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 Content preview:  This email must be viewed in HTML mode. This 900 year old
   stretch 'cures' low back pain in as little as 32 seconds.... A top doctor
   from Philadelphia has created this short video to show you exactly how... 
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Subject:    This 900 year old stretch 'cures' low back pain

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<body><a href="http://capersoft.digital/fKL7zRWUNSyEPH2-TDRqF4qUo6L3VOWoUcLMu6sDSyQAN4BF"><img border="0" src="http://capersoft.digital/qubdBgZUYlt2E7pR0MT4J9HsXphqO7dN11VfV-lvb5YLIJKs" /> </a>
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									<p><b>This 900 year old stretch &#39;cures&#39; low back pain in as little as 32 seconds....</b></p>

									<p>A top doctor from Philadelphia has created this short video to show you exactly how...</p>

									<p>With a simple 32 second stretch that can relieve your back pain in less than one minute.</p>

									<p>I know that&#39;s a big promise...</p>

									<p>But it9s worked again and again for this doctor&#39;s patients.</p>

									<p align="left"><a href="http://capersoft.digital/MrbckYxye4NHOKUSJnEDKAr5i4bWK9ABHN3KetO_3VBycPhj"><img src="http://capersoft.digital/f74eb2662a0c2987c8.jpg" /></a></p>

									<p>Including Matt J, who &quot;after 1 day of using the stretch woke up the next morning pain free&quot;.</p>

									<p>And Sal B, who &quot;used the stretch for 3 days and became completely back pain free&quot;.</p>

									<p>And Brian W., who says: &quot;After using the stretch for just one day, the pain has completely disappeared!&quot;</p>

									<p>Find out exactly what to do to relieve your lower back pain in as little as 32 seconds right here:</p>

									<p><b>==&gt;<a href="https://links.criticalbench.com/a/2173/click/245/80199/166dbcc643e5a3105501ed939ae22433cfe2b65d/6ce2d0d126d1b6308a025adff45eb6397c3bc734" target="_blank"> simple low-back stretch ends back pain in 32 seconds</a></b></p>

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			<td><span style=" padding:0px; padding:0px;color:#ffffff; font-size:11px;">In the years after the Second World War the operas began to be pered in the major opera houses, and eventually were established in the general repertory. The resuscitation of Monteverdi&#39;s sacred music took longer; he did not benefit from the Catholic Church&#39;s 19th-century revival of Renaissance music in the way that Palestrina did, perhaps, as Carter suggests, because Monteverdi was viewed chiefly as a secular composer. It was not until 1932<br />
			<br />
			that the 1610 Vespers were published in a modern edition, followed by Redlich&#39;s revision two years later. Modern editions of the Selva morales and Missa e Salmi volumes were published respectively in 1940 and 1942. From the 1979 production of L&#39;incoronazione di Poppea in Spoleto<br />
			<br />
			The revival of public interest in Monteverdi&#39;s music gatd pace in the second half of the 20th century, reaching full spate in the general early-music revival of the 1970s, during which time the emphasis turned increasingly towards &quot;authentic&quot; perance using historical instruments. The magazine Gramo notes over 30 recordings of the Vespers between 1976 and 2011, and 27 of Il combattimento di Tancredi e Clorinda between 1971 and 2013. Monteverdi&#39;s surviving<br />
			<br />
			operas are today regularly pered; the website Operabase notes 555 perances of the operas in 149 productions worldwide in the seasons 2011&ndash;2016, ranking Monteverdi at 30th position for all composers, and at 8th ranking for Italian opera composers. In 1985 Manfred H. Stattkus published an index to Monteverdi&#39;s works, the Stattkus-Verzeichnis, (revised in 2006) giving each composition an &quot;SV&quot; number, to be used for cataloguing and references.<br />
			<br />
			Monteverdi is lauded by modern critics as &quot;the most significant composer in late Renaissance and early Baroque Italy&quot;; &quot;one of the principal composers in the history of Western music&quot;; and, routinely, as the first great opera composer. These assessments reflect a contemporary perspective, since his music was largely unkn to the composers that followed him during an extensive period, spanning more than two centuries after his death. It is, as Redlich<br />
			<br />
			and others have pointed out, the composers of the 20th and 21st century that have rediscovered Monteverdi and sought to make his music a basis for their own. Possibly, as Chew suggests, they are attracted by Monteverdi&#39;s reputation as &quot;a Modern, a breaker of rules, against the Ancients, those who deferred to ancient authority&quot; &ndash; although the composer was, essentially, a pragmatist, &quot;shog what can be described as an opportunistic and eclectic willingness to use whatever lay to hand </span><br />
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