Ryszard Kukliski was a Polish colonel and Cold War spy for NATO. He passed top secret Warsaw Pact documents to the CIA between 1972 and 1981. For over nine years, Kuklinski provided the CIA with more than 40,000 pages of documents regarding the innermost secrets of the Warsaw Pact.
Letter from Kuklinski to his CIA contact indicating that the situation in Poland is militarily hopeless.
Translated report oversees contingency plans for the declaration of martial law. It covers plans for public information, diplomatic relations, and the military.
Report details protocol for various government agencies (military, political, diplomatic, economic, and state security) to address state security during the implementation of martial law.
Hugel alerts the recipients of the memorandum that confidential sources reveal increased militarization in Poland to enforce the party line and are one step closer to martial law.
Memorandum from Max Hugel to the Secretaries of State and Defense and the Director of National Security. The document details the conflict between several high military officials. It also mentions several places where Soviet military servicemen are incorporated into the Polish army.
Translation of an agenda from the meeting of Polish National Defense Committee of June 19, 1981 involving the Ministry of Internal Affairs, National Defense, and the Defense Industry Commission.
Report discusses contingency plans for implementing martial law, but only in relation to the possibility of extremist resistance from organizations such as Solidarnosc (Solidarity) and KOR (Workers Defense Committee).
Report outlines the conflicting views of Polish military and government leadership on the implementation of martial law and growing influence of the Soviet military.
Translation of a memorandum from the Chief of General Staff of the Polish Peoples Army on the measures that need to be taken by the army in case of martial law.
Translation elaborates on how funds should be allocated towards various Polish infrastructure projects including highways, waterways, and railways. In addition, it mentions allocating funds for the defense training for new government and industrial leaders.
Translated report discusses how the increased presence of Solidarnosc (Solidarity) warrants the introduction of martial law. However, it affirms that no formal steps to introducing martial law have been taken.
Translation of a document the Polish government intended to circulate should martial law be announced.
Memorandum outlining Poland's martial law plan, whether it could work, and the attitudes of Polish leadership.
Translation from a Defense Committee chaired by General Jaruzelski addressing the rising threat of Solidarnosc and other threats to national security.
Memorandum explains of a newly drafted decree of martial law, and increasing tensions between military leadership and Solidarnosc.


Let's take a closer look at the proposed fire union contract that goes before the Lincoln City Council today at 3 p.m.
A public hearing will be held, and at the end of the meeting the council should vote on the labor contract.
You're probably confused, since most private sector employees don't get extra pay just for having stuck around at least five years. (Maybe a paper weight or a plaque.) But this is a seniority-based pay system.
And firefighters currently receive up to $2,069 per year in longevity pay. The new contract, however, would change that from a lump sum to a percentage of their salary.
No big deal, right? Wrong.
Let's take a firefighter who's worked 25 years. Their $57,128 salary would get a 6 percent cost-of-living increase, but rather than the old $2,069 in longevity pay, they'd get 7 percent of their salary, which is 4,242. That's more than $2,000 more than they'd get under the old labor contract. Or a 3.8 percent raise.
Let's see — 6 percent plus 3.8 percent = 9.8 percent. (And these figures come from the city personnel office.) Not too shabby a raise on the heels of the Great Recession, huh?
Let's take a fire captain who's worked for the city for 10 years. They currently make a little more than $67,000. Under the old labor agreement, the captain would get $851 in longevity pay. But under the Mayor Chris Beutler-endorsed union contract, the captain would get $2,140 in longevity. That's $1,289 more than he/she would have gotten before, or the equivalent of a 1.9 percent salary increase.
That works out to about an 8 percent raise for that captain. Nice, huh?
Think those are probably flukes? Figures calculated by the city personnel office show raises ranging from 7.6 percent to 10.7 percent.
How will Mayor Beutler justify these kinds of raises for just one group of city employees, when all the other city employees "took one for the team" and accepted paltry (by comparison — many employees would love to have any raise these days) 1 to 2 percent raises this year?
Is it possible this is payback for all the money the firefighters' union gave Beutler and the Democrat-controlled City Council? The fire union gave more money to the recently elected Democrats than anybody else, by a long shot. So how will the Dems on the council vote on this contract? And how will they justify 7 to 10 percent raises for just one group of employees?
Perhaps, then, the rest of the city employees need better representation, or PR.
If thy don't agree on this contract and it goes before the CIR their pay will be evaluated by cities similar in size to Lincoln, which may include Minneapolis, where cost of livings are much higher and the city would face even larger raises. That's state law and our city leaders are heading off the risk of a much larger pay increase. If you don't like it write to your legislature to reform the CIR.
Informed Citizen: Couldn't every city employee union have argued the same thing this year?
Deena, I agree, maybe they should have.


