Today at the gym it was more about the sights and sounds than the workout. My bench press buddy wasn't there so I pushed up to the 95 pounder dumbbells during my chest workout. However doing my various sets in between I was "treated" to some annoying yet funny scenes.
The entertainment was provided by a middle aged man that appeared to be in good shape. He sported the beginnings of the dreaded bald spot that afflicts so many men in that age range. His workout gear was unconventional consisting of jeans, a white t-shirt and brightly colored running sneakers. His first exercise was on the squat press machine. He immediately started on his signature move, moaning/grunting loudly after every rep, even though he only had 315 on the machine which is sort of warm up weight by squat press standards. His grunting and groaning drew a lot more stares than just mine as I exchanged glances and eye rolls with a few other gym patrons.
Well this guy then moved onto the ab portion of his workout. He grabbed a flat bench and moved it into the Smith machine. He then adjusted the bar to a height where it nestled into the back of the guys knees as he laid on the bench with his knees up. He then grabbed a 10 pound plate and held it on his forehead. He then began crunching up and down up and down for what seemed endlessly. I bet in total he did around 200 reps with each one again including the disturbing grunt/groan exclamation point. It got to be borderline maddening.
I never understood people that do super high amounts of reps of exercises. All that tells me is you aren't picking exercises that are challenging enough. Doing something that requires you to strain to eek out an 8th rep is far more effective than something that allows you to cruise control through triple digit reps. It's pretty common sense.
The good news is I never saw this guy before so hopefully his presence there over lunch hour was an isolated incident instead of a regular occurrence.


When Philip told me he had spent 4 nights with the Miss World finalists in 2008 I glanced round to see if his wife was listening; but I soon realised what he had been up to... he was showing them the stars!
Philip is brilliant at making the vastness of space understandable even to those of us who find science mind-boggling. Constellations, super-nova and black holes become dramatic when he speaks. One cannot help catch his enthusiasm. I remember sitting under a clear sky listening to his talks with our six year old, and she was enthralled as he made plain the story of the universe.
Philip studied Physics at Oxford, and then worked for the Royal Signals and Radar Establishment for almost twenty years, researching the interplay of light with matter, applying his work to semi-conductors and fibre optics. He earned a PhD through Sheffield University at the same time.
His life took a surprising turn when he married into a family that has farmed for generations in the Waterberg region in northern South Africa.
The massive, dark, southern skies of Africa gave Philip the opportunity to explore astronomy, and with the enthusiasm of a convert, Philip began sharing his enjoyment of the stars at safari lodges, leading to his company 'Night Star Safaris'.
Philip's popularity has extended to television and radio features, and he is the founder of the annual Waterberg Planetary Festival. This festival, like his 'star safaris' are aimed at the novice and amateur enthusiast.
When the stars are not shining Philip promotes solar technology in South Africa, and he cultivates spices.


Baird reiterates Outperform rating on Aveo after Q4 earnings. Baird analyst Madhu Kumar reiterated an Outperform rating and $2 price target on Aveo Pharmaceuticals after the company reported its Q4 earnings report. The analyst said in a research note partially titled "Clinical Basis for TIVO-3 OS Optimism" that he continues to have relative optimism to the Street for Fotivda, and added that a Q4 of 2019 update on TIVO-3 OS was a key potential positive catalyst for the stock.
Keep on watch, if it breaks 64c, should make a good long targeting initially the 76c area.


Alexandria Campus' Women's Retention Program and the Braden Center for Women, Gender and Social Equity hosted the annual Women Helping Women event on March 3. This year's focus was "Together! Finding your passion, power and place." Ninety-one people attended the event including faculty, staff and students from every NOVA campus.
The mentoring program is headed by Dr. Jill Biden and Professor Emeritus Elizabeth Harrison with the support of Dr. George Gabriel, Office of Institutional Effectiveness & Student Success Initiatives, the program was developed nine years ago to ensure that female students get the support they need to attain their academic and career goals.
Dr. Jill Biden welcomed the students and shared her personal journey of having to juggle school and family. Lisa Hill took attendees on a tour of the Art Pop-Up Exhibition in the new fine arts building. The Art Pop-Up Exhibition is a compilation of graphic designs, photos, sculptures and drawings by female students at NOVA.
Attendees in the packed dance studio moved together during a fabulous barre session facilitated by Meredith Kaufman, owner of Barre3 in Old Town Alexandria. Dr. Annette Haggray, faculty, staff and students participated in the hour-long class.
After lunch, Kirsten Riddick from the office of Technology Innovation in Learning and Teaching walked participants through a virtual reality career expedition and exploration exercise. Attendees learned about different applications of virtual reality while exploring various careers, including estate and psychology.
Dr. Carolyn Lorente moderated a session with Tori Hobgood, Samantha Blain, and Remaz Abdelganger, former NOVA students, who shared stories about how they overcame personal struggles and persisted in graduating and continuing on their academic and career paths. The women talked about how they used NOVA resources such as the Women's Mentoring program, and how they turned to faculty, staff and most importantly each other for support.


November is a gray, dreary month in the Pacific Northwest, but sometimes there are days where the clouds lift and leave you with bright, but cold, conditions. On Saturday Cargo Facts was on hand for the third flight of TNT's latest 777F, OO-TSC (msn: 37138) – just a 30 minute loop out over the northern Olympic peninsula and back to Paine Field.
TNT took delivery of its first 777F (OO-TSA, msn: 38969) on July 22nd. A second TNT 777F is temporarily sub-leased to Southern Air (N778SA, msn: 39286, delivered on Sept. 29th in TNT livery). Cargo Facts reported on October 7th that Southern Air will operate the freighter on an ACMI basis while TNT trains more 777F crews. Southern Air has operated two 777Fs since the spring of 2010 and has two more on order via Oak Hill Capital Partners.
Given the Belgian registration, it seems likely that TNT will operate this third freighter itself.
All three of TNT's 777Fs are leased from Guggenheim Aviation Partners.
As of the end of October, 49 777Fs had been delivered. Since then, two more have been delivered to FedEx.


It's not always black and white. … Tight to be white?
From West to Bangladesh: can fashion be ethical?
My outfit is a lot better travelled than I'll ever be. My top grew up in Indonesia, my jeans were flown in from Bangladesh and my shoes were raised in Vietnam. … From West to Bangladesh: can fashion be ethical?
Contemporary politics is a quagmire. The slippery slope between the centre-right, centre-life — to far right or alt-right; far left to the fringe. … Is the alt-right…right?


Yes, another addiction. Murad's Pomegranate Exfoliating Mask was recommended for my skin type by a facialist at my last visit to Therapie. Let me start by saying that this mask is said to suit most skin types but it is not one of those designed to be deeply nourishing. If you're looking for a treatment like that then let me straight off the bat that this isn't for you. If however you are in need of an exfoliation, want bright, clear skin and some tingly freshness without scrubby-scrubs than keep reading.
First of all, a little about my skin. At the moment it is normal with both dry areas and oily areas. My chin is prone to hormonal breakouts and can be sensitive but my forehead and cheeks are dry. My main skin concerns are blocked pores, hydration and early signs of ageing. Ah what it must be like to have nice skin. I can keep dreaming!
Pomegranate Extract and Ginko Bilbo Extract – a powerful antioxidants to defend your skin from free radical damage.
Natural Fruit Enzymes and AHA's – Intensely exfoliates trapped impurities and dead skin cells.
Sodium PCA – Restores essential moisture to soften, recondition and rehydrate your skin.
The box comes with six sachets – one per treatment. I found that to be far too much product for one application. Instead I use half and wrap the rest up in tinfoil for the following week. I had read that treatments are cumulative so I committed to being consistent with treatments. According to the box you should apply once of twice a week. I applied the mask once a week, avoiding my eye area, put my feet up for 10 minutes and then washed it off with my skincare sponge and warm water (muslin would also be great).
I haven't found an exfoliator with scrubby particles – I'm so technical :) that I like. Now I feel like I can stop searching. This does the trick and it's far less messy. It is runny in texture but easy to smear on and it didn't run once on my skin.
I should point out that I use this treatment as part of a skincare regime (more on that later). I use this mask on a Monday and on a Thursday I like to treat myself to a moisture infusing mask to plump and perk my skin up.
The packaging. Sachets are messy. Then again I was supposed to use the whole pouch each time. This probably has something to do with preserving active ingredients or something.
At €30 / £25.00 for six sachets it's a fairly good deal for the results I get. The sachets may look like samples but they are quite large and contain a healthy amount of product as I mentioned earlier. I like to think of each application as a mini-facial and therefore it's saving me a fortune :) Murad is available at Therapie Clinics nationwide (including the one on Dublin's Molesworth Street). You can't buy Murad products in the shops (to the best of my knowledge) but you can call them on 1890 650 750 to arrange a free consultation with a skin specialist who can recommend the best product for you and your skin.
Love it. I will definitely repurchase. This mask has made it into my permanent collection – a rare occurrence. I recently reviewed Murad's eye cream, here's the link if you missed it – Link! I should probably point out that this is not a sponsored post, I just dig it!
Man, I can go on and on about skin products. I shall stop waffling now and go grab a cuppa!
Have you tried any Murad products? Any recommendations?


