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Aim: to investigate whether pulpal tissue of an immature tooth is able to survive cryopreservation, and whether the cryopreserved pulpal cells have the same growth capacity compared with non-cryopreserved pulpal cells. material and method: pulpal tissue was obtained from 36 extracted immature third molars of 13 subjects between 15-30 years of age ; . each pulp was divided in two. one part was equilibrated with dimethylsulfoxide and frozen using standard cryogenic procedures. after thawing, the pulp was divided into fragments and cultured using the explant method group a ; . the other part was divided in to fragments and cultured immediately without cryopreservation group b ; . a cell line consisting of fibroblasts ; was considered to be successful when confluence in passage 1 was reached. for each tooth a comparison was made between the cell lines in groups a and b. results: due to bacterial contamination in either group a or group b, a comparison between cryopreserved and non-cryopreserved pulpal cells was impossible for 16 teeth 44% ; . for this reason, these teeth were excluded from the study. for the other 20 teeth, cell lines in both groups were successful and similar; even the start of outgrowth of cells seemed unretarded in the cryopreservation group. conclusion: outgrowth of fibroblasts in group a shows that pulpal viability can be maintained during cryopreservation. cell lines in groups a and b were very similar, indicating that the growth capacity of pulpal fibroblasts does not seem to be negatively influenced using standard cryogenic procedures. to increase the clinical relevance of this experiment, further investigation is required on pulpal viability after cryopreservation, for example to evaluate whether the diameter of the apical foramen plays a role in the amount of infiltration of the cryoprotective agent into the pulp chamber tissue.

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The morts-qui-dancent is cursed to play their music for eternity. the origin of this curse is not widely known. the bards themselves politely avoid the subject, except perhaps with their closest friends and allies. this curse might explain the aura of sorrow that seems to follow them at times. their story begins with their first public appearance in mordent in 641 bc. after just a few years of touring, they suddenly disappeared from public view, only to resurface in kartakass some fifty-five years later. among the few folk who know them closely, a popular theory is that the lord of a domain commanded the troupe to roam the lands of the core and spy on other domains on his or her behalf. in these rumors, the identity of the darklord in question is debated. some say it is azalin rex, dread lord of darkon, but others speak of kartakass' lord harkon lukas, since he too is a bard, while others believe it is the wizard tyrant hazlik. of course, the morts-qui-dancent, being young and strong-headed, would have likely refused such a command. regardless, the bards are now free of their master's leash, if not his curse. the truth of the matter is not far from the rumors. shortly after their career began in 641, the troupe wandered into gundarak, where they were arrested, brought before duke gundar himself, and accused of spying. after a lengthy interrogation, they convinced the duke that they were not spies, but gundar nonetheless bade them to stay and play for his amusement. their antics did not hold his attention for long, however, and within a few weeks he tired of the bards. the duke then had an idea that he considered quite clever: why not make the bards his own spies? though the morts-qui-dancent politely refused gundar's offer of employment, the duke was not so easily dismissed. he had them imprisoned out of spite and urged his wizard son medraut to devise a punishment for them.
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Of an acoustic guitar. bigsby's creation was eventually manufactured and marketed by guitar maker leo fender. the design revolutionized the guitar industry. another revolution that merle travis had a hand in was multitrack recording. as the advent of recording tape came into usage, replacing discs, it became possible to "bounce" tracks from one machine to another. by utilizing the machine's different speeds, travis was able to speed up the sound of his guitar. it was first used on the 1946 capitol release of "merle's boogie woogie, " in which travis took blues couplets from a variety of sources including one that he lear ned from blues singer leadbelly ; and interspersed them with eight-bar breaks of his "lightning guitar" sound. although used initially as a novelty, multitrack multispeed recording techniques became familiarly associated with les paul and mary ford, who overdubbed voices and guitars, varied speeds, and created unusual effects for dozens of recordings in the late 1940s and early 1950s in 1953, merle travis was featured as a singing enlisted man in the academy award-winning motion picture "from here to eternity." the song, "re-enlistment blues, " which was written especially for the picture, was featured throughout the film as a background musical motif. but in one scene, travis appeared, playing guitar and singing the tune. for merle travis, the decade from 1945 to 1955 was his most successful as a songwriter. his hit compositions landed him appearances on radio and television shows throughout the country. he became a regular, familiar presence on los angeles programs like "hometown jamboree" and "town hall party." his busy recording career had him making dozens of bestselling discs for capitol records in addition to working as a sideman for hank thompson, ernie ford, and others. in 1955, ford recorded travis' "sixteen tons, " which had been included on the 1946 "folk songs from the hills" album. with a new, sophisticated instrumental backing arranged by musical director jack fascinato, ford turned the wry lyrics of the dreary existence of a coal miner into a fingersnapping million seller. it brought merle travis new fame and introduced his other songs to an even wider audience than ever before. 