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Kong: Skull Island (4K UHD Review)
Reviewed by: Bill Hunt
Review Date: Aug 18, 2017
Format: Blu-ray Disc
Jordan Vogt-Roberts
Release Date(s)
2017 (July 18, 2017)
Studio(s)
Legendary/Tencent (Warner Bros.)
Film/Program Grade: B+
Video Grade: B+
Audio Grade: A
Extras Grade: B-
It's 1973. The Vietnam War has just ended, and Lieutenant Colonel Preston Packard (Samuel L. Jackson) and the men of his helicopter squadron are getting ready to re-deploy Stateside, deeply discouraged by their recent combat experience, when they're called up for one last mission. It seems that a U.S. Government agent and his assistant (John Goodman and Corey Hawkins), along with an ex-British SAS officer (Tom Hiddleston), a photojournalist (Brie Larson), and a team of Landsat scientists, are heading out to map the unexplored Skull Island, and they need air support. What most of them don't know, is that the agent and his assistant work for Monarch, a secret scientific organization that investigates "Massive Unidentified Terrestrial Organisms"… and they're about to chopper straight into prime MUTO habitat, ruled by the legendary Kong.
I'm just gonna say it right up front: I kind of like the hell out of this film. Too often B-movie blockbuster directors take an absolutely outlandish premise too seriously and turn out half-billion dollar pieces of soulless dreck (think pretty much any Transformers film). Not so here. Director Jordan Vogt-Roberts and his team have made a smart and savvy giant monster film, that's actually a pretty effective 70s period flick to boot. Here's the deal: When I go see a movie called Kong: Skull Island, I want to have great Saturday afternoon matinee good time for a couple hours. That's exactly what you get here. This is a story about a skyscraper-sized gorilla that lives on a mysterious uncharted island in the Pacific and fights giant lizards from deep within the Earth, who's also quite happy to knock annoying Hueys out of the sky, thank you very much. It ain't Shakespeare, baby. This film is campy and glossy and fun, and that's precisely what it needs to be.
It's also damn funny. John C. Reilly steals scene after scene, as an American pilot who's been stranded on Skull Island since World War II, but every character in this ensemble, no matter how small, gets their moment to shine, their moment to serve up a great bit of dialogue or a reaction. Make no mistake, there's a kind of brilliance at work here. The filmmakers smartly play on your genre knowledge and expectations and definitely deliver on them, but not always exactly how or when you expect. Case in point is Jackson's character, a wound-up military commander who's all too happy to take out his Nam-induced frustrations on a giant Goddamn monkey. Larson and Hiddleston are surprisingly good too, as Jack Driscoll/Ann Darrow surrogates; they're atypical choices for a film like this, but I actually find that kind of refreshing. The film's coloring, production design, and cinematography reminds me a lot of Ron Howard's Rush, combining effectively to produce wonderful period atmospherics, and the editing never wastes your time. This is smart B-movie filmmaking.
Kong: Skull Island was shot digitally using ARRI Alexa XT Plus cameras in the ARRIRAW codec (3.4K). It was finished to a 2K Digital Intermediate in the 2.39:1 aspect ratio, upsampled to 4K and given an HDR color grade for this release. Honestly, the resolution on Ultra HD is not that much greater than the Blu-ray edition, partly because its production resolution wasn't that high, and partly because it's upsampled, but mostly because the film's cinematography is so dense with atmospherics. That's not to say it's bad in any way, it just doesn't match up to other new release titles on this format (shot in native 4K or even higher). However, the High Dynamic Range does give the image a kick in the ass. Obviously, the film's color palette is highly stylized, but in HDR all those warm tones are much richer and more nuanced. Blacks are deeper too, but a little restrained by design, and the brightest areas of the frame are just a little overcooked, also intentionally. This image isn't a dazzler, but the film looks exactly as it should and the theatrical experience is well represented.
Primary audio on the 4K disc is English Dolby Atmos, though be aware that it defaults automatically to an English 7.1 DTS-HD Master Audio mix that's also included. The Atmos mix is thrilling, employing the height channels right from the very start with beefy aerial combat sounds. This is a wonderfully expansive and immersive soundstage. Directional effects and panning are playful, highly active, and smooth. Dialogue is clean and clear, and the LFE reinforcement is muscular as hell. Additional audio choices are available in English Descriptive Audio, as well as 5.1 Dolby Digital in French, Chinese, Spanish, Portuguese, Hindi, Hungarian, Tamil, Telugu, Thai, and Turkish. I actually had to look Tamil and Telugu up; one is spoken in Sri Lanka and the other is native to India. You learn something new every day.
The Ultra HD disc includes a good audio commentary with the director (with optional subtitles if you need them). The package also adds a standard Blu-ray Disc with the film in 1080p HD. This, too, has the director's commentary and offers the following video-based extras in HD:
2 Creating a King featurettes (Summoning a God – 11:39 and Realizing an Icon – 12:47)
On Location: Vietnam (5:38)
Tom Hiddleston: The Intrepid Traveler (6:53)
Through the Lens: Brie Larson's Photography (2:19)
Monarch Files 2.0 (Companion Archive) (7:58)
Deleted Scenes (4 scenes presented in a single reel – 3:45 in all)
It's not bad; all of this is worth checking out at least once. The documentary material is actually kind of thoughtful in tone, a cut above the usual EPK filler. There's just not enough of it. I can't say that Warner impresses much with their generic disc menus, but whatever. Of course, you also get the usual Digital Copy code on a paper insert in the package.
Kong: Skull Island is a twenty-dollar hoot. It gives you exactly what you want from a film like this, often delightfully out of left field, while honoring its source material and respecting its audience too. While I can't say that Warner's thirty-dollar 4K Ultra HD release is reference quality, it's definitely the best way to experience the film at home. So if you can justify the ten-dollar difference, don't miss it.
- Bill Hunt
(You can follow Bill on social media at these links: Twitter and Facebook)
2017, 4K, action, Bill Hunt, Brie Larson, Corey Hawkins, fantasy, giant monsters, High Dynamic Range, Jason Mitchell, Jing Tian, John C Reilly, John Gatins, John Goodman, John Ortiz, Jordan Vogt-Roberts, King Kong, Kong: Skull Island, Legendary, MonsterVerse, Paramount, review, Samuel L Jackson, science fiction, Shea Whigham, Terry Notary, The Digital Bits, Thomas Mann, Toby Kebbell, Tom Hiddleston, Ultra HD Blu-ray Disc, Warner Bros
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BioDr. Nichole Young-Lin has over 15 years of experience in reproductive health. She is passionate about providing comprehensive care for her patients throughout the continuum of their lives – from adolescence to post-menopause.
Her areas of medical interest and specialty include pre-conception counseling, supporting her patients to achieve a positive pregnancy and childbirth experience, contraception care, medical and surgical management of benign gynecological conditions (including minimally invasive surgery such as robotic-assisted laparoscopy) and office-based procedures.
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A two-alarm fire tore through an office building at 67 Winthrop Street last night, destroying a Civil Liberties legal aid office and causing substantial damage to Herman and Lees, a graphics design corporation.
The first alarm was sent out at 5:20 p. m., and by 5:35, about 20 fire-fighting vehicles from Cambridge and Somerville had answered the call. By 6 p. m. flames had ripped through the ceiling of the building, and the temperature had dropped below freezing, adding new elements of danger to the task of fighting the fire.
At 6:15, though, the fire was under control, and the flames were killed although at that time "we were still chasing fire in the walls," Deputy Fire Chief Joseph Healey said after the blaze was quelled.
"It started in the back on the first floor, shot up through an air shaft and mushroomed out on the third floor," he said.
There were no serious injuries, although a few firemen were cut while fighting the fire. The cause of the fire was still undetermined when it was put out, although most of the speculation centered around the possibility of an electrical fire. Several firemen cited the fact that lights had been left on in the building and that the fire seemed to have started in the walls as possible evidence for an electrical failure which might have started the fire.