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The Next 20-Year Cycle In Business Software
Nov 19, 2020 7 min read productivity software
This post is excerpted from an article I wrote with my partner Ajay Agarwal, originally published in Ideas from Bain Capital Ventures.
Over the past three decades, software has proven to be the best business on the planet. Depending on the day, the world's most valuable public company is often Microsoft ($1.5 trillion!), predominantly a business software company. Within those thirty years, though, there has been massive evolution in how the outsize winners get built, from the initial wave of client-server powerhouses in the 90s, to the cohort of cloud software that lifted Salesforce, ServiceNow, and Adobe to nearly $100B in market capitalization each over the past two decades.
Nowadays, cloud is no longer new — it's the bare minimum expectation. To differentiate, new startups must aggressively (and at their outset) rethink fundamental assumptions of how to build a software company. My partners and I are convinced that we are in the early innings of the next big transition. This era is all about the user, and we want to focus on three strategic pillars that best-in-class software companies will exemplify: user-centric products and distribution, global distributed teams, and creative monetization.
Modern Product and Distribution — the Rise of the User
While the last two cycles of software focused on the "economic buyer": the CIO, CRO, CMO, or CFO, who was the ultimate check-signer and decision-maker, the focus on any software startup in 2020 begins with users, who are gaining more power to purchase and use their own choice of technology. Consumer demand to use iPhones at work, for example, was an early flash-point that ended up loosening IT's hold on bringing technology to work. This empowerment was also initially prominent with developers choosing open source projects and dev tools, but has increasingly spread to other teams as diverse as design, marketing, and even manufacturing operations.
As a result, multi-billion dollar outcomes can now be built in categories where there is no obvious executive level buyer. Who is the executive in charge of "collaboration", "communication", or "productivity"? There isn't one! But companies such as Slack, Airtable, and Wrike have built $100M+ ARR companies through bottom-up adoption by individual workers and teams willing to swipe a credit card to improve their quality of life.
It's a no-brainer to say that fantastic products lead to passionate users, who are eager to share and collaborate with their co-workers. Smart teams are harnessing and investing in this energy, reaching new fans with events and user-level personalized marketing, forming communities of loyal followers. To encourage more users to tell their friends, the most effective practitioners also combine removing the financial barrier (e.g. freemium, open source), with viral product features (e.g. sharing Dropbox files naturally signs up more accounts).
As it turns out, once it gets going, bottom-up organic distribution from user to user is far more efficient to scale than the traditional top-down approach that has been the norm for the past 50 years of technology sales. These communities evangelize the solution, offer product feedback, and form, in effect, an extended salesforce inside of major companies. This creates fertile ground for a lean enterprise sales team to approach a very targeted set of prospects, and maximizes the odds of upgrading organic and freemium usage into an enterprise account.
Focusing on loyal users can become the lifeblood of both the product development cycle, and the business growth cycle. When it works, it is absolutely magical. Public software companies utilizing these modern techniques (note: these companies all have salespeople, too!) are spending anywhere from 20 to 50 percent less on sales and marketing, and they can scale more quickly by not having the constraint of waiting 9 months for new sales hires to ramp into hitting quota.
Modern Monetization: Go Beyond "Per-Seat"and Licensing
When my partner Ajay first started selling software thirty years ago, the truth was that vendors could win while their customers lost. Because perpetual license contracts were paid upfront, deployments could fail, the user experience could be awful — but the vendor had already walked away with the dollars. When cloud software companies (pioneered by Salesforce) started charging on an recurring license that could be cancelled anytime, that created stronger incentives to retain and grow customers, and spawned the entire function of "customer success" (thank you Gainsight!), which was a shockingly rare business objective in enterprise software prior to 2001!
Moverover, it turns out that if the marginal cost of reproduction is zero, then the price of software itself comes under downward pressure over time. In motivating developers to think beyond "per-seat" pricing, this can certainly be seen as a threat, but it is also an opportunity: as alternative revenue streams and lifetime value grows, the size of the customer audience necessary to build a great company gets smaller and smaller, freeing up developers to be hyper-targeted and focused on the needs of a specific set of customers.
The next wave of software monetization goes beyond typical "per-seat" licensing, to other forms of revenue which are tied to usage, scale, and consumption, and include non-software sources like payments and data. For example, BCV portfolio company Attentive Mobile provides consumer-facing businesses with SMS marketing. Rather than charging on the number of marketers using the software, the company primarily monetizes on a fee that scales with message volume. As marketers see results with their campaigns, they send more messages — this alignment of value has powered Attentive's unprecedented growth.
When it comes to even more creative opportunities, such as marketplace fees, or financial services, a software provider with a pre-existing customer relationship is often well-placed to deliver additional services.
Companies that thereby figure out how to closely align their revenue with customer value can grow more naturally with the account, producing unprecedented net revenue retention (customer expansion) numbers with minimal sales effort or upselling. Great examples of this are payments revenues (Shopify), implementation services revenue (Guidewire), or a network-based marketplace take-rate (Coupa).
When it comes to even more creative opportunities, such as (marketplace, or financial services), a software provider with a pre-existing customer relationship is often well-placed to deliver additional services. In our portfolio, Homebase built a sizable SaaS business offering scheduling and time tracking for local businesses and their hourly employees. On top of this foundation, they've recently launched a "pay advance" service (for merchant employees), which integrates tightly with the existing SaaS solution and utilizes the proprietary data Homebase already has to deliver an amazing end-user experience, while growing customer lifetime value.
What's particularly interesting is that thus far investors have decided to value these ancillary revenue streams at the same multiple as the core software, even though these other sources of revenue may be lower margin or carry some additional risk. One logical justification is that these revenue streams are within a captive existing client base, and can grow faster than the overall top-line software sales.
We expect that with the maturing of the software industry, the increased sophistication of software buyers, and the sheer number of new entrants, core per seat license fees will continue to experience downward pressure. Hence in the future, pursuit of these ancillary streams will become core to a larger percentage of software companies.
Modern Teams: Embrace Global Technology Talent
Just as software companies are now born in the cloud, their tech stacks and internal processes can also be "web-native". With better cloud collaboration and communication tools, the cost of working with a team across geographies and time zones is declining.
Whether you are based on Silicon Valley or not, almost all business software companies today have 50%+ of their engineering staff outside of the Bay Area, and often outside of the United States, by the Series C. Within our growth stage portfolio, for example, an average of about 70% of engineering headcount is based outside the high cost markets of the Bay Area and New York City. Our portfolio companies such as Bloomreach, Gainsight, FourKites, Argyle, and Clari get enormous R&D leverage through their distributed and remote R&D teams.
Whether or not they are monopolies, the reality is that Google, Facebook, and other consumer internet companies can set the benchmarks for compensation due to incredibly lucrative and durable fundamental businesses. For most enterprise technology companies, this competitive dynamic, as well as a culture of fairly short (two- to three-year) tenures for technical talent, makes it borderline financially and organizationally irresponsible to rely solely on Silicon Valley talent.
Even before a global pandemic forced everyone to work from home, an increasing share of seed and Series A-stage companies we met were hiring full-time engineering teams in Europe, Canada, Asia, or fully distributed. While COVID-related social restrictions may fade, we expect this broader trend to persist, as stubborn limits on high-skill immigration programs persist in the United States, and technology and practices to support remote work continue to improve.
For most software companies, R&D is the lifeblood and ultimate source of their business success. While successfully implementing policies and technology for distributed teams is challenging, the innovation leverage to be gained can be dramatic. Companies successfully leveraging distributed engineering teams in less saturated U.S. or overseas markets can benefit not just from cost savings versus solely Bay Area-based teams, but more importantly, by unlocking new and broader pools of top talent with essential skills.
The Best Business on the Planet
Through the decades, software has navigated from client-server roots, through a journey to the cloud, and now into the user-centric future. Along the way, marketers have reached more (and more relevant) customers, salespeople have closed more accounts, and support staff have helped more subscribers reach a satisfactory resolution. It is no exaggeration to say that billions of people have found better tools to complete their work and meet their objectives more quickly, efficiently, and easily. For all that, software remains the best business opportunity on the planet.
Special thanks to Matt Martin, Nick Mehta, John Waldmann along with BCV colleagues Wilson Chockley, Aaref Hilaly, Jessica Retrum, and Annis Steiner for their contributions to this post.
Productivity Software in 2020
System theme
productivity software machine-learning yearly review commerce data-infrastructure

redpajama_set_name: RedPajamaCommonCrawl


"With a myriad of shapes, colors and sizes , your branding impact is unlimited. our talented in-house designers will match your brand colors and logos to give you an all year round billboard just the way you want.
The umbrella not only comes with an easy swing handle to open and shut but another 3 position tilt mechanism to give you a shade the way you want it. The umbrella also comes with a 360° rotation. The umbrella comes with a marble or granite base and can be monted in the ground.


Until recently, drivers were rewarded for buying low-emissions cars by having their road tax waived or greatly reduced. In 2017, however, this law was changed; now everyone buying a car on the new marker pays a fixed amount, regardless of how eco-friendly the car they opt for. If you buy a new petrol or diesel car, you'll pay £140 per year, or £130 for a hybrid model - only fully electric cars and the hydrogen-powered Toyota Mirai are exempt.
Fortunately, there's a way around this: buy a used car. If the vehicle you choose was registered between March 2001 and March 31, 2017, and has CO2 emissions of 100g/km or less, you'll pay no road tax. Below 110g/km you'll pay £20 a year, and below 120g/km you'll pay £30 a year.
Here at Carwise Group, we have a wide range of low-tax cars on offer. Many of the models we sell are registered before 31 March 2017, meaning you can take advantage of the previous laws. Among those we have available are the used Hyundai i10, which is compact and efficient, being around £30 a year to tax and returning up to 70.6mpg.
We also have the popular used Vauxhall Astra for sale. Stylish, sophisticated and great to drive, the Astra is an economical family option. The 1.0-litre three-cylinder petrol engine returns 65.7mpg and should be tax exempt, as should the 1.6-litre 108bhp and 134bhp diesels – check the specification to make sure chunky alloy wheels haven't tipped emissions over the threshold though.
Other low tax vehicles we are proud to stock include the used Skoda Octavia, which represents great value for money, the Citroen Grand C4 Picasso, which is a tax free and spacious seven-seater, and the used Ford Fiesta – the UK's best-selling car and almost unbelievably economical in diesel form, sitting well under the tax threshold and returning up to 88mpg.
Looking for a specific used low tax car?
Efficiency and eco-friendliness are becoming more of a priority for motorists as we begin to understand the effects of climate change. If you have a specific low tax used vehicle in mind, but you can't see it among our current stock, contact us today and we'll happily source it for you.


