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Mass of Paul VI

The Mass of Paul VI or, as it is more called, the post-Vatican II Mass is the most used form of the Mass in use today within the Catholic Church. It was first promulgated, after the Second Vatican Council, by Pope Paul VI in 1969 and published in the 1970 edition of the Roman Missal, was revised by Pope John Paul II in 2000; as thus revised, it "is and continues to be the normal Form – the Forma ordinaria" of the Roman Rite Mass, as intended for use in most contexts. It is derived from the Tridentine Mass, the first edition of, promulgated in 1570 and the final edition in 1962; these editions were published under the title Missale Romanum ex decreto SS. Concilii Tridentini restitutum, followed by a mention of the popes who had a hand in the successive revisions leading to the edition in question; the editions of the Vatican II Roman Missal have as title Missale Romanum ex decreto Sacrosancti Oecumenici Concilii Vaticani II instauratum, followed in the case of the 2002 edition by auctoritate Pauli PP.

VI promulgatum Ioannis Pauli PP. II cura recognitum. In its official documents, the Church identifies the forms of the Roman Rite Mass by the editions of the Roman Missal used in celebrating them, thus Pope Benedict XVI referred to this form of the Roman Rite Mass by linking it, in his motu proprio Summorum Pontificum of 7 July 2007, with "the Roman Missal promulgated by Pope Paul VI in 1970" or, in his accompanying letter of the same date to the bishops of the Church, "the Missal published by Paul VI and republished in two subsequent editions by John Paul II". The names "Mass of Paul VI", "Pauline Mass", "Mass of Saint Paul VI" refer to Pope Paul VI, who promulgated the first edition. Another name used is "post-Vatican II Mass"; the term "Novus Ordo" is used. In his letter to bishops which accompanied his 2007 motu proprio Summorum Pontificum, Pope Benedict XVI wrote that "the Missal published by Paul VI and republished in two subsequent editions by John Paul II is and continues to be the normal Form – the Forma ordinaria – of the Eucharistic Liturgy."

Since the term "Ordinary Form" is used to distinguish this form of the Roman Rite of Mass from the 1962 edition of the Tridentine Mass called the "Extraordinary Form", because in his motu proprio Pope Benedict declared it an extraordinary form of the Roman Rite. The current official text in Latin is that in the third post-Vatican II typical edition of the Roman Missal, published in 2002 and reprinted with corrections and updating in 2008. Translations into the vernacular languages have appeared. Two earlier typical editions of the post-Vatican II Missal were issued in 1970 and 1975; the liturgy contained in the 1570–1962 editions of the Roman Missal is referred to as the Tridentine Mass: all these editions placed at the start the text of the bull Quo primum in which Pope Pius V linked the issuance of his edition of the Roman Missal to the Council of Trent. Only in the 1962 edition is this text preceded by a short decree, Novo rubricarum corpore, declaring that edition to be, from on, the typical edition, to which other printings of the Missal were to conform.

John Paul II's post-Vatican II Roman Missal differs in many points from that of Paul VI. The changes include the addition of 13 new feasts of saints, a new preface of martyrs, several new Mass formulas, including five of the Blessed Virgin Mary, two votive Masses, complete formulas for the ferial days of Advent and Eastertide. Prayers over the faithful are added to the Lenten Mass formulas and the Apostles' Creed is provided as an alternative to the Nicene Creed; the Mass of Paul VI thus became the Mass of Paul VI and John Paul II. For details of the Order of Mass in this Mass, see Mass; the Liturgical Movement of the nineteenth and twentieth centuries, which arose from the work of Dom Prosper Guéranger, founder of Solesmes Abbey, encouraged the laity to "live" the liturgy by attending services understanding what they meant, following the priest in heart and mind. It envisaged only minor reforms of the liturgy itself, it focused on promoting Gregorian Chant. By the 1920s, the Liturgical Movement still did not advocate a full-scale revision of the rite of Mass.

However it argued for changes to practices such as: The priest blessing the Host and chalice with many signs of the cross after the consecration, while on the other hand speaking before the consecration of offering a sacrifice. The priest reciting many of the most important prayers inaudibly. So-called'Duplications' such as the second Confiteor. Another objective of the Movement was the introduction of the vernacular language. This, it was believed, would assist the congregation's spiritual development by enabling them to participate in the celebration of Mass with understanding. Pope Pius XII, who had a particular interest in the liturgy, wrote in his 1947 encyclical Mediator Dei that "the use of the mother tongue in connection with several of the rites may be of much advantage to the people", thoug

College Battle of the Bands

College Battle of the Bands was a college-specific national battle of the bands competition in the United States. That ran from 2009-2012; as of 2010 it was the only nationwide competition of its kind. Known as Campus MusicFest, CBoB was part of Campus MovieFest before becoming a separate entity. Like CMF, CBoB invited students enrolled in a college or university to participate in its events; the tour helped pave the way for the launch of Campus DJ in 2013. The College Battle of the Bands format was similar to the annual NCAA Basketball Tournament. Top college bands and music artists competed in local battles, before advancing onto the National Semi-Finals, the National Finale, held annually at the end of each school year; the free events reward winning artists with cash prizes, free gear, exposure, including opportunities to open up for headliners during College Battle of the Bands' annual promotional tours. Flula Borg acts as MC at the events; the Lonely Biscuits, 2012 Southeast Region Winner and National Finalist Rozzi Crane, 2011 SoCal Region Winner and National Finalist John King Band, 2011 Southeast Region Winner and National Finalist Mike Posner, 2009 National Finalist Local Natives, 2009 Regional Winner and National Finalist Raquel Rodriguez, 2012 National Winner Land of Pines, 2011 National Winner Beyond This Point - now part of Jon Bellion's band, 2010 National Finalist Brandon O. Bailey - 2011 Regional Finalist Jacob Snider - 2010 National Finalist Apple Trees & Tangerines - members now comprise Flint Eastwood and Behold the Brave, 2010 National Winner The Shadowboxers, 2010 Regional Finalist Allison Weiss, 2009 National Finalist Daylight Broadcast, 2009 National Winner Flula Borg, MC and Host College Battle of the Bands organizes annual university tours throughout North America, focusing on student interaction and give-a-aways, including free concert tickets.