text:
Q: Save memcache data to a file or a database We're running a website which performs financial modeling and it takes a while for memcache to build its cache. For instance, after 1 week the number of hits is only at 48% and the cache used is 2GB (out of 5GB allocated). Since we don't want to loose that cache should the server crash or need to be restarted, we would like to save it somewhere.
Q: What are the best options for storing the content of the memcache cache somewhere permanent (and restoring that content)?
So far we haven't seen memcache reach the point whereby % of hits doesn't improve. We know we quickly get to 30% hits with 300MB of data, which corresponds to caching of shared content. Afterwards, objects become much bigger and are created less frequently. By looking at our munin graphs, I would say we could reach our best % of hits within 2 to 3 months. I really think we have a case for saving our memcache data.

FYI I'm not adding the graph showing the % of hits/misses because it evolves so slowly that it's not really readable.

A: You might try:

*

*CouchBase

*Redis
Or you may find more tips on StackOverflow here: alternative to memcached that can persist to disk

A: I'd not suggest using Redis in a financial production environment, it's to unstable for it at this time. It is something to keep an eye out for in the future.
CouchBase is a solution.
You can also use repcached (http://repcached.lab.klab.org/) to replicate the memcache data to a 2nd memcache daemon in case the first one crashes, you still have all your memcache data. You can also use this type of setup to loadbalance your memcache usage if you want, i've been using it for quite some time now and are very happy with it's performance.

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text:
Home Abstracts Risk of Malignancies in Patients with Rheumatoid Arthritis Treated with Rituximab: Analyses...
Risk of Malignancies in Patients with Rheumatoid Arthritis Treated with Rituximab: Analyses of Global Postmarketing Safety Data and Long-Term Clinical Trial Data
Patients with rheumatoid arthritis (RA) are at an increased risk of developing malignancies, but it is unclear whether this increased risk is the result of disease pathobiology or immunosuppressant treatments for RA. This analysis evaluated the potential risk of malignancy in patients with RA treated with rituximab (MabThera®/Rituxan®) a CD20+ B-cell depleting agent manufactured by F. Hoffmann-La Roche Ltd.
Malignancy rates were obtained from the rituximab global company safety database for adverse event reporting and from the rituximab global clinical trial program for RA consisting of eight randomized clinical trials, two long-term open-label extensions, and one open-label prospective study. Global company safety database searches were performed using the standard Medical Dictionary for Regulatory Activities (MedDRA) queries "Malignant tumors wide" and "Skin malignant tumors wide" up to April 30, 2017. Age- and sex-specific comparator values from the general population were obtained from the US National Cancer Institute Surveillance, Epidemiology, and End Results (SEER) database.
For the 409,706 patients with RA in the rituximab global company safety database since first market approval in 2006, 1739 cumulative malignant events were reported, with an overall malignancy reporting rate of approximately 4.2 events per 1000 patients. No evidence of increased risk of malignancy, of any organ-specific type, was found following rituximab treatment. The rate of malignancies from rituximab-treated patients in RA clinical trials was 7.4 per 1000 patient-years. This is within the expected range, with no evidence for increased risk over time or with additional rituximab courses.
Analyses of the global postmarketing safety database and long-term clinical trial data showed no evidence of an increased risk of malignancy of any type following rituximab treatment in patients with RA.
Rheumatol Ther. 2019 Nov 21. doi: 10.1007/s40744-019-00183-6. [Epub ahead of print]
SOURCEPubMed
Recovery Rate and Length of Stay, But Not Therapy Time, Affect Discharge Position Following Hip Fracture Surgery
Characterization of Patients with Psoriasis in Challenging-to-Treat Body Areas in the Corrona Psoriasis Registry
Adherence to Antimalarial Therapy and Risk of Type 2 Diabetes Mellitus among Patients with Systemic Lupus Erythematosus: A Population-Based Study
Conversion of FACIT-F to PROMIS® Fatigue Scores in Two Phase 3 Baricitinib Rheumatoid Arthritis Trials
The Role of Long-Term Antibiotic Suppression in the Management of Peri-Prosthetic Joint Infections Treated With Debridement, Antibiotics, and Implant Retention: A Systematic Review
Retrospective Cohort Study Comparing Complications, Readmission, Transfusion, and Length of Stay of Patients Undergoing Simultaneous and Staged Bilateral Total Hip Arthroplasty
Is This Bacteria the Cause for the Increase in Colorectal Cancer Cases in Younger...


This modest old hut caught our eye as being worthy of recording. There's something enchanting about rural ruins - abandoned as they have been, to the elements long ago, for reasons unknown. Weathered timbers and moss encrusted old chimneys suggest early settler uses and lives long past. Roofing has fallen in or is in the process of doing so, and you can not help but wonder why such sweet structures were left to decay in such a way.
There's something very touchable about these type of ruins. Even though logic tells you they're terribly dirty and stacked with insects, the shapes and textures draw you in. You almost want to run your finger along the grain of the old wood and find out what it feels like. Even the jagged metal of the roughly made joins is compelling. And all the angles at which components sit is somehow interesting to look at. Well, we at Polly Prov think so anyway!