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Q: Original url: hall/booking.php?hall_id=1&booking_date=2014-10-23&session=Morning I want: hall/booking/1/2014-10-23/Morning i have one url in my project like
hall/description_banquethall.php?hall_id=1 and my url is working like hall/description_banquethall/1
by using this .htaccess code
Options +FollowSymLinks -MultiViews
# Turn mod_rewrite on
RewriteEngine On
RewriteBase /hall

## don't touch /forum URIs
RewriteRule ^forums/ - [L,NC]

## hide .php extension snippet

# To externally redirect /dir/foo.php?id=123 to /dir/foo
RewriteCond %{THE_REQUEST} ^GET\s([^.]+)\.php\?hall_id=([^&\s]+) [NC]
RewriteRule ^ %1/%2/? [R,L]

# To internally forward /dir/foo/12 to /dir/foo.php?id=12
RewriteCond %{REQUEST_FILENAME} !-d
RewriteCond %{REQUEST_FILENAME}.php -f
RewriteRule ^(.+?)/([^/]+)/?$ $1.php?hall_id=$2 [L,QSA]

# To externally redirect /dir/foo.php to /dir/foo
RewriteCond %{THE_REQUEST} ^GET\s([^.]+)\.php\s [NC]
RewriteRule ^ %1 [R,L]

# To internally forward /dir/foo to /dir/foo.php
RewriteCond %{REQUEST_FILENAME} !-d
RewriteCond %{REQUEST_FILENAME}.php -f
RewriteCond %{QUERY_STRING} ^$
RewriteRule ^(.*?)/?$ $1.php [L]

now i want to redirect my another url hall/booking.php?hall_id=1&booking_date=2014-10-23&session=Morning to hall/booking/1/2014-10-23/Morning

A: Below ## hide .php extension snippet line add these 2 new rules:
RewriteCond %{THE_REQUEST} ^GET\s([^.]+)\.php\?hall_id=([^&\s]+)&booking_date=([^&\s]+)&session=([^&\s]+) [NC]
RewriteRule ^ %1/%2/%3/%4? [R,L]

RewriteCond %{REQUEST_FILENAME} !-f
RewriteCond %{REQUEST_FILENAME} !-d
RewriteRule ^(.+?)/([^/]+)/([^/]+)/([^/]+)/?$ $1.php?hall_id=$2&booking_date=$3&session=$4 [L,QSA]

redpajama_set_name: RedPajamaStackExchange


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text:
The Mass in B minor (), BWV 232, is an extended setting of the Mass ordinary by Johann Sebastian Bach. The composition was completed in 1749, the year before the composer's death, and was to a large extent based on earlier work, such as a Sanctus Bach had composed in 1724. Sections that were specifically composed to complete the Mass in the late 1740s include the "Et incarnatus est" part of the Credo.

As usual for its time, the composition is formatted as a Neapolitan mass, consisting of a succession of choral movements with a broad orchestral accompaniment, and sections in which a more limited group of instrumentalists accompanies one or more vocal soloists. Among the more unusual characteristics of the composition is its scale: a total performance time of around two hours, and a scoring consisting of two groups of SATB singers and an orchestra featuring an extended winds section, strings and continuo. Its key, B minor, is rather exceptional for a composition featuring natural trumpets in D.

Even more exceptional, for a Lutheran composer such as Bach, is that the composition is a Missa tota. In Bach's day, Masses composed for Lutheran services usually consisted only of a Kyrie and Gloria. Bach had composed five such Kyrie–Gloria Masses before he completed his Mass in B minor: the Kyrie–Gloria Masses, BWV 233–236, in the late 1730s, and the Mass for the Dresden court, which would become Part I of his only Missa tota, in 1733. The Mass was likely never performed in its entirety during Bach's lifetime. Its earliest documented complete performance took place in 1859. With many dozens of recordings, it is among Bach's most popular vocal works.

In 2015, Bach's personal handwritten manuscript of the mass held by the Berlin State Library has been included in the UNESCO's Memory of the World Register, a project to protect and preserve culturally significant documents and manuscripts.

Background and context
On 1 February 1733, Augustus II the Strong, King of Poland, Grand Duke of Lithuania and Elector of Saxony, died. Five months of mourning followed, during which all public music-making was suspended. Bach used the opportunity to work on the composition of a Missa, a portion of the liturgy sung in Latin and common to both the Lutheran and Roman Catholic rites. His aim was to dedicate the work to the new sovereign Augustus III, a convert to Catholicism, with the hope of obtaining the title "Electoral Saxon Court Composer". Upon its completion, Bach visited Augustus III in Dresden and presented him with a copy of the Kyrie–Gloria Mass BWV 232 I (early version), together with a petition to be given a court title, dated July 27, 1733; in the accompanying inscription on the wrapper of the Mass he complains that he had "innocently suffered one injury or another" in Leipzig. The petition did not meet with immediate success, but Bach eventually got his title: he was made court composer to Augustus III in 1736.

In the last years of his life, Bach expanded the Missa into a complete setting of the Latin Ordinary. It is not known what prompted this creative effort. Wolfgang Osthoff and other scholars have suggested that Bach intended the completed Mass in B minor for performance at the dedication of the new Hofkirche in Dresden, a Catholic cathedral dedicated to the Holy Trinity, which was begun in 1738 and was nearing completion by the late 1740s. However, the building was not completed until 1751 and Bach's death in July 1750 prevented his Mass from being submitted for use at the dedication. Instead, Johann Adolph Hasse's Mass in D minor was performed, a work with many similarities to Bach's Mass (the Credo movements in both works feature chant over a walking bass line, for example). In 2013, Michael Maul published research suggesting the possibility that instead, Bach compiled it for performance in Vienna at St. Stephen's Cathedral (which was Roman Catholic) on St. Cecilia's Day in 1749, as a result of his association with Count Johann Adam von Questenberg. Other explanations are less event-specific, involving Bach's interest in 'encyclopedic' projects (like The Art of Fugue) that display a wide range of styles, and Bach's desire to preserve some of his best vocal music in a format with wider potential future use than the church cantatas they originated in (see "Movements and their sources" below).

Chronology

The chronology of the Mass in B minor has attracted extensive scholarly attention. Recent literature suggests:

 In 1724, Bach composed a Sanctus for six vocal parts for use in the Christmas service. Bach revised it when he reused it in the Mass, changing its initial meter from  to , and its vocal scoring from SSSATB to SSAATB.
 As noted above, in 1733 Bach composed the Missa (Kyrie and Gloria) during the five-month period of mourning following the February 1st death of Elector Augustus II and before July 27, when Bach presented the successor, Augustus III of Poland, with the Missa as a set of instrumental and vocal parts. It is possible that the Kyrie was meant as mourning music for Augustus II, and the Gloria as celebratory of the accession of Augustus III.
 In the mid-1740s (c. 1743–46). Bach re-used two movements from the Gloria in a cantata for Christmas Day (Gloria in excelsis Deo, BWV 191). Gregory Butler argues that at the same service (which he dates to Christmas 1745, to celebrate the Peace of Dresden), Bach also used the 1724 Sanctus, and that this revisiting of the 1733 Missa suggested further development to the composer.
 In the "last three years or so" of his life, Bach wrote/assembled the Symbolum Nicenum and the remainder of the work; many scholars, including Christoph Wolff, believe he did so in 1748–49. This dating in part reflects the scholarship of Yoshitake Kobayashi, who dates the Symbolum Nicenum section to August–October 1748 based on Bach's increasingly stiff and labored handwriting. Wolff among others argues that the "Et incarnatus est" movement was Bach's last significant composition. The words had been included in the preceding duet, but then Bach decided to treat them as a separate movement for the choir, giving the words extra weight and improving the symmetry of the Credo. John Butt argues that a definite final date of August 25, 1749, can be given, in that on this date C. P. E. Bach completed a setting of the Magnificat with an "Amen" chorus that "shows distinct similarities" to the 'Gratias' from the Missa and the 'Et expecto' from the Symbolum Nicenum." C. P. E. Bach later reported that he performed this Magnificat (Wq 215) in 1749 in Leipzig "at a Marian festival ... during the lifetime of his now-deceased father".

Title
Bach did not give the B minor Mass a title. Instead, he organized the 1748–49 manuscript into four folders, each with a different title. That containing the Kyrie and Gloria he called "1. Missa"; that containing the Credo he titled "2. Symbolum Nicenum"; the third folder, containing the Sanctus, he called "3. Sanctus"; and the remainder, in a fourth folder he titled "4. Osanna | Benedictus | Agnus Dei et | Dona nobis pacem". John Butt writes, "The format seems purposely designed so that each of the four sections could be used separately." On the other hand, the parts in the manuscript are numbered from 1 to 4, and Bach's usual closing formula (S.D.G = Soli Deo Gloria) is only found at the end of the Dona Nobis Pacem. Further, Butt writes, "What is most remarkable about the overall shape of the Mass in B Minor is that Bach managed to shape a coherent sequence of movements from diverse material." Butt and George Stauffer detail the ways in which Bach gave overall musical unity to the work.

The first overall title given to the work was in the 1790 estate of the recently deceased C.P.E. Bach, who inherited the score. There, it is called "Die Grosse Catholische Messe" (the "Great Catholic Mass"). It is called that as well in the estate of his last heir in 1805, suggesting to Stauffer that "the epithet reflects an oral tradition within the Bach family". The first publication of the Kyrie and Gloria, in 1833 by the Swiss collector Hans Georg Nägeli with Simrock, refers to it as "Messe" Finally, Nageli and Simrock produced the first publication in 1845, calling it the "High Mass in B Minor" (Hohe Messe in h-moll). The adjective "high", Butt argues, was "strongly influenced by the monumental impact of Beethoven's Missa solemnis." It soon fell from common usage, but the prepositional phrase "in B Minor" survives, even though it is in some ways misleading: only five of the work's 27 movements are in B minor, while twelve, including the final ones of each of the four major sections, are in D major (the relative major of B minor). The opening Kyrie, however, is in B minor, with the Christe Eleison in D major, and the second Kyrie in F-sharp minor; as Butt points out, these tonalities outline a B minor chord.

Orchestration

The piece is orchestrated for two flutes, two oboes d'amore (doubling on oboes), two bassoons, one natural horn (in D), three natural trumpets (in D), timpani, violins I and II, violas and basso continuo (cellos, basses, bassoons, organ and harpsichord). A third oboe is required for the Sanctus.

