
Also if you downloaded installer outside Spotify.com, just download clean installer and see what happens.
You always should download Spotify from Spotify.com. www.spotify.com/download
Also you can install older Spotify and try then what's going on with this old one.
http://www.download.fi/general/download_splash.cfm/spotify?software_id=2721&version_id=40425 (Tested, official old package).
Spotify should update itself when you finish older version installation.
Let me know how this works for you! =)
Thanks a lot :D By installing the old packages i managed to get it on my admin account :D
This has been the last straw. What is wrong with installing as administrator? Let me do my system administration. Obviously they don't want people using their software. I am done with Spotify.
I agree, this is really ridiculous. I don't want to create another account, nor do I want to install some old executable of questionable origin on my computer. Why in God's name can't I install a program as an adminstrator? Who better to install a program?
Hello there. All you need to do is right click the installer which you will probably find in the downloads folder, and chose to run it in compatability mode (XP SP3). This will allow you to download and install spotify and it will work normally afterwards.
Worked fine :)
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Don't miss out on a lower price on this hotel
Get an overview of this hotelWestern-themed Las Vegas hotel
Popular property highlights
This Las Vegas hotel is less than 1 mile west of the Strip and within 5 miles of the Fashion Show Mall and McCarran International Airport.
Property Amenities
Guests of Days Inn Las Vegas At Wild Wild West Gambling Hall can lounge under the Las Vegas sun at the outdoor seasonal pool and spa tub.
Guestrooms at Days Inn Las Vegas At Wild Wild West Gambling Hall feature complimentary wireless Internet access, custom bedding and drapes, granite vanities, and 27-inch TVs.
Guest Highlights
- Breakfast
- Overall value of stay
- Helpful staff
- Clean guestrooms
- Comfy beds
Days Inn Las Vegas At Wild Wild West Gambling Hall
Hotel Amenities
Hotel Amenities
The Days Inn Las Vegas At Wild Wild West Gambling Hall is one mile from the Las Vegas Strip, and within five miles of Fashion Show Mall, The Omnimax Theather at Caesar's Palace, and McCarran International Airport. This western-themed property has an outdoor seasonal pool with spa tub in a garden setting.
Games include a full live pit and 240 reel, video poker, slot machines, and live table games, including blackjack, craps, and roulette. A sportsbook, lounge, 24-hour restaurant, and full-service bar are on site.
Fax and copy services are available as well as a currency exchange, complimentary wireless Internet access, and a computer station. Guests can also take advantage of a safe deposit box at the front desk, laundry facilities, and a convenience store.
Parking is complimentary. A truck plaza area has more than 15 acres of paved and lighted parking, designated drop pads, security patrol, easy access from I-15, weigh station, gas station, truck wash, and store.
- Free RV, bus, truck parking
- Computer station
- Grocery/convenience store
- Free WiFi
- Multilingual staff
- Number of floors - 2
- Number of buildings/towers - 6
- Laundry facilities
- Safe-deposit box at front desk
- Spa tub
- 24-hour front desk
- Total number of rooms - 260
- ATM/banking
- Bar/lounge
- Breakfast available (surcharge)
- Casino
- Free newspapers in lobby
- Concierge services
- Conference space
- Dry cleaning/laundry service
- Gift shops or newsstand
- Tours/ticket assistance
- One meeting room
- Luggage storage
- Restaurant
- Free self parking
- Conference space size (feet) - 665
- Conference space size (meters) - 62
- Outdoor seasonal pool
- Television in common areas
Family Friendly Amenities
- Family Hotel
- Free Wi-Fi
- Grocery/convenience store
- Laundry facilities
- Cribs/infant beds (complimentary)
Available in all rooms: Free WiFi
Available in some public areas: Free WiFi
Free self parking, Free RV, bus, truck parking
Room Amenities
- Free newspaper
- Free WiFi
- Free cribs/infant beds
- Connecting/adjoining rooms available
- Pay movies
- Air conditioning
- In-room climate control (air conditioning)
- Free local calls
- Private bathroom
- Hair dryer
- Shower/tub combination
- Iron/ironing board
- Television
- Cable TV service
- Flat-panel TV
- Room service
- Rollaway/extra beds (surcharge)
Where to Eat
Denny's - 24-hour restaurant.
Loose Track Bar and Lounge - Open 24 hours offering a bar menu and drink specials.
If you have requests for specific accessibility needs, please note them at check-out when you book your room.
- Accessible bathroom
- In-room accessibility
- Roll-in shower
Hotel Policies
Check-in time ends at midnight
Check-in time starts at 3 PM
Minimum check-in age is 21
Check-out time is 11 AM
Payment types
Children and extra beds
- Children are welcome.
- Rollaway/extra beds are available for USD 15.00 per night.
- Free cribs (infant beds)!
- Pets allowed for an extra charge of USD 25 per accommodation, per day, plus a deposit of USD 200 per stay
- Dogs only
- 1 per room (up to 30 lb)
- Specific rooms only, restrictions apply
- Pet-friendly rooms can be requested by contacting the property at the number on the booking confirmation
You need to know
Extra-person charges may apply and vary depending on property policy.
- The name on the credit card used at check-in to pay for incidentals must be the primary name on the guestroom reservation.
- Deposit: USD 100.00 per stay
- Resort fee: USD 15.86 per accommodation, per night
- Pool access
- Internet access
- Newspaper
- Faxes
- In-room coffee
- Laundry facilities
- Self parking
- Parking
- Housekeeping
Optional extras
- Breakfast fee: between USD 5 and USD 12 per person (approximately)
- Pet deposit: USD 200 per stay
- Pet fee: USD 25 per accommodation, per day
- Early check-in fee: USD 25.00
- Late check-out fee: USD 25.00
- Refrigerator fee: USD 10.00 per day
- Rollaway bed fee: USD 15.00 per night
Hotel Name
- Days Inn Las Vegas Wild Wild West Gambling Hall
- Days Inn Wild Wild Gambling Hall
- Days Inn Wild Wild Gambling Hall Hotel
- Days Inn Wild Wild Gambling Hall Hotel Las Vegas West
- Days Inn Las Vegas Wild Wild West Gambling Hall Hotel
- Days Inn Wild Wild West Gambling Hall Hotel
- Days Inn Wild Wild West Gambling Hall
- Wild Wild West Hotel
- Wild West Gambling Hall Hotel
- Wild Wild West Las Vegas
- Wild Wild West Gambling Hall Hotel
We should mention
The property has connecting/adjoining rooms, which are subject to availability and can be requested by contacting the property using the number on the booking confirmation. The property allows pets in specific rooms only and has other pet restrictions (surcharges apply and can be found in the Fees section). Guests can arrange to bring pets by contacting the property directly, using the contact information on the booking confirmation.