text:
POSTER 19 - COMPREHENSIVE SAGE ATLAS OF MURINE GENE EXPRESSION THROUGHOUT DEVELOPMENT
Bohacec S 1, Xie Y 1, Kuo B 1, Khattra J 2, Sidiqqui A 2, Helgason CD 4, Hoodless PA 3, Jones S 2, Marra M 2, Simpson EM 1
1 Centre for Molecular Medicine and Therapeutics, Vancouver, Canada, 2 Genome Sciences Centre, Vancouver, Canada, 3 Terry Fox Laboratory, B.C. Cancer Agency, Vancouver, Canada, 4 Cancer Endocrinology, B.C. Cancer Agency, Vancouver, Canada
This project is designed to generate a comprehensive collection of gene expression profiles encompassing various tissues throughout development, from fertilized egg to adult, for the C57BL/6J mouse. The use of mouse as a model of human development enables the systematic collection of embryonic tissues not possible in humans. Detection and quantitation of transcripts is carried out via the Long Serial Analysis of Gene Expression (LongSAGE) technique. This platform provides three major advantages over conventional gene expression analysis approaches: it presents a quantitative profile of the mouse transcriptome, it is not restricted to only detecting known genes, and it can be subsequently expanded as further data becomes available. To date, data sets from 44 libraries, of a planned 200, are publicly available. These libraries total over 5 million sequenced LongSAGE tags and represent manual or laser capture microdissected (LCM) tissues at significant stages in embryogenesis and organogenesis. A third of the projected libraries will profile gene expression in developing neural tissue with the aim of better understanding brain formation and a range of neural disorders. Two software packages (DiscoverySpace and CMOST) have also been developed for use in library analysis, inter-library comparisons and tag-to-gene mapping through numerous databases.
The main objective of the Mouse Atlas Project is to create a publicly accessible on-line expression database that will offer the research community insights into the progression and regulation of mammalian development for more rapid identification of disease genes and targets for new therapeutics. Library descriptions and full data sets are available on our website: http://www.mouseatlas.org/.
This project is supported by Genome Canada, the BC Cancer Agency and NCI-NIH.


text:
Hot Gossip Get the app
Top Model, also called Next Top Model, is a fashion-themed reality television show format produced in many countries throughout the world and seen in over 120 countries producing over 200 seasons, which are referred to as "cycles". The show takes the form of a modeling competition whose winners typically receive a contract with a major modeling agency and a cover shoot and fashion photo spread in a fashion magazine. The format was created by Tyra Banks for the original series, America's Next Top Model, which first aired in 2003 and was produced by Ken Mok's 10 by 10 Entertainment.
Heidi Klum flaunts her sense of style in a colorful coat on set of Germany's Next Top Model in LA
Every 'America's Next Top Model' Winner, Ranked in Popularity From Lowest to Highest
Heidi Klum dazzles in white on the set of Germany's Next Top Model at the beach in Los Angeles
Heidi Klum Reimagines Beachwear While Filming 'Germany's Next Top Model' In Chic Look
Tyra Banks' Bikini Photos Are Fierce! See the Top Model's Iconic Swimsuit Moments
Janice Dickinson Defended Her Behavior On "America's Next Top Model"
Janice Dickinson Doesn't Regret Dishing Out Criticisms On 'America's Next Top Model'
Yolanda Hadid is seen while attending the presentation of Holland's Next Top Model 2022 in Amsterdam
Yolanda Hadid. 58, goes NUDE beneath a black blazer while teasing Holland's Next Top Model return
Former America's Next Top Model fans slam Tyra Banks for how she treated 'plus-size' Robin Manning
Australia's Next Top Model star Simone Holtznagel flashes her bra in a see-through top
Lola Van Vorst, former Australia's Next Top model contestant makes a heartbreaking plea to fans
The Secret CASTLE In Hollywood! Owned By Top Model Alum Lisa D'Amato! Come Look! | Perez Hilton And Family
These snaps of Tyra Banks prove she hasn't aged a day since America's Next Top Model
Heidi Klum puts on a leggy display in sparkly silver dress while filming Germany's Next Top Model
Australia's Next Top Model star Brooke Hogan ties the knot with hotelier Myles Pitt
Heidi Klum rocks all orange on set of Germany's Next Top Model in California
Mia Regan looks every inch the top model in silver mini skirt and coat as she poses for snaps


text:
Bereitet die Wege, bereitet die Bahn! (¡Preparad los caminos, preparad los senderos!), BWV 132, es una cantata de iglesia compuesta por Johann Sebastian Bach en Weimar en 1715 para el cuarto domingo de Adviento y dirigió la primera interpretación el 22 de diciembre de ese mismo año.

Bach había comenzado a componer cantatas regulares un año antes cuando fue ascendido a concertino en la corte de Weimar, escribiendo una cantata por mes para ser interpretada en la Schlosskirche, la capilla de la corte en el palacio ducal. Bereitet die Wege, bereitet die Bahn! fue su primera cantata para el cuarto domingo de Adviento. El libreto del poeta de la corte Salomo Franck está relacionado con la lectura del Evangelio prescrita para el día, el testimonio de Juan el Bautista. Franck deriva de él pensamientos sobre el bautismo como una preparación del cristiano individual al que se dirige como una extremidad de Cristo.

Bach estructuró la música en seis movimientos de arias y recitativos alternados, y la compuso para un pequeño conjunto de cuatro partes vocales, oboe, cuerdas y bajo continuo. Las voces se combinan sólo en la coral de cierre, la quinta estancia del himno «Herr Christ, der einig Gotts Sohn» de Elisabeth Cruciger. La música de la coral, que posiblemente estaba en una hoja diferente, se perdió pero puede ser reemplazada por la configuración de la misma estancia en una cantata diferente. En su composición, Bach sigue de cerca la imaginería barroca de Franck, ilustrando, por ejemplo, el agua bautismal.

Historia y texto

El 2 de marzo de 1714, Bach fue nombrado concertino de la capilla de la corte de Weimar de los duques correinantes Guillermo Ernesto y Ernesto Augusto de Sajonia-Weimar. Como concertino, asumió la responsabilidad principal de componer nuevas obras, específicamente cantatas para la Schlosskirche (iglesia del palacio), con una frecuencia mensual. Escribió esta cantata para el cuarto domingo de Adviento y la fechó él mismo.

Las lecturas prescritas para el domingo fueron de la Epístola a los filipenses, «Regocijaos en el Señor siempre» (), y del Evangelio de Juan, el testimonio de Juan el Bautista (). El texto de la cantata lo escribió el poeta de la corte Salomo Franck y fue publicado en la colección Evangelisches Andachts-Opffer en 1715. Incluyó la quinta estancia del himno «Herr Christ, der einig Gotts Sohn» (1524) de Elisabeth Cruciger. Franck parafrasea en la primera aria el pasaje del Libro de Isaías que se cita en el evangelio prescrito, «Bereitet dem Herrn den Weg» (Prepara el camino para el Señor, ). El mismo pasaje de Isaías aparece al comienzo del Mesías de Händel. Franck también se refiere al bautismo como una forma de preparación. Se trata al cristiano individual como una extremidad de Cristo.