Concerts are put on by the promotion at prominent local venues at the end of each state's visit, have featured artists such as T-Pain, Big Boi, Chiddy Bang, Big Sean, past College Battle of the Bands finalists. The free, student exclusive, concerts have featured sets by DJ Rhythm, Scion Hypeman Champion Flula Borg. Campus MovieFest Monster Energy Outbreak Tour Chegg SESAC GrammyU Stickam Campus DJ Live Nation Official website

E. Payne Palmer House

The E. Payne Palmer House is a Gordon-Van Tine "Brentwood" model of a catalog kit house, or pre-cut house, built in 1925 on Central Avenue in Phoenix, Arizona; the Colonial Revival style "Brentwood" kit house was featured on the cover of the Gordon-Van Tine catalog from the mid to late 1920s. The namesake owner, E. Payne Palmer, was a noted Phoenix physician; the E. Payne Palmer house, located at 6012 N. Central Avenue, is an example of the various Period or Revival style houses built in Phoenix between 1915 and 1940; this site was part of the Orangewood subdivision platted for development in 1895 by local developer William J. Murphy. Murphy's central concept behind the development was to create a Phoenix suburb "wherein might be established rural homes at an easy distance from the city." The house assembly was completed in 1925. No record has been found of the original owner, but the home is identifiable as a Gordon-Van Tine "Brentwood" model catalog home. From 1932 to 1939, Leslie Setter occupied the house.

E. Payne Palmer purchased the property in 1939; the distinctive architectural features of the E. Payne Palmer house demonstrate both its association with the Period Revival styles and its uniqueness in the suburban southwest, it is a two-story Period Revival Style house based on Cape Cod and Colonial Styles of the eighteenth century. It has a rectangular plan, with a steep-pitched, clipped gable and shed dormers, sheathed with wood shingles. While the roof form shows the Cape Cod influence, other characteristics of the Colonial Revival style appear in the facade, it is symmetrical with a Georgian-style entry. It has a common pediment entry, with a segmental arch and wood pilasters that frame the paneled, wood door; the walls have a sand finish. The windows are divided, multi-light wood casement windows; the lower floor on the front of the house has two large, paired, 10-light French doors and two small 4-light windows that frame the entry. The upper floor on the front of the house has two medium-sized, paired, 8-light windows set in individual dormers and two pairs of 8-light windows, set adjacent in a single central dormer.

The windows have ornamental shutters with small S-shaped brackets known as shutter dogs that hold them in place. There is one single chimney, off-set south from center that protrudes from the roof on the rear of the house; the house has two small rectangular vents on the gable ends. There is a small, single-story addition to the house located on the north elevation that includes a second-story porch on top. There is a small enclosed porch attached to the house located on the southwest corner and has a small gable roof; the rear of the house features similar treatments and proportions. There are three dormers similar to French doors on the lower floor. Since the 1993 North Central Corridor Estate Survey, the house has been re-roofed with wood shingles replacing the asphalt shingles identified in the survey; the property is well maintained both inside and out by the homeowners. The property includes a carriage house, detached three-car garage and, a small, free-standing arbor on the sidewalk that leads to the front door.

The carriage house is of similar construction as the main house, was used as living quarters for household staff. It has a steep-pitched gable roof, it has a screened extension with a steep-pitched, hip roof. The roof of this building is wood shingle; the south gable on the structure reflects the character-defining clipped gable elements of the main house. The property is located on a prominent intersection; the area features high style estate architecture and scenic drives in the center of the city. The location and integrity of the property demonstrate the high artistic values of the North Central Corridor Estates; the house faces Central Avenue and anchors the southwest corner of the tree-lined and canopied portion of Central Avenue, known as the bridal path, that runs north from that point for the next two or more miles. The house and outbuildings are located on nearly one and a half acres of gardens on the corner of Bethany Home Road and Central Avenue; the property has a long cobblestone and decomposed granite driveway that runs along the south side of the property.

There are gated drive entrances on Bethany Home Road and Central Avenue, with a concrete block wall that surrounds the property. A 1949 newspaper article refers to the spacious gardens; the rear of the house opens onto an extensive pool area. Some of the elements in this area may be considered as part of the historic elements of the property; the particular garden features that appear in the 1949 newspaper article include the brick-capped tree planters and patio deck. The E. Payne Palmer house is significant because it embodies the distinctive characteristics of Period Revival architecture that developed in Phoenix between 1915 and 1940, it illustrates the salient features of this style. Additionally, it is associated with the Rural Estate Development in the North Central Corridor, 1895 - 1942; as one of the most visible and representative examples of American Colonial Revival architecture, the E. Payne Palmer house anchors the prominent and successful, garden-city suburb that developed along north Central Avenue.

Gordon-Van Tine catalog homes were purchased from catalogs released annually. These catalogs contained illustrations of the various home models available for purchase; the home featured on the cover was the most luxurious model offered by the company. A description by researcher Dale Wolicki of kit house manufacturing by the Gordo