Performance history

In Bach's lifetime
Bach conducted the Sanctus, in its first version, at the 1724 Christmas service in Leipzig, and re-used it in Christmas services in the mid-1740s. Scholars differ on whether he ever performed the 1733 Missa. Arnold Schering (in 1936) asserted that it was performed in Leipzig on April 26, 1733, when Augustus III of Poland visited the town, but modern scholars reject his argument for several reasons:

 the proposed date fell during an official period of mourning "when concerted music was forbidden in Saxon churches";
 the extant parts (on which Schering based his hypothesis) are written on a paper found only in documents in Dresden, so were probably copied in Dresden when Bach went there in July; and
 the copyists were not Bach's usual ones, but Bach and immediate family members who traveled with him to Dresden: his wife Anna Magdalena, and sons Wilhelm Friedemann and Carl Philipp Emanuel. It also appears that the Bach family employed a copyist in Dresden to assist them.

Scholars differ, however, on whether the Missa was performed in July in Dresden. Christoph Wolff argues that on July 26, 1733, at the Sophienkirche in Dresden, where Wilhelm Friedemann Bach had been organist since June, it "was definitely performed ... as evidenced by the extant Dresden performing parts and by the inscription on the title wrapper" given to the king the next day. Hans-Joachim Schulze made this case by pointing to the use of the past tense in the wrapper's inscription: "To his royal majesty was shown with the enclosed Missa ... the humble devotion of the author J. S. Bach." However, Joshua Rifkin rejects the argument, pointing out that the past-tense wording was typical of formal address often not related to performance. Also skeptical is Peter Williams, who notes that "there is no record of performers being assembled for such an event, and in August 1731 Friedemann reported that the Sophienkirche organ was badly out of tune." However, there is evidence of an organ recital by Bach at the Sophienkirche on 14 September 1731, and Friedemann Bach was only chosen as Organist for the institution on 23 June 1733. He would again perform a 2-hour Organ recital on 1 December 1736 at the Frauenkirche Dresden to inaugurate the new Gottfried Silbermann organ.

Scholars agree that no other public performances took place in Bach's lifetime, although Butt raises the possibility that there may have been a private performance or read-through of the Symbolum Nicenum late in Bach's life.

Later 18th century
The first public performance of the Symbolum Nicenum section (under the title "Credo or Nicene Creed") took place 36 years after Bach's death, in Spring of 1786, led by his son Carl Philipp Emanuel Bach at a benefit concert for the Medical Institute for the Poor in Hamburg. One of Bach's admirers Joseph Haydn had a copy of the work along with The Well Tempered Clavier.

19th century
As recounted by George Stauffer, the next documented performance (not public) in the nineteenth century was when Carl Friedrich Zelter—a key figure in the 19th-century Bach revival—led the Berlin Singakademie in read-throughs of the "Great Mass" in 1811, covering the Kyrie; in 1813 he led read-throughs of the entire work. The first public performance in the century—of just the Credo section—took place in Frankfurt in March, 1828, with over 200 performers and many instrumental additions. In the same year in Berlin, Gaspare Spontini led the Credo section, adding 15 new choral parts and numerous instruments. A number of performances of sections of the Mass took place in the following decades in Europe, but the first attested public performance of the Mass in its entirety took place in 1859 in Leipzig, with Karl Riedel and the Riedel-Verein.  The first performance of the Mass in the UK was given by The Bach Choir, newly formed for this purpose by conductor Otto Goldschmidt, in 1876 in St James's Hall, London.

20th century
The Bach Choir of Bethlehem performed the American premiere of the complete Mass on March 27, 1900, in Bethlehem, Pennsylvania, though there is evidence that parts of the Mass had been performed in the United States as early as 1870.

From early in the century, authors such as Albert Schweitzer, Arnold Schering, and Frederick Smend called for smaller performance forces, and experiments with (relatively) smaller groups began in the late 1920s.

The first complete recording of the work was made in 1929, with a large choir and the London Symphony Orchestra led by Albert Coates. As of 2013, a database lists over 200 recordings with many different types of forces and performance styles. The work has played a central role in the 'historical performance movement' : Nikolaus Harnoncourt made the first recording with "period instruments" in 1968, his second Bach choral recording. Joshua Rifkin's first recording using the one-voice-per-part vocal scoring he proposes was made in 1982, and won a 1983 Gramophone Award.

Significance
The Mass in B minor is widely regarded as one of the supreme achievements of classical music. Alberto Basso summarizes the work as follows: The Mass in B minor is the consecration of a whole life: started in 1733 for "diplomatic" reasons, it was finished in the very last years of Bach's life, when he had already gone blind. This monumental work is a synthesis of every stylistic and technical contribution the Cantor of Leipzig made to music. But it is also the most astounding spiritual encounter between the worlds of Catholic glorification and the Lutheran cult of the cross.

Scholars have suggested that the Mass in B minor belongs in the same category as The Art of Fugue, as a summation of Bach's deep lifelong involvement with musical tradition—in this case, with choral settings and theology. Bach scholar Christoph Wolff describes the work as representing "a summary of his writing for voice, not only in its variety of styles, compositional devices, and range of sonorities, but also in its high level of technical polish ... Bach's mighty setting preserved the musical and artistic creed of its creator for posterity."

The Mass was described in the 19th century by the editor Hans Georg Nägeli as "The Announcement of the Greatest Musical Work of All Times and All People" ("Ankündigung des größten musikalischen Kunstwerkes aller Zeiten und Völker"). Despite being seldom performed, the Mass was appreciated by some of Bach's greatest successors: by the beginning of the 19th century Forkel and Haydn possessed copies.

Autographs and editions
Two autograph sources exist: the parts for the Kyrie and Gloria sections that Bach deposited in Dresden in 1733, and the score of the complete work that Bach compiled in 1748–50, which was inherited by C.P.E. Bach (the autograph has been published in facsimile from the source in the Staatsbibliothek zu Berlin). However, for his 1786 public performance of the Symbolum Nicenum, C.P.E. Bach, as was typical practice in the era, made additions to the autograph score for performance by adding a 28-bar introduction, replacing the now-obsolete oboe d'amore with newer instruments (clarinets, oboes, or violins) and making other changes in instrumentation for his own aesthetic reasons. C.P.E. also wrote in his own solutions to reading some passages made nearly illegible by his father's late-life handwriting problems.

For this and other reasons, the Mass in B minor poses a considerable challenge to prospective editors, and substantial variations can be noted in different editions, even critical urtext editions. The Bach Gesellschaft edition, edited by Julius Rietz, was published in 1856 based on several sources but without direct access to the autograph. When access was later obtained, the textual problems were so evident that the society published a revised edition the next year.  The 1857 edition was the standard for the next century, but was later recognized to be even less accurate than the 1856 version due to inadvertent incorporation of C.P.E. Bach's alterations in the autograph. Similarly, the 1954 edition by Friedrich Smend for the Neue Bach-Ausgabe was shown to have significant faults within five years of publication.

Christoph Wolff's edition, published by C.F. Peters in 1997, uses two copies of the 1748–50 manuscript made before C.P.E. Bach's adulterations to try to reconstruct Bach's original readings, and seeks to recover performance details by using all available sources, including cantata movements that Bach reworked in the B minor Mass. Joshua Rifkin's edition, published by Breitkopf & Härtel in 2006, also seeks to remove the C.P.E. Bach emendations, but differs from Wolff in arguing that the 1748–50 work is, to quote John Butt, "essentially a different entity from the 1733 Missa, and that a combination of the 'best' readings from both does not really correspond to Bach's final (and virtually completed) conception of the work"; Rifkin's version seeks to adhere to this final version.

Uwe Wolf's edition, published by Bärenreiter in 2010, relies upon x-ray spectrograph technology to differentiate J.S. Bach's handwriting from the additions made by C.P.E. Bach and others. Ulrich Leisinger's edition, published by Carus in 2014, accepts some of C.P.E. Bach's revisions and uses the 1733 Dresden parts as the primary source for the Kyrie and Gloria.

Movements and their origins

The work consists of 27 sections. Tempo and metrical information and parodied cantata sources come from Christoph Wolff's 1997 critical urtext edition, and from George Stauffer's Bach: The Mass in B Minor. except where noted. Regarding sources, Stauffer, summarizing current research as of 1997, states that "Specific models or fragments can be pinpointed for eleven of the work's twenty-seven movements" and that "two other movements [the "Domine Deus" and "Et resurrexit"] are most probably derived from specific, now lost sources." But Stauffer adds "there is undoubtedly much more borrowing than this." Exceptions are the opening four bars of the first Kyrie, the Et incarnatus est and Confiteor.

Butt points out that "only with a musical aesthetic later than Bach's does the concept of parody (adapting existing vocal music to a new text) appear in an unfavourable light" while it was "almost unavoidable" in Bach's day. He further notes that "by abstracting movements from what he evidently considered some of his finest vocal works, originally performed for specific occasions and Sundays within the Church's year, he was doubtless attempting to preserve the pieces within the more durable context of the Latin Ordinary." Details of the parodied movements and their sources are given below.

I. Kyrie and Gloria ("Missa")

 Kyrie eleison (1st)
Five-part chorus (Soprano I & II, Alto, Tenor, Bass) in B minor, marked Adagio (in the four-bar choral introduction) and then Largo in the main section with an autograph time signature of  or common time.
Joshua Rifkin argues that, except for the opening four bars, the movement is based on a previous version in C minor, since examination of autograph sources reveals "a number of apparent transposition errors". John Butt concurs: "Certainly, much of the movement—like many others with no known models—seems to have been copied from an earlier version." Butt raises the possibility that the opening four bars were originally for instruments alone, but Gergely Fazekas details a case, based on manuscript, historical context, and musical structure, that "Bach might have composed the present introduction in a simpler form for the original C minor version" but "might have made the inner texture denser only for the 1733 B minor version."
 Christe eleison

Duet (Soprano I & II) in D major with obbligato violins, no autograph tempo marking, time signature of .

 Kyrie eleison (2nd)

Four-part chorus (Soprano, Alto, Tenor, Bass) in F minor, marked alla breve, and (in the 1748–50 score) "stromenti in unisono". Autograph time signature is . George Stauffer points out (p. 49) that "the four-part vocal writing ... points to a model conceived outside the context of a five-voice Mass."

Note the nine (trinitarian, 3 × 3) movements that follow with a largely symmetrical structure, and the Domine Deus in the centre.
Gloria in excelsis

Five-part chorus (Soprano I & II, Alto, Tenor, Bass) in D major, marked Vivace in the 1733 first violin and cello parts,  time signature. In the mid-1740s, Bach reused this as the opening chorus of his cantata Gloria in excelsis Deo, BWV 191.