Bach dirigió la primera interpretación de la cantata el 22 de diciembre de 1715 en la capilla ducal. No pudo interpretar de nuevo la obra en Leipzig porque allí se guardaba tempus clausum durante el Adviento. La cantata se publicó por primera vez en 1881 en la edición Bach Gesellschaft, editada por Wilhelm Rust.

Estructura y partitura

Bach estructuró la cantata en seis movimientos, alternando arias y recitativos, concluidos por una coral. Como en varias otras cantatas sobre textos de Franck, está escrita para un pequeño conjunto de cuatro solistas vocales (soprano —S—, alto —A—, tenor —T— y bajo —B—), y un conjunto de instrumentos barrocos compuesto por oboe (Ob), dos violines (Vl), viola (Va), violonchelo (Vc) y bajo continuo (Bc), incluyendo fagot. Sólo se necesita un coro para la coral, si es que se necesita. El título de la partitura autógrafa dice: «Dominicâ 4 Adventus Xsti Concerto. / Bereitet die Wege, bereitet die Bahn. / â 9. / 1 Hautbois. / 2 Violini / 1 Viola / Violoncello. / S:A:T:B: / col Basso per l'Organo / di / GSBach». La duración es de 22 minutos.  La música de la coral se perdió; es posible que la hubiera anotado en un arreglo simple en una hoja separada, como en el caso similar de Nur jedem das Seine, BWV 163, compuesta cuatro semanas antes. A efectos prácticos, se puede usar el mismo verso que cierra Ihr, die ihr euch von Christo nennet, BWV 164, de 1725.

En la siguiente tabla de movimientos, la partitura sigue la Neue Bach-Ausgabe y las abreviaturas para voces e instrumentos la lista de cantatas de Bach. Las tonalidades y tiempos se toman de Alfred Dürr, utilizando el símbolo  para el compás de tiempo común (4/4). Los instrumentos se muestran por separado para vientos y cuerdas, mientras que no se muestra el bajo continuo, ya que toca durante toda la obra.

Música

«Bereitet die Wege, bereitet die Bahn!»

La primera aria, «Bereitet die Wege, bereitet die Bahn!» (¡Preparad los caminos, preparad los senderos!), está en forma da capo en un compás de , acompañado por el conjunto completo. La soprano rinde sus llamadas para preparar los caminos en melismas de varios compases de semicorcheas. John Eliot Gardiner, quien dirigió la Bach Cantata Pilgrimage en 2000, describe el carácter del movimiento de «gracia despreocupada y flotabilidad veloz acorde con una giga lenta o un loure francés». El oboe agrega figuración virtuosa y trinos, que recuerdan la música secular de Bach. El aria se concluye con gritos de júbilo: «Messias kömmt an» (Llega el Mesías).

«Willst du dich Gottes Kind und Christi Bruder nennen»

El recitativo para tenor, «Willst du dich Gottes Kind und Christi Bruder nennen» (Si quieres llamarte hijo de Dios y hermano de Cristo), contiene extensos pasajes arioso, para enfatizar «der Christen Kron und Ehre» (la gloria y la honra del cristiano) y «Wälz ab die schweren Sündensteine» (retira las pesadas piedras del pecado). La voz y el continuo a veces se ponen en imitación, una imagen para el Nachfolge (sucesor), ya que van juntos para expresar la unidad lograda, en las palabras «daß er mit dir im Glauben sich vereine» (para que en la fe se una contigo).

«Wer bist du? Frage dein Gewissen»

En el aria del bajo, «Wer bist du? Frage dein Gewissen» (¿Quién eres? Interroga a tu conciencia), la pregunta «Wer bist du?» (¿Quién eres?), planteada por los sacerdotes a San Juan, en el Evangelio, se da al bajo como la vox Christi, como si Jesús hiciera esta pregunta al oyente. El violonchelo a menudo juega un «papel de concertante». Su primer motivo expresa la pregunta y se repite a lo largo del movimiento, y de él se deriva la línea vocal.

«Ich will, mein Gott, dir frei heraus bekennen»

La expresiva declamación del recitativo alto, «Ich will, mein Gott, dir frei heraus bekennen» (Quiero confesarte sinceramente, Dios mío), se destaca por los acordes de las cuerdas.

«Christi Glieder, ach bedenket»

Un solo de violín acentúa el aria contralto, «Christi Glieder, ach bedenket» (Ah, cristianos, considerad), posiblemente inspirado en las palabras «Christus gab zum neuen Kleide roten Purpur, weiße Seide» (Cristo dio por nuevo vestido
rojo púrpura y blanca seda). Gardiner lo interpreta como «el efecto limpiador del agua bautismal». El musicólogo Julian Mincham apoya esto, afirmando: «Bach rara vez desaprovecha las oportunidades de crear imágenes musicales de agua purificadora cuando se menciona el acto del bautismo. Este es el punto de partida de su invención de la melodía del violín obbligato».

«Ertöt uns durch deine Güte»

El arreglo a cuatro voces de la coral de cierre, «Ertöt uns durch deine Güte» (Revívenos con tu bondad), se perdió, pero se puede tomar de Ihr, die ihr euch von Christo nennet, BWV 164, trasladado a la mayor.

Véase también

 Anexo:Cantatas de Johann Sebastian Bach
 Anexo:Composiciones de Johann Sebastian Bach

Referencias

Enlaces externos

 Bereitet die Wege, bereitet die Bahn BWV 132; BC A 6 / Sacred cantata (4th Sunday of Advent) Bach Digital
 BWV 132 Bereitet die Wege, bereitet die Bahn: Universidad de Vermont (en inglés)
 Bereitet die Wege, bereitet die Bahn, BWV 132: interpretado por la Netherlands Bach Society (en inglés)

Cantatas de Johann Sebastian Bach
Composiciones de 1715

redpajama_set_name: RedPajamaWikipedia


bricks in-game) with the Export Tool option, you can save it for later.
First, here's how to save and export a Landscape Model.
go to the Model Editor Screen.
expanding the size of the box.
release to drag height, and to set the box [Left Click].
click again to complete the export.
Models list! Second, here's how to view a Landscape Model outside of the game.
1.You can also open your models with LEGO Digital Designer!
in case something goes wrong!


