TP: What type of repertoire does the band play in performance? Do you play the whole spectrum of material? WM: We play all of it. TP: Two of your band members, Wessel Anderson and Reginald Veal, studied with Alvin Batiste, who has been associated with your father for over forty years, playing contemporary and very strong music. WM: Definitely.

You know, for me, it was more that I just absorbed the music, because I was always around it. We were really Country. My Daddy and them always were kind of like outcasts. They were trying to play Modern Jazz in New Orleans at that time. But I always loved them because of their hipness.

They had the combination of the intelligence and the soul. So as a kid, that manifested itself in things like, if we were in the barber shop, my Daddy would win the argument. WM: Yeah. Well, he just knew a wider range of things. He was a Jazz musician. He had a more sophisticated understanding of American culture. James Black was the same way, even though he had a volatile personality. But he had a volatile personality. He was always getting into some kind of trouble, and he was always ready to fight at the drop of a hat.

You never knew what he was going to do; he was unpredictable. But as a boy of like, seven, six, eight, there was always something about him I liked. He also was a trumpet player. I was influenced by his music. I would go to the club just to see the men and the women and hear what they would be talking about, not to really check the music out so much — but the ambiance had a profound effect on my understanding of how the world works.

WM: …and levels of human intercourse taking place. As men they had a profound effect on me more than as musicians. WM: Well, I had a trumpet. Herlin Riley actually played trumpet in that same band, but before I was in it. I was only in the band for like six months or so, actually longer, maybe a year. I wanted to be some type of athlete or in some type of scholarly activity, be a chemist or something — I had my little chemistry set, and I liked playing with it. But the thing I always try to convey is just the feeling of that time.

We had a little league football team, and we used to lose almost every game. This was during real segregation, so they had like three Black teams and seven or eight White teams. We were glad just to be playing. Because before our age, they never had Black teams.

But we would lose every game. He packed all of us into this little Buick Skylark; he had like eleven of us in a Buick Skylark, man…. WM: Oh yeah, in full dress. We were laying all on top of each other!

WM: Well, then I went through puberty, and I wanted to have something that would distinguish me so that I could be able to rap to the ladies and they would have some respect for what I was saying…. And also just the competition of being in high school; a lot of people could play.

And then I actually started listening to music. WM: Well, my father always had the records sitting around. I just had never taken the time to listen to any of them.

Mainly before that I was just listening to like James Brown or the Isley Brothers, whatever was popular — Earth Wind and Fire then was becoming popular. Once again, it was still in the country. In the summer that I was twelve, I was working, cleaning up a school. That got me into Jazz. TP: How about Jazz education? At most, my father never had more than five students in a class.

We had the raggediest room in the school…. WM: Well, none of us knew we were going to make it playing Jazz. Alvin Batiste was the same way. You know, I would always see them struggling, trying to have workshops in the community that no one would attend, always doing stuff — never for any payment, of course.

Nobody was that interested in Art. So now my father has this big reputation of being a teacher. And he is a great teacher. He teaches his students through that method. But when we were growing up and in his classroom, it was only me, Donald Harrison, Branford, Terence Blanchard — we were the only five or six in the class. He would be just experimenting with us, walking the bass lines. TP: You must have become extremely passionate about the trumpet to have worked that hard at it throughout your teenage years.

WM: Well, I always believed in working hard. You know, I used to cut lawns. And in Kendall they have them big…them country lawns, so you have to really cut a lawn.

And my attitude toward cutting a lawn was that my lawn was gonna be even. And this is when I was ten or eleven. My great-uncle was a stone-cutter for the cemetery, and he was in his nineties.

Your job is your identity. You work your job for yourself. So when I got to be serious about music, I started practicing, and trying to look for teachers. I was very fortunate, of course, to have my father and Alvin Batiste, even Kidd Jordan. We would all just get in a big room and just play as loud and as wild as we could. But we would all laugh about it. So we grew up in that type of environment. My first teacher was a guy named John Longo. He also was at Southern University in New Orleans.

He had grown up in New Orleans, and attended St. Augustine High School. John Longo studied with George Janson, who was my second teacher. George Janson had studied with William Vaggiano, who became my teacher at Juilliard.

They were Jazz musicians, my father and them, they were struggling with the world and trying to raise their families and deal with the social situations and all of that.