 Et in terra pax

Five-part chorus (Soprano I & II, Alto, Tenor, Bass) in D major, no autograph tempo marking, time signature of ; in the autographs no double bar separates it from the preceding Gloria section. Again, Bach reused the music in the opening chorus of BWV 191.
 Laudamus te

Aria (Soprano II) in A major with violin obbligato, no autograph tempo marking, time signature of . William H. Scheide argues that Bach based this movement on the opening aria of a lost wedding cantata of his (for which we now have only the text) Sein Segen fliesst daher wie ein Strom, BWV Anh. I 14
Gratias agimus tibi

Four-part chorus (Soprano, Alto, Tenor, Bass) in D major, marked alla breve, time signature of . The music is a reworking of the second movement of Bach's 1731 Ratswechsel (Town Council Inauguration) cantata Wir danken dir, Gott, wir danken dir, BWV 29, in which the time signature is the number 2 with a slash through it. (Stauffer adds that both may have an earlier common source.)

Domine Deus

Duet (soprano I, tenor) in G major with flute obbligato and muted strings, no autograph tempo marking, time signature of . The music appears as a duet in BWV 191.
In the 1733 parts, Bach indicates a "Lombard rhythm" in the slurred two-note figures in the flute part; he does not indicate it in the final score or in BWV 191. Stauffer points out (p. 246) that this rhythm was popular in Dresden in 1733. It is possible that Bach added in the 1733 parts to appeal to tastes at the Dresden court and that he no longer wanted it used in the 1740s, or that he still preferred it but no longer felt it necessary to notate it.

 Qui tollis peccata mundi

Four-part chorus (Soprano II, Alto, Tenor, Bass) in B minor, marked adagio in the two violin 1 parts from 1733 and lente in the cello, continuo, and alto parts from 1733;  time signature. No double bar separates it from the preceding movement in the autograph. The chorus is a reworking of the first half of the opening movement of the 1723 cantata Schauet doch und sehet, ob irgend ein Schmerz sei, BWV 46.
 Qui sedes ad dexteram Patris

Aria (alto) in B minor with oboe d'amore obbligato, no autograph tempo marking,  time signature.
 Quoniam tu solus sanctus

Aria (bass) in D major with obbligato parts for solo corno da caccia (hunting horn or Waldhorn) and two bassoons, no autograph tempo marking,  time signature.
Stauffer notes that the unusual scoring shows Bach writing specifically for the strengths of the orchestra in Dresden: while Bach wrote no music for two obbligato bassoons in his Leipzig cantatas, such scoring was common for works others composed in Dresden, "which boasted as many as five bassoonists", and that Dresden was a noted center for horn playing. Peter Damm has argued that Bach designed the horn solo specifically for the Dresden horn soloist Johann Adam Schindler, whom Bach had almost certainly heard in Dresden in 1731.
Regarding lost original sources, Stauffer says, "A number of writers have viewed the clean appearance of the "Quoniam" and the finely detailed performance instructions in the autograph score as signs that this movement is also a parody." Klaus Hafner argues that the bassoon lines were, in the original, written for oboe, and that in this original a trumpet, not the horn, was the solo instrument. John Butt agrees, adding as evidence that Bach originally notated both bassoon parts with the wrong clefs, both indicating a range an octave higher than the final version, and then corrected the error, and adding that "oboe parts would almost certainly have been scored with trumpet rather than horn." William H. Scheide has argued in detail that it is a parody of the third movement of the lost wedding cantata Sein Segen fliesst daher wie ein Strom, BWV Anh. I 14  Stauffer, however, entertains the possibility that it may be new music.

 Cum Sancto Spiritu

Five-part chorus (Soprano I & II, Alto, Tenor, Bass) in D major, marked Vivace,  time signature.
Bach reused the music in modified form as the closing chorus of BWV 191. As to origins, Donald Francis Tovey argued that it is based on a lost choral movement from which Bach removed the opening instrumental ritornello, saying "I am as sure as I can be of anything". Hafner agrees, and like Tovey, has offered a reconstruction of the lost ritornello; he also points to notational errors (again involving clefs) suggesting that the lost original was in four parts, and that Bach added the Soprano II line when converting the original into the Cum Sancto Spiritu chorus. Rifkin argues from the neat handwriting in the instrumental parts of the final score that the movement is based on a lost original, and he argues from the musical structure, which involves two fugues, that the original was probably a lost cantata from the middle or late 1720s, when Bach was especially interested in such structures. Stauffer is agnostic on the question.

II. Credo ("Symbolum Nicenum")
Note the nine movements with the symmetrical structure and the crucifixion at the centre.

 Credo in unum Deum

Five-part chorus (Soprano I & II, Alto, Tenor, Bass) in A Mixolydian, no autograph tempo marking, . Stauffer identifies an earlier Credo in unum Deum chorus in G major, probably from 1748 to 1749.
 Patrem omnipotentem
Four-part chorus (Soprano, Alto, Tenor, Bass) in D major, no autograph tempo marking, time signature of 2 with a slash through it in the autograph manuscript. The music is a reworking of the opening chorus of Gott, wie dein Name, so ist auch dein Ruhm, BWV 171.
 Et in unum Dominum

Duet (soprano I, alto) in G major, marked Andante, . Stauffer derives it from a "lost duet, considered for "Ich bin deine", BWV 213/11 (1733).  Original version also included "Et incarnatus est"; the two movements were split when Bach put together the complete Missa in 1748–49.

 Et incarnatus est

Five-part chorus (Soprano I & II, Alto, Tenor, Bass) in B minor, no autograph tempo marking,  time signature. Wolff among others argues that the "Et incarnatus est" movement was Bach's last significant composition.

 Crucifixus

Four-part chorus (Soprano II, Alto, Tenor, Bass) in E minor, no autograph tempo marking,  time signature. The music is a reworking of the first section of the first chorus of the 1714 cantata Weinen, Klagen, Sorgen, Zagen, BWV 12.

 Et resurrexit

Five-part chorus (Soprano I & II, Alto, Tenor, Bass) in D major, no autograph tempo marking,  time signature, polonaise rhythms.

 Et in Spiritum Sanctum

Aria (Bass) in A major with oboi d'amore obbligati, no autograph tempo marking,  time signature. William H. Scheide has argued that it is a parody of the sixth movement of the lost wedding cantata Sein Segen fließt daher wie ein Strom, BWV Anh. I 14 (=BWV 1144). Stauffer, however, entertains the possibility that it may be new music.

 Confiteor

Five-part chorus (Soprano I & II, Alto, Tenor, Bass) in F minor, no autograph tempo marking (until the transitional music in bar 121, which is marked "adagio"),  time signature.
John Butt notes that "the only positive evidence of Bach actually composing afresh within the entire score of the mass is in the 'Confiteor' section", by which he means, "composing the music directly into the autograph. Even the most unpracticed eye can see the difference between this and surrounding movements"; one part of the final transitional music is "still illegible ... and necessitates the conjectures of a judicious editor."

 Et expecto

Five-part chorus (Soprano I & II, Alto, Tenor, Bass) in D major, marked Vivace ed allegro, implicitly in  (as it is not set off with a double bar in the autograph from the Confiteor). The music is a reworking of the second movement of Bach's 1728 town council inauguration () cantata Gott, man lobet dich in der Stille, BWV 120 on the words Jauchzet, ihr erfreute Stimmen.

III. Sanctus
Sanctus

Six-part chorus (Soprano I & II, Alto I & II, Tenor, Bass) in D major, no autograph tempo marking,  time signature; leading immediately—without double bar in the sources—into the Pleni sunt coeli , marked Vivace,  time signature. Derived from an earlier three soprano and one alto work written in 1724 and repeated and altered slightly on Easter 1727; in that 1724/1727 Sanctus the first section was marked in , perhaps suggesting a tempo faster than what Bach conceived of when he finally re-used it in the Mass.

IV. Osanna, Benedictus, Agnus Dei and Dona Nobis Pacem

 Osanna

Double chorus (both four parts) in D major, no autograph tempo marking,  time signature. A reworking of the A section of the chorus Es lebe der König, BWV Anh. 11/1 (1732) or Preise dein Glücke, BWV 215 (1734).
 Benedictus

Aria for tenor with obbligato instrument (Flute or Violin) in B minor, no autograph tempo marking,  time signature.
Butt writes that Bach "forgot to specify the instrument" for the obbligato; Stauffer adds the possibilities that Bach had not decided which instrument to use or that he was "indifferent" and left the choice open. The Bach-Ausgabe edition assigned it to the violin, and Stauffer suggests this choice may have been influenced by Beethoven's use of the violin in the Benedictus of his Missa solemnis. Modern editors and performers have preferred the flute; as Butt notes, the part never uses the G-string of the violin, and modern commentators "consider the range and style to be more suitable for the transverse flute."
William H. Scheide has argued that it is a parody of the fourth movement of the lost wedding cantata Sein Segen fliesst daber wie ein Strom, BWV Anh. I 14, for which the text begins "Ein Mara weicht von dir"  Stauffer, however, entertains the possibility that it may be new music.
 Osanna (da capo)

As above.
  Agnus Dei

Aria for alto in G minor with violin obbligato, no autograph tempo marking,  time signature. Parody of an aria, "Entfernet euch, ihr kalten Herzen" ("Withdraw, you cold hearts"), from a lost wedding serenade (1725). Bach also re-used the wedding aria for the alto aria, "Ach, bleibe doch", of his 1735 Ascension Oratorio Lobet Gott in seinen Reichen, BWV 11; Alfred Dürr has demonstrated that Bach adapted both "Ach, bleibe doch" and the Agnus dei directly from the lost serenade's aria, rather than from one to the next.

Four-part chorus in D major, no autograph tempo marking,  time signature. The music is almost identical to "Gratias agimus tibi" from the Gloria.

Recordings

, 237 recordings are listed on bach-cantatas, beginning with the first recording by a symphony orchestra and choir to match, conducted by Albert Coates. Beginning in the late 1960s, historically informed performances paved the way for recordings with smaller groups, boys choirs and ensembles playing "period instruments", and eventually to recordings using the one-voice-on-a-vocal-part scoring first argued for by Joshua Rifkin in 1982.