text:
Ashton Kutcher is a money sucking blackhole
Ashton Kutcher is not a good actor. He's a fairly good model on occasion but he's about as good at acting as Jessica Simpson is at self-control. Meanwhile, Katherine Heigl is a total bitch that no one likes. Which is why I just nodded my head unsympathetically when Lionsgate CEO Jon Feltheimer said Killers, starring Ashton and Katherine, was the major reason for their horrible first quarter. This in spite of its enormous marketing budget.
Lionsgate said on Monday that it lost $64.1 million during its fiscal 2011 first quarter, with overall revenue driven down, in part, by a declines in home entertainment revenues — a result of producing fewer theatrical films last year — and higher marketing costs to promote three wide releases.
The studio also attributed the rough quarter to the "underperformance" of "Killers" starring Ashton Kutcher. (The Wrap)
The lesson learned is if studios ever put Ashton Kutcher or Katherine Heigl in a leading role again, they might as well slap M. Night Shyamalan's name on the credits so there will be no mistake that they're attempting career suicide.
#ashton kutcher
#katherine heigl
#killers
Demi Moore Says Ashton Kutcher Used Their Threesomes to Justify His Cheating
Ashton Kutcher Is Sweet and Affable Even When He's Running People Over
Ashton Kutcher Is Going Bald
It's Lionsgate's fault, not Ashton Kutcher or Heigl. Have some fucking foresight.
I could have guessed this would bomb and I'm a fucking moron.
Who would want to see these two in a movie? He was barely tolerable on That 70's Show.
I can see the movie failing because of those two. She has the personality of a wet rag, probably, because she is a rag. Ashton should just stick with his old lady, and call it a day. Enough said.
I don't know her from Adam, have never seen her on TV or in a movie, but I basically like Kutcher, saw him in Personal Effects and thought it was dark but he was decent in it, like his looks and demeanor, liked the 70's show when I saw it, never saw Punked, but what's with this where everyone dislikes the two, almost makes people feel kindly toward them. You are creating fans who think these two deserve more kindness than they are getting.
Ashton Kutcher has no talent. Most of the projects he's been on were poorly received and/or lose money. When a film makes a profit, it's usually because of his costars (i.e. Valentine's Day), not him. He was famously fired from a movie when the director suggested he take acting lessons. The reason people don't like him is because he's just a pretty face — he's never punished for doing bad work and that's unfair. Plus, he's arrogant, hypocritical, and disrespectful.