text: Nathan Bell wrote: > On 12/7/06, Travis Oliphant <oliphant at ee.byu.edu> wrote: > >> The licensing for SPARSKIT is (was) not suitable for use in SciPy. I >> have used it in the past but couldn't because of licensing issues. >> > > I've learned that SMMP[1] is public domain and well documented[2]. It > consists of a single fortran file with no external dependencies. I > successfully ran f2py on smmp.f and was able to load the module into > python. > > Is there any reason that SMMP could/should not be used for sparse > matrix multiplies? If not I can try making the necessary changes. > > No reason not to use it if the license is really suitable (the web-page seems to indicate that if it is used in "commercial" code then we have to contact the author first --- SciPy cannot have such encumbrances). If we can use it, then great. Which storage format does it work for? -Travis


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Solution: Repeal laws and regulations that infringe upon the 2nd Amendment rights of Americans.
As stated above, I am a strong believer in the U.S. Constitution and the Bill of Rights. In referencing the 2nd Amendment to the U.S. Constitution, I believe in the right to keep and bear arms. Guns are not the problem, and gun laws only disarm law-abiding citizens. It is the choice of individuals that choose to use guns to hurt others. It is those individuals that should be held accountable for their choices, rather than to ban or restrict guns that are used by law-abiding citizens. Anything can be used to hurt others, fatally or non-fatally, which is why I feel that banning guns, and the infringing upon the right to keep and bear arms, is the wrong thing to do.
Source: http://www.markcallahan.net/Issues.html#IssuesStrategyTop


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text:
Anime Boston has just announced that Japanese voice actress, singer and composer Haruko Momoi will be among the Guests of Honor at this year's convention. Aside from being the founder of the music label Akihaba Love Records, Momoi is also known for her work as a voice actress in shows such as Steins;Gate (where she played the character Feiris Nyannyan), Seto no Hanayome, and Tales of the Abyss.
Among this year's Guests of Honor will also be vocalist Kanako Ito, performer of the opening theme of the Steins;Gate animated series, and author Takamasa Sakurai.
Anime Boston will be held April 6th through the 8th at the Hynes Convention Center in Boston, Massachusetts. For more information on the event, please visit the Anime Boston official website.
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Matt Bartkowski will be sent down to the Providence Bruins, where he was the leading defenseman in points last season.
This season, Bartkowski has averaged 6:07 of ice time filling in for the injured Adam McQuaid. He has played a total of nine games in the NHL, registering four penalty minutes. Steven Kampfer has returned from a knee injury and will likely play on Thursday in the injured McQuaid's absence.
Bartkowski, 23, was acquired by Boston from Florida with Dennis Seidenberg for Byron Bitz, Craig Weller and Tampa Bay's second-round draft pick in 2010 on March 3, 2010. He was originally drafted by the Panthers in the seventh round (190th overall) of the 2008 NHL Entry Draft.
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