Question:
Molitor was born in Saint Paul, Minnesota. After graduating from Cretin High School, he was selected in the 28th round of the 1974 free agent draft as a pitcher by the St. Louis Cardinals, but opted instead to attend college at the University of Minnesota. He was a three-year starter for the Golden Gophers, earning All American honors as a shortstop for his sophomore and junior years. Between his junior and senior seasons, Molitor suffered a broken jaw.
Although Molitor wanted to remain with Milwaukee when he became a free agent after the 1992 season, the franchise offered him a one-year contract with a $900,000 pay cut (to $2.5 million), while the Toronto Blue Jays offered a three-year, $13 million ($22,000,000 in current dollar terms) deal, leading to his signing with the Blue Jays. Agent Ron Simon said, "I was also talking with Milwaukee, but it became clear to us that Milwaukee didn't have the same kind of interest in signing Molitor, perhaps because of their financial situation." Molitor quickly became an offensive juggernaut. In 1993, Molitor led the AL in plate appearances (725) and hits (211) and hit .332 with 22 home runs and 111 RBI. Returning to the playoffs for the first time since 1982, he was a key part of the Blue Jays' second World Championship. Molitor hit 2 doubles, 2 triples, and 2 home runs in the Series, earning the World Series MVP Award and tied a World Series record by batting .500 (12-for-24) in the six-game series. In addition, after DHing all season, Molitor played two games at first base and one at third base in the three Series games in Philadelphia. In 1994, a strike-shortened season, Molitor hit .341 and led the AL in games played (115) and singles (107). He also stole 20 bases that season without ever being caught, one short of Kevin McReynolds' 1988 major league record of 21. Molitor's average dropped to .270 in 1995, his lowest mark in more than ten years.
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When did Paul go to the Blue Jays?

Answer:
after the 1992 season,

Question:
Anton Friedrich Wilhelm (von) Webern (German: ['anton 've:ban] ( listen); 3 December 1883 - 15 September 1945) was an Austrian composer and conductor. Along with his mentor Arnold Schoenberg and his colleague Alban Berg, Webern was in the core of those in the circle of the Second Viennese School, including Ernst Krenek and Theodor W. Adorno. As an exponent of atonality and twelve-tone technique, Webern exerted influence on contemporaries Luigi Dallapiccola, Krenek, and even Schoenberg himself.
Webern insisted on lyricism, nuance, rubato, sensitivity, and both emotional and intellectual understanding in performance of music; this is evidenced by anecdotes, correspondence, extant recordings of Schubert's Deutsche Tanze (arr. Webern) and Berg's Violin Concerto under his direction, many such detailed markings in his scores, and finally by his compositional process as both publicly stated and later revealed in the musical and extramusical metaphors and associations everywhere throughout his sketches. As both a composer and conductor he was one of many (e.g., Wilhelm Furtwangler, Dimitri Mitropoulos, Hermann Scherchen) in a contemporaneous tradition of conscientiously and non-literally handling notated musical figures, phrases, and even entire scores so as to maximize expressivity in performance and to cultivate audience engagement and understanding. This aspect of Webern's work had been typically missed in his immediate post-war reception, however, even as it may radically affect the music's reception. For example, Boulez's "complete" recording of Webern's music yielded more to this aesthetic the second time after largely missing it the first; but Eliahu Inbal's rendition of Webern's symphony with the hr-Sinfonieorchester is still far more within the spirit of the late Romantic performance tradition (which Webern seemingly intended for his music), nearly slowing to half-tempo for the whole of first movement and taking care to delineate and shape each melodic strand and expressive gesture throughout the entirety of the work. Gunter Wand's 1966 recording of the Cantata No. 1 (1938-40), op. 29, with the Symphonieorchester des Bayerischen Rundfunks et al., may likewise be contrasted with both of Boulez's renditions.
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What was notable about his music style?

Answer:
extramusical metaphors and associations everywhere throughout his sketches.

Question:
Dorothy Jane Roberts (May 8, 1929 - September 5, 1984) was an American author, poet, self-proclaimed psychic, and spirit medium, who claimed to channel an energy personality who called himself "Seth." Her publication of the Seth texts, known as the Seth Material, established her as one of the preeminent figures in the world of paranormal phenomena. The Yale University Library Manuscripts and Archives maintains a collection entitled Jane Roberts Papers (MS 1090), which documents the career and personal life of Jane Roberts, including journals, poetry, correspondence, audio and video recordings, and other materials donated after her death by Roberts' husband and other individuals and organizations.
Roberts and the Seth Material have attracted critiques from outside the paranormal community. The poet Charles Upton, in his collection of essays titled The System of Antichrist, posited that Roberts multiplied the self due to a fear of death. His opinion was that the Seth texts are based on a misunderstanding of both Christianity and of Eastern religions. Professor of psychology and noted critic of parapsychology James E. Alcock opined, "In light of all this, the Seth materials must surely be viewed as less than ordinary. There certainly was the time and talent for fraud to play a role, but we cannot discriminate between that possibility and the possibility of unconscious production--at any rate, given these circumstances, there seems little need to consider the involvement of any supernatural agency." Seth's teaching of a philosophy far more detailed than and not in keeping with traditional Church-authority, God-separate-from Creation, one-mortal-life, Jesus-centered messages has also received its share of criticism from some Christian believers. Various ministries have warned their members about the dangers and deceptions of reading channeled messages from Roberts and others. The Seth Material has been considered in certain circles to be "a book entirely written by a demon. A woman simply wrote it down as it was dictated to her by the demon; and, of course, it just destroys everything that is true in terms of God's revelation," and as evidence for "Devil possession." Videos such as Jane Roberts' Seth Speaks is Anti-Catholic Hate Books - Allowed By The Media protested that Seth was "a demon from hell contacted through a ouija board." Science writer Karen Stollznow has written that much of Roberts work was "criticized for being a rip-off of Christian and Eastern philosophy. It comes as no surprise that Seth influenced such authors as Deepak Chopra and Louise Hay." Since Roberts' death, others have claimed to channel Seth. In the introduction to Seth's first dictated book, Seth Speaks, "he" says, "communications will come exclusively through Ruburt [Seth's name for Jane] at all times, to protect the integrity of the material." In The Seth Material, Jane Roberts wrote: "Several people have told me that Seth communicated with them through automatic writing, but Seth denies any such contacts." At least one person has claimed more recently to channel Roberts.
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Was Seth considered a God?

Answer:
A woman simply wrote it down as it was dictated to her by the demon; and, of course, it just destroys everything that is true in terms of God's revelation,