text:
Home › Canfield's Corner › Pay attention to baby carriages
Pay attention to baby carriages
This is a "Canfield's Corner" post from several years ago that I'm moving to the "Current Topics" section as I've received several comments from readers who found it interesting. I have also added a photo of the hand-stamped markings referenced in the article.
In the four decades I've been collecting U.S. military weapons, I've encountered many unusual, interesting, bizarre and memorable things. Although I don't go to a lot of guns anymore, in the past, I routinely attended gun shows at least once a month. Most were small local shows but two of my favorites were large shows fairly close to home; the Market Hall show in Dallas and the Astro Hall show in Houston. I occasionally set up a table but usually just roamed the rows of tables looking for that hidden gem. When I started writing books, my publisher liked for me to display books at some of the larger shows so I was able to kill the proverbial two birds with one stone and often got a table at the Dallas and/or Houston shows.
One memorable situation occurred about twenty years ago at the Houston show. I was sitting at my table (near the front of the hall) and noticed a non-descript guy coming in pushing a baby carriage. That wasn't particularly unusual as guys often came to shows with their wife and/or kids. However, when he got closer, I noticed the only thing in the baby carriage were two rifles in cloth cases. When he got in front of my table, I asked him what he had and he replied "…a couple of army rifles," and from some subsequent comments I could tell he didn't know much about guns. I asked if I could see the rifles and he first pulled a rather worn and ho-hum M1917 Enfield rifle out of the case. I glanced at it and politely declined any interest in the gun. From the other case he then pulled out a rifle which immediately got my attention. He handed me an extremely nice 1912 vintage M1903 Springfield rifle. It had the beautiful blued finish and lovely walnut typical of '03s of that era and was 100% original. It had seen some use but was in very nice shape and had been well-maintained (the bore looked like a mirror). However, when I looked at the left side of the gun, I saw something that made my heart sink. Someone had hand-stamped (and the letters were not very well aligned) the following on the left flat on the rear sight base:
HIRD, F.S. D.M. IA
OLYMPIC RIFLE
I had no idea what this indicated and my first thought was that somebody ruined a great rifle by stamping these stupid markings. Although disappointed about what I perceived to be the desecration of a great rifle, I was still interested in buying it as a "project" if I could get it for the right price and thought I could perhaps have the markings buffed out and the sight base refinished. I asked the guy how much he wanted and he named a very nominal sum. I told him he might be able to get more if he shopped it around but he just wanted to dump it and move on, so I bought it. I didn't think to ask where he got the gun. When I got home, I put the gun in my storage closet until I could decide what to do with it and almost forgot about it for a while.
When I got around to thinking about the gun again, the "Olympic Rifle" part seemed very strange. Since this '03 was a totally unaltered military variant, I figured there was no way it could have been used in Olympic competition. I did a little research (this was pre-Google days) and found several interesting factoids about the 1912 Olympics in Stockholm, including the fact that George S. Patton was a competitor that year in the Pentathlon event. This still didn't shed any light on the cryptic markings on my rifle so I contacted some guys at the NRA and they sent me a long out-of-print book on Olympic shooting. I casually thumbed through the book to the section dealing with the 1912 Olympics and something immediately got my attention. One of the events was an "Army Rifle Match" which required the use of the unaltered standard military rifle of the participating nations. I had always thought that Olympic firearms were specially crafted precision shooting instruments and never imagined the 1912 U.S. team would have used a standard, unaltered current issue M1903 Springfield…just like the one I got from the guy with the baby carriage. The rifle was made in very early in 1912 and could have easily made it to the Olympics later that year.
I know that anyone can hand-stamp "Olympic Rifle" on a gun so that didn't necessarily prove anything but it got me thinking about the other markings. More research revealed that one of the "stars" on the American shooting team in 1912, and a gold medal winner, was Captain Fred S. Hird from Des Moines and a member of the Iowa National Guard. All of the sudden, the other markings made sense; "HIRD, F.S. = Fred S. Hird" and "D.M. IA – Des Moines, Iowa."
Now my attention was really piqued. To make a long story short, I found out everything I could about Captain Hird. I was able to obtain his complete service records including his stint with the Iowa National Guard and the fact he was recalled into service as a Lt. Colonel during WWII after his initial retirement. One of the more interesting documents was a list of the dates of his annual camps with the Iowa NG. The entry for the year 1912 was simply "At Olympics." I was also able to obtain Hird's death certificate and learned he had passed away from heart failure in 1952. I made numerous attempts to find any of his descendants, or even a photo of Hird, with no luck whatsoever. I contacted the U.S. Olympic Committee and they sent me a letter on their official letterhead detailing Hird's shooting accomplishments at the 1912 Olympics. He also competed in the 1920 Olympics (there wasn't a 1916 Olympics due to the unpleasantness in Europe at that time) but didn't fare nearly as well as he had in 1912 when he won a Gold Medal.
Okay…so what now? When it comes to establishing the provenance of a gun I am, by nature, extremely skeptical. As I saw it, the rifle could only be one of two things:
Now let's take a brief look at the relative merits of the two possibilities. First, stamping bogus markings to increase the value and/or desirability of a gun is hardly a rare phenomenon. Such markings can include fake US military stamps on a civilian gun or such other things as "USMC" and the like. It is actually fairly uncommon to find bogus names on guns. In most cases, all but the most hopelessly gullible wouldn't fall for, for example, G.A. Custer on a Colt SAA revolver or Audie Murphy on a M1 Carbine. Names found engraved or stamped on guns are typically those of a previous civilian owner who, for whatever reason, thought it was cool to do so. Nobody is going to pay anything extra for a gun with Uncle Charlie's name stamped on it. In fact, unless Uncle Charlie was somebody famous, such markings would seriously devalue the gun to anyone except, perhaps, Uncle Charlie's close relatives. Since the entire purpose of fake markings is to increase the value of a weapon, it is not logical that someone would go to the trouble of stamping bogus markings which mean nothing to a potential buyer and which would certainly devalue the gun.
Given the above rationalization, it was (and is) my strong opinion that the gun was indeed the one Captain Hird used at the 1912 Olympics. The fact that the rifle would have been brand-new production at the time of the Olympics made sense as the shooting team would certainly have been equipped with the latest rifles. The barrel of my rifle didn't have the star-gauge marking but since star-gauging of '03 rifles didn't start until the early 1920s, this meant nothing. It could have been the early equivalent of a National Match rifle since there were no special features or markings found on such guns. I would have loved to have gotten a letter from the U.S. Olympic Committee stating the serial number of the '03 used by Hird in 1912 or his diary reflecting the serial number. Unfortunately, such documentation is very, very rare. In the vast majority of cases, all we can do is consider the preponderance of the available evidence and render an opinion accordingly. A pervasive myth is that a person cannot be convicted on just circumstantial evidence. Any lawyer who has been anywhere near a courtroom can tell you that people are convicted all the time on circumstantial evidence. If a court case was held to determine whether or not this rifle was Hird's Olympic gun, I would rather be the lawyer arguing that it was rather than the one trying to persuade a judge or jury that it wasn't. In any event, the research to which this this gun led me was an interesting and worthwhile endeavor.
My only regret is that I didn't look at the M1917 Enfield rifle that was in the baby carriage closer. Who knows, if I had looked hard enough, maybe I would have seen an "A. York – Tenn." hand-stamped marking!
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We have a full range of policies in place to provide guidance and assurance to students, parents, and prospective parents. All of our policies are written with the safety and well-being of our students as their fundamental focus.
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Aetna was looking for a compelling way to connect to their clientele. To do so, the insurance company chose to give out cards that allowed recipients to receive an eGift card to an online store of their choice.
Each card provided a code, and with this code, customers were directed to a custom-branded landing page. From there, they were able to choose the store in which they wanted to receive their reward from. Our extensive list of participating stores includes everything from online shopping giants, to delicious restaurants, all the way to designer shoes and clothing.
Delivering codes via branded cards is one of our most popular delivery methods thanks to their flexible nature and low-shipping costs. Cards are compact, lightweight, and manufactured onsite in our facility, which makes the ordering and production process even easier. Additionally, our cards are so convenient they are easy to deliver to mass quantities.
Aetna's choice of using branded cards brought value to their customers, and gave them the ability to choose a universally appealing reward of their choice.