See also
 Mass in B minor structure
 Mass in B minor discography

References

External links

 Mass in B minor: performance by the Netherlands Bach Society (video and background information)
Bach-cantatas.com Text (and its translation in several languages), details, list of recordings, reviews, and wide-ranging discussions.

Free scores of this work in the Choral Public Domain Library (ChoralWiki).
Jsbach.org List of recommended recordings.
Timothy A. Smith (Northern Arizona University), "Bach's Mass in B Minor as a Musical Icon". Lecture at the Ball State University in 1995.
Mass in B Minor (Flash) at the Oregon Bach Festival.

Masses by Johann Sebastian Bach
1749 compositions
Compositions in B minor

redpajama_set_name: RedPajamaWikipedia


The doors from any 1972 through 1976 torino, gran torino and ranchero will fit. The ranchero doors have a different glass.
Your welcome. The fastbacks have a slightly different glass than the formal roofs. The difference is at the top of the glass where it meets the rear quarter window. They will interchange, but you might not get a good weatherproof seal from the rain.
Yes the doors are the same, but the glass is different. The 75 and 76 rancheros might have different door trim/moulding than your door too.
if you are referring to the wide rocker trim, that can be added to a door that doesn't have it.
My doors were toast on my 72 GTS Sportsroof. I bought a 73 Formal roof a few years back and switched out the doors/locks. Took a few other parts I needed too and sold the 73 for a profit. Free parts, the doors were perfect and I made a little cash. I read this post not long after I sold the 73, where the windows are different. Oh well, behind me now. Does anybody know the measurements between the Sportsroof and Formal Roof window glass? I see Dearborn has some listed as out of stock, but does not mention Sportsroof or Formal Roof. I have to assume Formal Roof. Saw some on eBay last week, but no mention on which there either. Had some in a local yard here, but he has been selling off a lot lately including all the Fastbacks to retire. Will post the request in the parts wanted section.


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text:
FeaturedNintendo Switch
Our 2020 GOTY Honorable Mentions
By Siliconera Staff December 25, 2020
Not every game can be a game of the year pick. There are so many elements that can hold it back. Maybe a mechanic didn't work well. Perhaps it was great, but not as great as everything else around. So in this Siliconera Speaks Up, we're sharing all of our 2020 GOTY Honorable Mentions.
I was really looking forward to playing Tokyo Mirage Sessions #FE again. I swear. It is a fantastic JRPG. I adore its music. And the Switch release makes it so much easier to play. But as much as I loved Tokyo Mirage Sessions #FE Encore, it felt like its time had come and gone once I really got into it. People should still definitely play it again! But its time has come and gone. — Jenni.
Say what you will about its rocky launch, Fallout 76 has put out some damn fine quality content this year. NPCs returned in April 2020, bringing with them our first Factions missions and companions. And now that the Brotherhood of Steel has moved into the ATLAS Observatory there have been more changes to West Virginia. 2020 was a great year for Fallout 76 players and that deserves some major props. — Annette
In Game of the Year discussions, it's typical to think about how great games are, but maybe forget about the "of the year" part. It's not just a calendar distinction. It's the defining nature of the year and our experience within it. Given that? My pick is The Jackbox Party Pack 7 and it's not even close. It's built for how we could socialize in 2020. It's about defusing tense times with humor. Most importantly, it's a good entry in a franchise that was in danger of getting long in the tooth. — Graham
I couldn't live with myself if I didn't at least try to get a mention in for Sakura Wars. I'm well aware it's not exactly the best game of the year (or even the best Sakura Wars game), but it's a good return to form for a series long thought dead. With some luck, and perhaps a global release of Sakura Revolution, the franchise may yet be revived to lead the people into the next decade. — Josh
I suppose I need to throw my hat in the ring for Immortals Fenyx Rising since this game took me completely by surprise. I expected the typical Ubisoft format to be sure, but I didn't expect all of the humor baked in. Prometheus and Zeus telling Fenyx's story together is pure delight, especially when it comes to retelling all of the classic Greek myths. It helps that the gameplay is pretty fun, too. — Keri
Let me start by saying that I was pretty apprehensive about playing Yakuza: Like a Dragon. I'll be honest, I wasn't ready to start a new Yakuza game without my boy Kiryu as the MC. The whole "first RPG of the series" thing was fine, but I wasn't interested in the new guy Ichiban Kasuga right away. However, after putting aside my Kiryu bias, I decided to give it a shot. Now I'm all for team Kasuga. If you're feeling the same way, I really recommend you to try it out and give Kasuga a chance. He's a great guy, I promise! — Sato
Siliconera Speaks Up
Tokyo Mirage Sessions #FE Encore


text:
Q: How to compute CSS `top` value without Javascript for a sticky table header I am trying to do away with top:50px in a sticky table header bar, where 50px refers to the height of a sticky action bar.
I could use JavaScript to compute the height of the action bar and apply it in inline CSS using a JavaScript framework, but I would prefer to use CSS and leave the 50px to be computed with CSS. Is this possible?
I know that I can use CSS variables to fix the 50px, but I would prefer the height to be dynamically computed based on the content.

body {
  margin: 0px;
  padding: 0px;
}

#container {
  display: inline-block;
  minimum-height: 100vh;
}

#first_bar {
  position: sticky;
  left: 0px;
  width: 100vw;
  background: red;
}

#second_bar {
  position: sticky;
  top: 0px;
  left: 0px;
  height: 50px;
  width: 100vw;
  background: blue;
}

#other_content {
  background: grey;
}

#table_header {
  position: sticky;
  width: 200vw;
  top: 50px;
  background: yellow;
}

#large_table {
  width: 200vw;
  height: 200vw;
  background: green;
}

navigation

action bar

other content

table header

table

I would have to position the table header below the action bar when the large table starts to scroll vertically and the other content disappears.

A: I dont really understand what you want, i assume you need to use css variables
:root {
--variableName: 50px
--colorName: #141414
}


text:
Andy Ehmke in Giant Bomb Video Game News: PSN Hacked: What Sony's Security Breach Means To You (And What Comes Next)
Sony confirmed many of our worst fears yesterday afternoon, revealing an outside party had accessed PlayStation Network and gained access to vital personal information about its 77 million registered accounts. The company has not been able to verify whether credit card information was available to the currently unknown hacker or hacker group, but it (still) cannot not rule out the possibility of it, either ...
"There are a number of legal implications, depending on the point-of-view," said Andrew Ehmke, an attorney at Texas-based Haynes and Boone, LLP. "Many states have laws that require notification to individuals if the individuals' information is hacked (and each state's law is slightly different about the how, when, and what of the notification, as well as the effect for failure to notify). Another place that people may look are the terms of use and privacy policy and whether those were complied with by Sony. The true legal implications won't be known until more facts come out about what actually happened."
Excerpted from Giant Bomb Video Game News. To view the full article, click here.
Andrew S. Ehmke


So... What IS a Totem Animal?
Tribes of Humans interacting with Tribes of Animals.
In those days, there was not so much an academic "belief system"
"Man is not above Nature, Man is ONE with Nature."
for ka-drillions of years before Human Beings arrived.
When the Humans finally got here, the animals ate them.
"There was no separation between Man and Animal!"
"Animals, regardless of culture and location, teach us by example."
Foraging, leaping around, hunting, reproducing... well!
The word "Totem" means "Brother Sister Kin"
And a Totem Pole as a Family Tree.
and this, (not always, but) often included the Tribe's Totem Animal.
In fact, the Clan Totem Animal became a Symbol for Clan Solidarity!
The Group Identity is Represented by an Animal.
So, What is a TOTEM ANIMAL?
separation between man and animal."
"Animal teachers will become noticeable when it is time."
and stand out above the perceived norm."


text:
Q: Why Can't the data pointed by pointer saved after executing the function? I am confused that after I store the address of a string array in a pointer inside a function, it does not return me the string but something looks like an address. Since p has already stored the address of an array, why wouldn't it print the corresponding string?
Here is the code:
#include <stdio.h>
#include <string.h>
#define SIZE 10
void findMinMaxStr(char word[][40], char *first, char *last, int size);
int main()
{
  char word[SIZE][40];
  char first[40], last[40];
  int i, size;
  printf("Enter size: \n");
  scanf("%d", &size);
  printf("Enter %d words: \n", size);
  for (i=0; i<size; i++)
    scanf("%s", word[i]);
  findMinMaxStr(word, first, last, size);
  printf("First word = %s, Last word = %s\n", first, last);
  return 0;
}

void findMinMaxStr(char word[][40], char *first, char *last,int size)
{
  int i;
  first = word[0];
  last = word[0];
  for(i=0;i<size;i++){
    if(strcmp(last,word[i])<0)
      last = word[i];
    if(strcmp(first,word[i])>0)
      first = word[i];
  }
}

If I add a printf statement inside the function:
void findMinMaxStr(char word[][40], char *first, char *last,int size)
{
  int i;
  first = word[0];
  last = word[0];
  for(i=0;i<size;i++){
    if(strcmp(last,word[i])<0)
      last = word[i];
    if(strcmp(first,word[i])>0)
      first = word[i];
  }
    printf("first : %s, last: %s\n",first,last);
}

It can print the string right.