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"what `bout him?" hodge said, gesturing toward the fallen cleric. "bring him, " dannel said. the dwarves shared a look and grabbed the cleric. it took the two of them to lift him enough to drag, heavy as he was with his armor. "bring his sword, too, " dannel reminded them. "he'll need it, when we come back." hodge was puffing as he and arun struggled to drag the priest toward the exit corridor. "yer know, yer could help a bit, " he suggested, along with something else under his breath that wasn't quite audible. zenna reached down and picked up the sword. "what do you have in mind, dannel?" she asked. "rear guard, " he said. "carrying him you'll never outrun those giants, if they decide to come after us." "but--" "there's no time to talk about it!" he said. "no go!" even as he spoke, the elf darted up along the wall, using his magical slippers to scale the sheer surface effortlessly. "mole, come on!" zenna said, from the corridor. "i think i'd better hang back and make sure he doesn't get his head smooshed, " the gnome said casually, standing by the base of the sculpture. "you go on, we'll follow." she grinned. "don't worry, i can outrun them." even as she turned back to the tunnel, to see hodge and arun barely halfway down its length toward the ruined gate, she felt a rumble that she knew was the heavy tread of giant footprints, drawing nearer. she looked back toward the corridor, knowing as well that the hags could return at any moment, that the foul things were far from beaten. 434. Chapter 18 recovery of tax benefit items 100 the commissioner will follow federal rules, regulations and revenue procedures relating to recovery of tax benefit items as are deemed not contrary to the context and intent of mississippi law. reserved ; reserved and where to play poker. 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The front window." "you could definitely rule out a plane?" "definitely, " she said. "if you're around here any time at all, you'll notice the b-47's come by here on their landing pattern, and they go just about directly over this house. then they head out to sea, to the east, turn slightly west, and come in by rye and north hampton. so i familiar with all that. and, oh, there was one thing i forgot to tell you. right after i saw tf there was a commercial plane moving on a steady flight pr and i used that to contrast it with this thing, and to chec altitude and erratic movements of the object. now what es did it look like? i'd say maybe it looked like a golf ball, slit off more than half, and with another slice taken off where fin was. as close as i can describe, it was very bright, not like any kind of light i can think of. i know i've seen something like the texture of this light, not a regular electric light. matter of fact, the puritron was the first thing i thought of." "what's a puritron?" "it's an ultraviolet light, an air purifier. i have one here and i'll show you. the light was bluish: greeri, but more green and ihe next morning, october 21, i had an appointment with white than it was blue. it had very definite outlines, and that mrs. virginia hale--a upi stringer and a reporter for the was what i wasn't quite sure of at first. it did have a little glow haverhill, massachusetts, gazette. she lived in a generous ranch around it, but that could .easily have been a reflection of what house on a trim residential street in hampton, not far from was coming from within." the ocean. mrs. hale was an experienced observer. she knew "can you tell me what portion the glow was coming from?" every conventional flight pattern of the nearby portsmouth "well, more or less from around the rim, that's what i noair base, as well as the commercial air lanes reserved for air- ticed when it was going north along the coastline. and sort liners on their way to boston. of spread up the top part of the dome." she took me immediately to her kitchen window, set above "was it a bright light? anything like neon?" her spotless stainless-steel sink, and pointed out the portion of "you're getting close, " she said. "when i described it to my the sky in which she first saw the unknown craft. she had, kept daughter--she's 14--she said you mean something that makes it in clear view over a five- to 10-minute period. she pointed to heat? but i would say more like one of these modern streetlights a soapish smear on a pane of her window. that glow so brightly. except that it seemed more contained. "i put my finger in the dishwater .the minute i saw this thing it seemed to have more substance." ; in the sky, " she told me, "because i wanted to clearly mark the "could you tell if the surface was metallic or not?" mrs. hale's position where it was when it first came into view. the only description was so articulate, i wanted to get every possible thing i had handy to do this was the soapy water, and you can detail . ' still see it there--faintly of course. but it's there." "i could not say that it was, " she said. it was. enough of a mark to line up a fix on a certain portion "any portholes?" of the sky, above the rooftops of her neighbors' homes and out "no, nothing like that." over the atlantic a short distance. it was from this general por"jet trail?" tion of the sky, i recalled, that sergeant farnsworth had de"no." scribed the craft coming in over the two hysterical