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Abstract Orderism Fractals 68, 69, 70, 71, and 72 – Art by G. Stolyarov II
February 20, 2018 Gennady Stolyarov II Comments 1 comment
G. Stolyarov II
Abstract Orderism Fractals 68, 69, 70, 71, and 72 were created in December 2017 as gifts for individuals who were instrumental to advancing the work of the United States Transhumanist Party or who have otherwise assisted me in profound ways. Each fractal communicates an aspect of the personality, values, and work of the person to whom it is dedicated.
Navigate to Individual Fractals
Abstract Orderism Fractal 68
Abstract Orderism Fractal 68 – by G. Stolyarov II
Note: Left-click on this image to get a full view of this digital work of fractal art.
Abstract Orderism Fractal 68 is dedicated to Adeel Khan – a polymath whose never-ending curiosity and willingness to engage in discourse on a myriad of topics are just the attitudes that are necessary to achieve meaningful progress and make sense out of a complex world. Many of Adeel's ideals align closely with mine, and he appreciates the multiple facets of the mindset needed to bring humankind into its next era – from the embrace of scientific reasoning to the support of the individual's liberty to innovate.
Like Adeel's interests, this fractal branches out in many different directions, but there are common overarching themes of improving our species! The path(s) toward a better world may be spiral in nature, but let all of us earnest thinkers explore them or forge our own.
Abstract Orderism Fractal 69 is dedicated to B.J. Murphy, who has been a steadfast ally and a major contributor to the success of the U.S. Transhumanist Party, of which he serves as the Director of Social Media.
This fractal is gear-like in shape and in the impression of rotation it conveys. The gears at many scales symbolize the technologies that will form the backbone of the new transhuman civilization. B.J. extensively monitors, writes about, and contributes insights to the development of new technologies and entrepreneurial ventures, both on a large scale (for instance, space colonization) and on a small one (for instance, genetic engineering or cryptocurrencies, which exist as bits of code inhabiting physically tiny computer storage drives). The coppery orange color of this fractal is, of course, fitting for gears, but it also completes the color scheme for the U.S. Transhumanist Party, whose colors are orange and black. Orange, in particular, depicts the new political paradigm we seek to bring about. On the visible-light spectrum, orange is between red and yellow. In conventional politics, red has often been associated with socialism, while yellow has often found uses in libertarian symbols. B.J. has a history of involvement with socialist ideas and causes, while I have a (small "l") libertarian background and sympathies (although the world and life are complicated!) – and yet the future cannot be won by either socialism or libertarianism as such. Rather, the orange color evokes our attempt to take the best aspects of these movements, leave behind ideas that did not anticipate the technological future, and invite all thinkers of good will to participate in the creation of the new era, whose political ideology will differ immensely from anything that came before. One reason why the Transhumanist Party has remained ecumenical and diverse – without being able to be pigeonholed as either "right" or "left" – is because B.J., like me and the rest of our Officer team, has understood and embraced the desirability of keeping it out of the political trenches and, instead, focused toward the stars.
Abstract Orderism Fractal 70 is dedicated to Kim Bodenhamer Smith, who is herself an artist and combines a unique and extensive variety of passions and activities. One of these activities is unicycling in caves. (I am not sure just how she does it, but she does!) If you follow the progression of the circles in the center of this fractal, you will see the resemblance to a time-lapse of a unicycle wheel entering a cavernous tunnel. Of course, I made this fractal more colorful than the typical cave, because that would convey Kim's personality more accurately.
In addition to sharing a commitment to truth and justice, Kim also has a highly creative mind and thinks outside of conventional parameters to seek solutions to today's problems and ways to improve life on both large and small scales. She contributed great insights to our recent Discussion Panel on Art and Transhumanism, and she embraces technology and the innovative use of media in ways that get people thinking about how the world might be changed for the better. She has been a great ally to the U.S. Transhumanist Party as we seek these new paths that will lift humankind into its new era of advancement.
Abstract Orderism Fractal 71 is an example of what happens when an artificial intelligence is fed desserts. I started out with a fractal that somewhat resembled an ornate display dish on which desserts might be served. Then I used the Google Deep Dream Generator to sequentially feed it images of cakes and cupcakes by Tiffany Henderson Bateman, who has a thriving baking business. As the AI was "dreaming" of delicious treats, the fractal was transformed! J
Abstract Orderism Fractal 72 is dedicated to John Marlowe, whose staunch advocacy for patients of rare diseases is greatly needed in today's medical system. In spite of his own struggles, John has found the time and energy to contribute to the transhumanist movement and has been a great friend of the U.S. Transhumanist Party, which embraces any and all efforts to increase medical research and funding toward combating as many rare diseases as possible. John has offered excellent insights on films and science fiction at the Discussion Panel on Art and Transhumanism, and I also enjoyed conversing with him at length at the Super Longevity Holiday Party in Newport Beach. John has been there for our movement and for me personally when we needed both a thoughtful and encouraging voice. We will be there for him and for everyone who needs the public, entrepreneurs, and officials alike to recognize the urgency of fighting every disease with the resources at our disposal.
This fractal might be best interpreted as a view from the top down of an upward spiral of progress, from which luminous flames fan out. This can be seen as an illustration that, from the advancement of medical science in general, specific insights and breakthroughs will arise to cure one disease after another – including rare ailments with no known cures today. We do not always know what the breakthroughs will be or which diseases will be defeated when – but the combination of scientifically informed hope and the ceaseless outward pushing of the boundaries of knowledge will improve the chances of as many people as possible. We have a long struggle ahead to win the war against disease and death, but with John as an ally, the Transhumanist Party will strive to make concrete differences for as many people as possible along the way.
About the Abstract Orderism Fractals
Each fractal above is a digital artwork that was created by Mr. Stolyarov in Apophysis, a free program that facilitates deliberate manipulation of randomly generated fractals into intelligible shapes.
This fractal is an extension of Mr. Stolyarov's artistic style of Abstract Orderism, whose goal is the creation of abstract objects that are appealing by virtue of their geometric intricacy — a demonstration of the order that man can both discover in the universe and bring into existence through his own actions and applications of the laws of nature.
Fractal art is based on the idea of the spontaneous order – which is pivotal in economics, culture, and human civilization itself. Now, using computer technology, spontaneous orders can be harnessed in individual art works as well.
See the index of Mr. Stolyarov's art works.
Art, Transhumanism
abstract art, abstract orderism, Adeel Khan, Apophysis, artificial intelligence, fractal, G. Stolyarov II, geometric, John Marlowe, Kim Bodenhamer Smith, math, mathematical art, order, ornate, spiral, spontaneous order, Tiffany Henderson Bateman, U.S. Transhumanist Party
When Matter Touches Antimatter – Music by Rodney Rawlings
Jessica Milne – Presentation on Decentralizing Trust at the California Transhumanist Party Leadership Meeting
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You are incredibly talented, kind, and intelligent. The world needs more Gennadys! What an honor to know you.
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We're one of the manufacturers specialized in Medical Equipment,our product line includes automatic loading stretchers, foldable stretchers, wheelchairs,tic stretchers hospital beds, operating tables so on. Our new models will show.


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Maryknoll Sisters get new convent windows-News 12
https://www.maryknollsisters.org/wp-content/uploads/2015/09/2101509020027908321_2190221.mp4
The Maryknoll nuns personally sent thank you letters to everyone who donated money for their new windows. (9/2/15)
OSSINING – The Maryknoll Sisters in Ossining are counting their blessings after receiving hundreds of new windows for their nearly 100-year-old convent.
About 400 windows in the 92-year-old convent were more than six decades old.
They were impossible for the elderly sisters to open and close. Sister Jeanne Houlihan says that in the winter, the building often felt like being trapped in the middle of a polar vortex.
Last July, the sisters went public about their desperate need for windows. Two months later, they raised $400,000 from 5,000 donors.
The Maryknoll nuns personally sent thank you letters to everyone who donated money for their new windows.
There are about 200 retired nuns living at the Maryknoll motherhouse.
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