A: C uses pass-by-value for function parameters, and the pointers themselves are passed by value. In other words, you can change the content pointed to by the address stored in the pointer variables, but cannot change the pointer variables themselves.
Inside the function, change
  last = word[i];  //updates the pointer itself, which will not reflect in the caller

to
  strcpy(last, word[i]);  // copy the content to the memory pointed to by pointer

A: Function arguments in C are copies of what are passed, so modifycation (assignment) of them don't affect what are passed.
In this case, pointers converted from arrays are passed, so simply changing the arguments doesn't seem good.
To copy strings, you should use strcpy() instead of assigning pointers.
void findMinMaxStr(char word[][40], char *first, char *last,int size)
{
  int i;
  strcpy(first,word[0]);
  strcpy(last,word[0]);
  for(i=0;i<size;i++){
    if(strcmp(last,word[i])<0)
      strcpy(lasy,word[i]);
    if(strcmp(first,word[i])>0)
      strcpy(first,word[i]);
  }
}

Alternatively, you can store pointers in loops and copy the resulting string after the loop.
void findMinMaxStr(char word[][40], char *first, char *last,int size)
{
  int i;
  char* first_ptr = word[0];
  char* last_ptr = word[0];
  for(i=0;i<size;i++){
    if(strcmp(last_ptr,word[i])<0)
      last_ptr = word[i];
    if(strcmp(first_ptr,word[i])>0)
      first_ptr = word[i];
  }
  strcpy(first,first_ptr);
  strcpy(last,last_ptr);
}


text:
Tackling COVID-19 Using Data
By Taylor McLaughlinMay 30, 2020March 9th, 2021COVID-19
Using Earth observation data to develop solutions to issues related to the COVID-19 pandemic.
SPACE APPS
Partners: NASA, Booz Allen Hamilton, Mindgrub
This weekend, participants from around the world will create virtual teams and use Earth observation data to develop solutions to issues related to the COVID-19 pandemic. Challenges will range from studying the coronavirus that causes COVID-19 and its spread to the impact the disease is having on the Earth system.
The impact of the COVID-19 pandemic has spanned the globe. The virus has negatively impacted people and our planet, leaving the world in need of resilient solutions to challenges that have resulted from the pandemic.
Since founding the International Space Apps Challenge with NASA in 2012, our team at SecondMuse has worked with a global community of nearly 100,000 problem-solvers in about 100 countries to address complex problems defined by NASA experts. In light of COVID-19, it's no wonder that the Space Apps community is coming to the table to be the source of local and global solutions.
On May 30-31, NASA, along with the European Space Agency (ESA), the Japan Aerospace Exploration Agency (JAXA), the Canadian Space Agency (CSA), and the National Centre for Space Studies (CNES), is inviting coders, entrepreneurs, scientists, designers, storytellers, makers, builders, artists, and technologists to participate in a virtual hackathon, the NASA Space Apps COVID-19 Challenge. During a period of 48 hours, participants from around the world will create virtual teams and use Earth observation data to develop solutions to issues related to the COVID-19 pandemic. This NASA-led initiative is organized in collaboration with Booz Allen Hamilton, Mindgrub and SecondMuse.
Since 2012, we've seen unconventional approaches lend fresh insight, inspiration, and solutions to difficult problems, through Space Apps as well as widespread hackathons like Random Hacks of Kindness and the National Day of Civic Hacking. At SecondMuse, we see these hackathons as a unique opportunity for the world to engage in collective global efforts to solve collective global problems, like the COVID-19 pandemic.
We want participants and people around the world to see that we need to come together and think together as one global human family. If we don't, we won't be able to understand, let alone solve, some of the biggest problems affecting humanity.
The Space Apps COVID-19 Challenge is bringing together more than 10,000 people from all around the globe to lend their diverse perspectives to out-of-this-world problem-solving. It's an important opportunity to come to the table to solve a problem that is affecting all of us with NASA, ESA, JAXA, CSA, and CNES data at our fingertips.
What is Space Apps?
Now in its 9th year, Space Apps is an international hackathon for coders, scientists, designers, storytellers, makers, builders, technologists, and others in cities around the world, where teams engage with the National Aeronautics and Space Administration's free and open data to address real-world problems on Earth and in space. Space Apps 2019 included over 29,000 participants at 225 events in 71 countries. Space Apps is a NASA-led initiative organized in collaboration with Booz Allen Hamilton, Mindgrub, and SecondMuse.
Space Apps 2020 will still be coming to you on October 2-4, 2020. You can apply to host a local event by clicking the link here.
Taylor McLaughlin
Humanizing the Virtual Space: A Guide to Inclusive Facilitation
Inclusive Economy Leaders Dive Into SecondMuse's 'State of Entrepreneurship in the U.S.' findings
SecondMuse Programs and NY Hardware Sector Provide Community Support and PPE During COVID-19
Na'im Zerbes


text:
Recently, the University of Maryland at College Park made headlines for creating a counseling center group for white students to help them learn how to engage in a more diverse world. Named "White Awake," the group was created to give white students a safe space to help them improve their interactions with "racial and ethnic minorities."
In 2017, the University of Maryland made headlines when Richard Collins III, a visiting African-American student from Bowie State University, was stabbed to death days before graduating with his bachelor's degree. His murderer? A white student at the time who actively engaged in online white supremacist websites. It is my suspicion as well as the suspicion of many that this group is, in part, a response to this tragedy.
News of this group was less than well received. In an article published in the Diamondback, a student-run newspaper at the University of Maryland, one student remarked that the marketing material of this group made it seem like "white people are being victimized by interacting with us." Other students, as reported in the Diamondback, raised concerned by the allocation of resources to an initiative like this when overall student access to the counseling center could be improved.
In response, the UMD counseling center has reported that they changed the name of the group and they have discontinued the advertisement that you are seeing here. However, they stand by the group and will move forward with it this semester in an effort to promote antiracism and allyship.
As someone who interns at a multicultural center and has a passion for social justice education on college campuses, this story sparked my attention. I help my office create curriculum for critical consciousness development and self-reflection for all members of our university community. I have conducted a number of trainings from my current position to my previous job at another college where people talk (re: dance around) race and race-related social problems.
Admittedly, my first thought of white people exclusively coming together did not exactly yield the most positive of images. Historically, whenever white people have come together, some pretty atrocious things have been the result. Does colonialism, slavery, pillaging villages, and the sexual violence towards women and children ring a bell?
However, I don't necessarily think a space for white people to confront their issues is a bad thing.
I have heard too many undergraduate students of color, particularly student leaders of color, express that they feel their presence in the classroom is in part to teach their white peers about diversity. Student leaders of color at predominantly white institutions carry a pressure that their white peers do not have because the direct and indirect expectations to share their experiences of oppression in an effort to build compassion from spaces historically not designed for them. Imagine continually being the only Black student in your classes about government, politics, economics, history. Imagine having to defend why #BlackLivesMatter or why media bias will call black children like Tamir Rice a man even though he died playing with a toy at 12 years old. Imagine having to explain how government surveillance infiltrated the organizations created in your community to fight for your rights to students who continually misquote statistics as a justification for your community's oppression? Our students are exhausted.
Earlier this year, I came across a Youtube video of British journalist and writer, Reni Eddo-Lodge. Eddo-Lodge is the author of the book, Why I'm No Long Talking (To White People) About Race. The book was birthed out of a blog post of hers that went viral a few years ago. In her post and in this video, she essentially talks about the emotional toll discourse about about race takes on Black people while trying to talk to people who don't understand race and how it operates. Eddo-Lodge speaks primarily about how race and racism plays out in a British context, but the overlying messages of white privilege are universal concepts.
I really resonate with Reni Eddo-Lodge's stance because in part, she is teaching us to protect ourselves and to have boundaries. People of color were not put on this earth to teach white people about our experiences, even though we are constantly put in environments where we are expected to lead and to teach. As an aspiring higher education professional, I find this particularly troubling because it stifles the necessary growth students of color need to do for themselves. When I was in undergrad, my understanding of social injustice was always seen in relation to "ignorant, well-meaning" white people. Rather than being given the tools to further dismantle my own internalized oppression, I was lauded for my ability to help white students discover the what white privilege is. Now that I work with marginalized students in higher eduction, I recognize how developmentally this expectation can be limiting.
What I have learned throughout my life so far is that white people live in a world where their racial identity is not a point of concern. Systematically, people in power or places of influence have been white. The presence of their whiteness has never been something that restricts their opportunities. White people perpetuate whiteness by acting like they don't understand what it means to be white. Many researchers on white identity development theory mention that whiteness is a discovery for many people that their experiences are not a standard norm for others.
So if other white people want to sit together in a room and work through what people of color have had to learn by way of life experience: so be it.
The questions that remain for me is how trained are the leaders of this group to hold students accountable for their fragility. How will leaders of this group address white students who think they are being discriminated against when marginalized students express dissent and bring into conversations about race their knowledge about power structures? Will this group help students understand white supremacy? Will they no longer say "not all white people" when confronted with the conditions white people cause people of color to live under? Will this group push students away from having unproductive guilt when they learn of their ancestors' atrocities? Will they even learn their ancestors' atrocities? The questions are endless.
Despite the UMD Counseling Center's best intentions, here are the key mistakes I think this institution made in the creation of this white support group:
Naming the group "White Awake." In the age of increasingly right-wing organizations springing up on college campuses specifically, "WHITE AWAKE" sounds like a not-so-distance cousin of Unite the Right. I'm glad this is resolved but yikes, what an introduction.
Calling it a safe space. Now, the debate about safe spaces in higher education has gone on for years. Advocates for safe spaces believe that marginalized communities need a physical place where they can go in seek of refuge in hostile environments. For college students from historically marginalized (re: systemically exploited) backgrounds at PWIs, cultural spaces give students an opportunity to be amongst peers with the pressure of the presence of dominant culture. If we are just looking at race, then WHITE STUDENTS ARE NOT IN NEED OF SAFE SPACES. THE ENTIRE WORLD IS ALREADY SAFE FOR THEM. White students are safe. Whiteness does not create for students a fear for their sense of safety in parts of the world the way racialized identities do for other students. For a group looking to help students understand difference, this is a *key* difference that must be addressed.
As someone who is not part of the University of Maryland community, there are things about the campus culture on which I do not have any insight. This leads me to wonder about the resources that UMD Counseling Center offers marginalized students who are dealing with the heightened racial insensitivities on their campuses, xenophobia, Islamaphobia, racism, and indigenous erasure that is also at the hands of not only their peers on a social level but from the structural level of university culture itself. Also, are there resources are their for white faculty, staff, and administrators who might need a similar place to unlearn racism?
Overall, even though an all-white space makes me anxious, it's nice to see white people attempt to hold their own accountable. Here is to hoping they watch Robin DiAngelo videos and attempt transformative work on themselves without expecting a Black person to run their microaggressions workshop after another racial incident causes them to go viral. Best of luck to the University of Maryland Counseling Center staff.
What are your thoughts? Am I being overly optimistic or am I exercising a good amount of caution?
In the spring of this year, I embarked on an ambitious journey to complete a #100DayProject. I was inspired by my friend Kayla and her boyfriend Jordan for embarking on a project of their own. At the


Simple yet Elegant!! This hand carved key hanger is a unique item made of good quality of wood featuring a herd of elephants in a wooden forest. The way these wooden handicrafts are created is unique and adds a refreshing look to your living room. This handcrafted gifts online has a great finish with minute designs that makes it more beautiful and Eye Catching.