And we were growing up in that, and we were just a part of it. The relationships in the New Orleans musical community were a certain way. It was a community, a very small community, and everybody knew each other. And if you were in that community, you participated in what was in it. TP: The other aspect of music in New Orleans in the Sixties and Seventies was the vernacular music that was embedded in the cultural fabric of the city — the Neville Brothers, the Meters, all of these great bands.

Was that something that you were aware of and involved with at that time as well? Everybody in New Orleans knows about them; they have hits. But the type of music that most of the people in my age group listened to was Parliament or Earth, Wind and Fire, just like in New Orleans today most people listen to Rap music or whatever is on the radio. At the end of every Funk gig we would play the Second Line. In New Orleans you can play a second-line any time. We were mainly just trying to be popular and current.

These styles are always alive, because Jazz has a ritualistic component. You have that polyphonic horn style, which is very difficult to play. When Michael White comes to New York, when he comes to Lincoln Center and we present New Orleans nights, we do that because he is the foremost authority on that style of music.

He breathes life into that music. All of the musicians, everybody who plays, learns from that type of music. If you play clarinet or if you play the trombone or the saxophone, it teaches you how to play with other musicians on horns, how to play longer-note values, when to play riffs, how to respond to something while still playing, how to address the dynamics of a group of horns playing at one time.

If you play bass, it teaches you how to play that two-groove and how to stick to a basic beat feel, Album) to provide a good foundation. If you play piano, you learn different ways of comping, like the quarter-note comp, and it teaches you how to play with the left and the right hand, the stride style.

Now, after you learn that, you can do whatever you want with it. You can always do what Marcus Roberts does, which is something that you would never hear any of the older pianists do, play in two and three different times at once, all kind of real sophisticated syncopations and different harmonic conceptions.

Then you have the tools at your disposal to do whatever you wish to do with them. TP: When you came into the studio, before we went on the air, you were talking about how difficult it is to train people to play like that. Do you want to elaborate on that a little?

Everybody wants to solo all night. It destroys the architecture of the music. Also, we have gotten used to this form of just playing a head, and then soloing for two thousand choruses, and then playing the head out. Whereas in that New Orleans music, they played marches and waltzes. They actually played quadrilles. They played music with a wide range of forms. The forms are much more sophisticated.

There was something in his feeling that could teach you what the meaning of Jazz was. And to pass that on to younger musicians is really difficult. TP: New Orleans, of course, is a port city on the Gulf of Mexico and deeply connected to the whole Caribbean region in complex ways.

WM: Well, not from that aspect. But I always liked Rafael Mendez, who was Mexican. It has always been my feeling that next to Louis Armstrong, he was the greatest trumpet player I have ever heard. Just the soul that comes through his sound. Sandoval has that, and musicians like Chocolate [Armenteros], they have that kind of thing, and even guys who are not well-known in that way, somebody like Victor Paz, who I had the opportunity to play with, he has that type of feeling in his sound.

Of the younger generation of musicians, I think a guy like Charlie Sepulveda has that in his sound. But of course, in the Caribbean they have a much more sophisticated version of it. Some say New Orleans music. Jazz in Lincoln Center is what I believe in. Whereas people who are not playing in the style of Jazz might take that same groove, and they will still be improvising, but what they will be playing will be more proscribed.

They can improvise, too, but it will be off of the clav? Which is not to say that Jazz is more sophisticated. Because the other way is very, very sophisticated. But when the horn players play and the soloists play, we deal with interaction.

The key to Jazz music is the interaction of the voices. It also becomes then a matter of percentage. It would be like some water with some lemon in it. That really determines whether something is Jazz or not. These people like James Lincoln Collier, who writes these ignorant books. See, a lot of times all you can find in libraries of colleges will be James Lincoln Collier and one other book.

You have to teach them something about music. Like what I was saying about my father. But we are burdened with a lot of the guys who write for our music because they lack the humility to really successfully communicate the feeling of the music to the public.

TP: Another aspect of learning to play the Blues or the idiomatic nuances of Jazz is just functional, practical experience. Where do young musicians get that these days? I could tell what it was from being around my father and them. But what we considered Jazz, like in my band and stuff, that was like some Funk tune with somebody putting a solo on top of it. We were trying to do what we heard on the radio basically. Who are you going to play with? Because there are more and more people who want to play.

When I was, like 17, there was me and Wallace Roney, and then Terence Blanchard was LP of coming up. But before I met Wallace Roney, I had never met another trumpet player who really wanted to play real Jazz. Wallace really wanted to play. But you have to play this music. Whereas now, when I go around the country, I see hundreds of kids who want to play. Now we have to put the systems in place to enable them to learn and prosper and develop.