young men "sound?" on the hampton boulevard that early morning when they had "absolutely none. none at all." been whisked to the coast guard station to make their report. "when it stopped, you say it stopped still?" "i don't know the date i saw this, " mrs. hale told me, after "absolutely." she had poured a cup of black coffee in the kitchen. "i'd say "did it wobble at all? rock?" two to three weeks ago. i was standing right here by the sink, "no." about 25 after 6 in the evening. it was dusk, it wasn't quite "absolutely stationary?" dark, and there was still plenty of light. the reason it caught "yes. that's the thing that struck me. it hovered only in the my eye was because it was bright and because it was going slow, sense that it remained suspended. i had heard of some of the very slow. not at all like the path of the planes as they come other reports and they had said that it rocked or wobbled." over. so i automatically figured something is wrong. then--it "did it behave aerodynamically like a plane at all?" stopped dead over that house--" "well, when it came back toward me, it was going too fast she pointed to the roof of her neighbor's house, just out the for anything that i know. that's for sure. and in the pattern kitchen window. "it was about three times the height of that that it was coming, none of the planes around here would use chimney, " she continued, "and it hovered there. now you know that pattern. not even the local ones. when it was out in the four minutes is a long time and that's why i hesitate to say east, i thought it might have been a reflection from the chute that. but i'm pretty sure it was that long. then i marked the that the b-47's use just before they touch down on the runway." window with the smear from the dishwater, so i could rememthis, i noted, snowed an inclination to check out her own ber where i lined up the spot." sighting against other possibilities. it helped support the acwe moved outside, as she reenacted what had happened. "at curacy of the testimony. the moment the object stopped i came out here on the terrace. "about the shape again. could you give me any more denow, i would estimate that it was out beyond the coast guard tail?" "well, if you turn a real deep, very deep saucer upside down, station which is right on the shore, just over these houses here. after it started up again, it moved much faster. the b-47's go you do come dose to it, if you break out a corner on it. if i further east and further north before they cut back. and when could think of the right type of light i've seen and the right this thing cut back toward the southwest, coming directly back type of plastic to put it inside of, that's the impression i had." "a glow from within that left a halo effect?" and losing altitude fast, coming in really fast, and coming, al"that's about it." most, i swear i thought it was coming right at me. of course, "and the size of it? could you give any estimate of that?" to be frank, i was hoping it would land. and it cut over this "it was big." house behind us here, and i knew i would lose sight of it. but "if you saw a b-47, which you know so well, going over in a also, it was going so fast i thought it was going to crash." landing pattern, how would it compare?" "could you get a clear look at it at this time?" "if it were strictly on its landing pattern, i would say that "well, at this point i could see from underneath, too. it was dome-shaped, and underneath, it was flat. its altitude was now a b-47 would be half as big." i had gotten a number of leads from scratch toland and about twice the height of that chimney. by the time it was over here, i could see the bottom and the front of it plainly. and here other policemen in hampton and exeter. the next one i foli got a full view of the bottom and the back and tail, maybe lowed up was mrs. rudy pearce. her home is in a miniature you'd call it a fin. then i went into the house tind looked out levittown-type development on warner lane. it is a split-level.
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What will i study? dance as and a2 develops and extends the knowledge, understanding, and skills needed to participate in, and communicate through dance in a variety of contexts. you will be expected to participate in and choreograph dance pieces based on given stimuli. you will learn anatomy and how to train and care for the body, how to use dance notation and to comment perceptively and critically on the structural and expressive aspects of dance. how will i be assessed? g at as you will take 2 units: unit 1 is assessed by written examination assessing the unit entitled `understanding dance' ; , unit 2 is a practical unit in which the skills of choreography and performance are taught and assessed. g at a2 you will take 2 units: unit 3 involves an investigation into one of ballet, modern or jazz dance forms. the unit is assessed by examination. unit 4 involves group and solo performance and is assessed by practical examination. what can i do next? you may continue with dance training at conservatoire or university level. you could combine the study of dance with other subjects. what do i need to start this course? you need a minimum of 5 gcses grade c or above including gcse dance at grade c or above or other significant dance experience. if you do not have gcse dance you will be invited in for an audition. you must have good practical skills and should be taking some form of dance class outside the college timetable. a willingness to perform in public and also the ability to work on your own is essential. a strong commitment is needed. Who won an incredible 0, 04 20 wsop tryangle the play omaha poker championship and Live Search.

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