There was only a little relief for the kin of those injured in the Kushinagar school van-train tragedy as four of the five injured, admitted to BRD Medical College, continued to be in critical condition on Friday.
Thirteen children had died and eight others were injured in the unmanned railway crossing accident on Thursday.
Neyaz Ahmed, driver of the school van, who had suffered severe head and body injuries and multiple fractures, was in coma and on ventilator support, doctors said.
Two of three injured children -- Taleem, 7 and Roshni 10 -- showed only a little signs of recovery but continued to be critical and on ventilator support. Sameer, 9, cousin brother of Taleem, also continued to be critical and was on ventilator support.
However, doctors said 9-year-old Krishna Verma (brother of Roshni) was quite better now after they attended to his leg fracture. "He is fully conscious and is in a position to speak. His father Kailash Verma is attending to him in the hospital," a doctor said.
"The condition of all the injured, including the driver, is stable but not much can just now as they are in a trauma," BRD Medical College principal Dr Ganesh Kumar said.
Expressing satisfaction over the treatment of his son, Kailash Verma said the boy was fine and his daughter Roshni was doing well. Her condition has improved by 50 per cent, he said.
"Doctors who are attending to the kids have said that soon she (Roshni) will regain consciousness," said Verma, who was joined in the hospital by his kin, including maternal grandparents of the kids.
Inamullah, uncle of Taleem and Sameer, said that while Taleem was showing signs of recovery, Sameer was still critical. "He has not gained consciousness as yet," said the 35-year-old Inamullah.
Inamullah's eldest brother Hasan lost two daughters in the Kushinagar accident -- Tamanna and Sajida -- while Hasan's only son Sameer was under treatment here.
Taleem is the son of Hasan's younger brother Jamaluddin, who owns a chemist shop in Dudah.
Meanwhile, the kin of the injured kids and van driver were handed over cheques of Rs 1 lakh each from Railways for treatment of the injured.


what is the right english for the saying? my new date has a well-rounded personality and is as cute as a button.
Does the cliche express your feelings? Then it is okay to use.
"I found my date last night to have an pleasing personality as well as being very cute."


text:
Russian Orthodox Church Becomes Kremlin Tool for Retaining Control Over North Caucasus Muslims
Publication: North Caucasus Weekly Volume: 15 Issue: 5
March 7, 2014 10:48 PM Age: 9 years
It has been obvious for years already that Moscow's North Caucasus policy has been coordinated by one of the Kremlin's working groups on the region. It has been unclear, however, whether this Kremlin working group on the North Caucasus was actually pursuing the same policy for the entire region or adjusting it according to local peculiarities and conditions. In fact, it now appears that there are different sets of policies for the northeastern Caucasus and the northwestern Caucasus, and that the policies toward North Ossetia–Alania and Abkhazia are also separate.
The differences between Russia's policies toward the northeastern and the northwestern Caucasus could be seen in the anti-Caucasian pressure campaign that was organized by the Kremlin throughout the country (www.magas.ru/content/khronika-sobytii-dpni-fsb-natsionalisty-antikavkazskaya-isteriya). Russian fascists clearly divided these two sub-regions of the North Caucasus: in proposing the expulsion of Caucasians from Russia, they only advocated that natives of the northeastern Caucasus republics—Chechnya, Dagestan and Ingushetia—be singled out for such treatment (https://www.nr2.ru/voting/218.html).
The Kremlin recently gathered the leaders of the northeastern Caucasus for meetings with the head of the Russian Orthodox Church, Patriarch Kirill (https://www.ng.ru/facts/2014-03-05/4_kavkaz.html). The meetings were apparently aimed at demonstrating to the patriarch the loyalty of the leaders of Chechnya, Dagestan and Ingushetia, the three Muslim-majority republics in the northeastern Caucasus.
Each of the three North Caucasian leaders has tried to reap some benefit from these meetings. Dagestan's Ramazan Abdulatipov was the first leader to meet Patriarch Kirill at his residence in Moscow on February 21. Abdulatipov acted like a junior student before his distinguished professor (https://www.patriarchia.ru/db/text/3574960.html). After lengthy and flowery overtures, Abdulatipov stunned his fellow Dagestanis by stating that Dagestan was almost the cradle of Christianity not only in the North Caucasus, but in the whole of Russia. Based on this statement, Abdulatipov promised to restore an old Christian church in the city of Derbent that dates back to the 4th century, and which was buried for centuries. The restoration is supposed to be completed by the time Derbent marks its 2,000th anniversary. The Patriarch expressed interest in the restoration of the church and promised to support Abdulatipov's initiative (https://www.pravoslavie.ru/news/68641.htm).
Ramzan Kadyrov met Patriarch Kirill on February 22, the day after his Dagestani colleague. Kadyrov managed to cast the meeting with the leader of the Russian Orthodox Church as a meeting of equal sides better than the other two North Caucasian leaders. He spoke not only as a representative of Chechnya, but as a representative of the entire Muslim community of the country, including the Muslims of Moscow (https://chechnya.gov.ru/page.php?r=126&id=14736). He asked the patriarch for assistance with building mosques in Moscow and other regions of Russia, saying that it is not the believers who are dangerous, but rather those who remain outside the mosques. Kadyrov implied that it is easier to control the masses in the mosques that were built by the state than to allow young people to learn about Islam through the Internet.
Soon after returning to Chechnya from his meeting with the Patriarch, Kadyrov issued a decree to provide Orthodox priests with housing (https://www.interfax-religion.ru/?act=news&div=54653). Given the fact that there are only three Orthodox clergymen in Chechnya, the price for obtaining permission to build mosques in Moscow was not excessive. Moscow's primary interest is to resolve the issue of the exodus of ethnic Russians from the region. Kadyrov proposed distributing land among Cossacks, so that they could stay and develop agriculture. This solution, however, is unlikely to happen on a large scale, since small producers find it quite difficult to sell their agricultural products.
Following the meetings of the leaders of Dagestan and Chechnya with the patriarch, the question was what the leader of Ingushetia, Yunus-Bek Yevkurov, could offer the head of the Russian Orthodox Church. At his meeting with Patriarch Kirill on February 26, Yevkurov managed only to present him with a keg of mountain honey. Kirill thanked Yevkurov for steering the situation in the republic toward inter-ethnic peace (https://www.regnum.ru/news/1771860.html).
In contrast to his colleagues, Yevkurov also met with the chairman of the Council of Muftis of Russia, Ravil Gainutdinov (https://ingushetia.info/2014/02/26/yunus-bek-evkurov-vstretilsya-s-patriarxom-kirillom.html). Yevkurov thereby showed that he had met not only with the head of the Russian Orthodox Church, but also a Muslim leader. The Russian Orthodox Church has been trying unsuccessfully to retain its presence in the North Caucasus through cooperation with Russian authorities. The ethnic-Russian presence in the northeastern Caucasus is so small now that the question is whether there will be any ethnic Russians at all left in the region in 20 years, given Moscow's policies in the area (https://www.golos-ameriki.ru/content/russia-caucasus-illarionov-tlisova/1817034.html). The numbers of ethnic Russians living in Ingushetia and Chechnya are now historically so low that the two republics can be safely described as mono-ethnic for the first time since the Russian conquest of the North Caucasus in 1859.
The Russian-Chechen wars and the rise of nationalism among indigenous peoples were the catalysts for the exodus of ethnic Russians from the region (https://rossia3.ru/quotes/5920). Russian President Vladimir Putin attempted to deal with this issue openly (https://www.peoples.ru/state/king/russia/putin/news_putin_iskhod_russkogo_naselenija_-_problema_vsego_.shtml), thereby confirming the gravity of the problem, while the Russian sociologists and demographers had tried to broach it in a more diplomatic way.
The Kremlin decided that only the Christian Orthodox Church which could keep ethnic Russians from leaving the region (https://www.foma.ru/kavkaz-dolgij-put-k-miru.html). It is unclear who invented this idea, but its absurdity is quite obvious, given that not all of the Russians who live in the North Caucasus are even Orthodox Christians (https://cef.ru/publish/smi/?id=446).
Retaining the Christian element in the region at a time of a Muslim resurgence will be quite difficult. Also, support for the idea of a global jihad is gaining more and more adherents among the local population. Furthermore, there is also the problem of ethnic Russians leaving the region because of economic problems (https://www.ng.ru/news/448771.html), but that is not the main reason for the outflow.
The region is not attractive for long-term investment projects, and the plans for retaining ethnic Russians in the ethnic republics of the North Caucasus are unconvincing. Moscow should be paying more attention to the outflow of ethnic Russians from the regions north of the North Caucasian republics, where ethnic Russians are gradually being replaced by North Caucasians. This demographic problem is by far a more worrisome trend than the number of Russians living in the region because these regions represent the new buffer zone between orthodoxy and Islam in the North Caucasus.
Russian Orthodox Church Becomes Kremlin ..Next
Russian Companies Say Moscow Stopped Urg..


Maia Wojciechowska was born in Warsaw, Poland. After the German invasion of their country at the start of World War II, the family fled to France, and later joined Maia's father, chief of staff of the Polish Air Force, in England. After the war, they emigrated to the USA, settling in Los Angeles, California. In 1950, Maia married Selden Rodman, an author, with whom she had a daughter; they later divorced, and she married and divorced a second time. She became an award-winning author of 19 children's books, beginning with Market Day for Ti André in 1952. Her best known work probably is Shadow of a Bull (1964), which won the Newbery Medal and praise from her friend Ernest Hemingway. In addition to writing, she worked as professional tennis player and instructor, a private detective, and a translator for Radio Free Europe.
Maia Wojciechowska is currently considered a "single author." If one or more works are by a distinct, homonymous authors, go ahead and split the author.
Maia Wojciechowska is composed of 12 names. You can examine and separate out names.