The kids are ready. But the systems just are not in place to support them. For example, there are people in the Jazz community who will complain because some twenty-year-old kids have a contract. Well, to me, this is a reflection of deep ignorance. But what is the response of the Jazz community? Somebody like Roy Hargrove might have been the only person in Dallas who wanted to play and really seriously swing at his age. A guy like Roy Hargrove has got to be celebrated by the Jazz community.

But the fact is, he is trying to play. But you have to be cognizant of… Are you the Jazz community or are you not the Jazz community? What happens in the Jazz world defies logic. I never can really figure out if the intellectual community and the writers who surround the Jazz community are interested in the music. TP: Well, a lot of it is also marketing, and a lot of marketing is inherently ludicrous anyway.

Because they are the Establishment. Because no kids or people who want to learn how to play are learning practicing their philosophy. And they are so stubborn and they lack humility, that they end up being detrimental…. They are an albatross. They sit on top of our music and they push it down instead of raising it up.

TP: On your last few recordings, some of the ensemble pieces have utilized Ellingtonian voicings and tactics in a very creative and I think personal way. I can really hear some things coming out that were touched on and echoed in past years.

WM: Well, just trying to be a part of the tradition. This is a steady growth process for me. I try to educate myself as I go along. WM: I was 18 or Stanley Crouch played some Duke for me. I mean, I was so steeped in the philosophy of my generation that… Then gradually I would start to listen to it, and hear all kinds of different forms, and people playing in different times, and the harmonic sophistication coming out of the Blues.

Then I got in touch with Jelly Roll Morton through the concert we did at Lincoln Center, the Jelly Roll Morton concert, and that gave me an understanding of how to construct these forms. His genius speaks for itself. His conception is very, very clear, and his penmanship is very neat.

He writes the notes very small. TP: A final question. Would you discuss the place of virtuosity in Jazz and in improvising? WM: Well, I think that virtuosity is the first sign of morality in a musician.

And there are many different aspects of virtuosity. Many times, when we think of virtuosity, we think only of velocity. But there is also tone, flexibility, and then the virtuosity of nuance or ability to project different types of feeling through a sound.

But you find in the history of Jazz that the musicians have always been virtuosos. Thelonious Monk. Charlie Parker, Coltrane, and Sonny Rollins — the list is endless of people who were serious practicers.

Coleman Hawkins. Paul Chambers. All of these men were virtuosos, and all these men believed in technical competence. After this interview aired, the editor of this magazine contacted me about printing the interview in conjunction with a brief review of Blood On The Fields. He suggested I speak again with Marsalis to flesh things out. He came down to the club. My father had told me earlier in the summer about having read an interview with Stanley and Imiri Baraka, where he had said that he thought that Stanley was making much more cogent points.

I had just come from New Orleans. And Crouch invited me to his house. Stanley was living in this small apartment, but he had thousands of books and records. He reminded me of a history professor that I had in high school. His name was Diego Gonzalez, and he lived three blocks from my house on Hickory Street in New Orleans, so I would stop by his apartment sometimes on my way back home. He was a Classical Music fanatic, so he had thousands of Classical albums, and he also was the coach of the chess team.

So I really could relate to that. He started playing all of these albums for me, and asking me what I thought about it. Well, I had never heard any of that. I had never really listened to it. This is Duke Ellington. I mean, I had been around the music my whole life, but I had never looked at it artistically in that way. I had never studied it.

I was so used to being the only person I knew that really was into Jazz, that to meet somebody like Crouch blew my mind really! It would be stuff that I had never heard of before. It was just fascinating to me. Then we started talking. I would call Crouch, and he would just tell me about all of these books and things to read… Still. I still learn a lot from him. He and I talked last night. But there was a time when me and Crouch would talk almost every day. And we never have, like, lightweight conversations.

Well, actually, that came from Al Murray. Al Murray told Crouch to read it, and Crouch had read it. He was telling me about the whole big lesson of a blessing being a curse, how you might get all this publicity and all this, but you also have to deal with the weight of this other thing. That goes all through Thomas Mann. William Faulkner. I would read something, and then I could discuss it with Crouch.

All kinds of stuff on music, man. Books on music like Early Jazz by Gunther Schuller. That was the first book I had ever read that addressed the expression of Jazz the way I knew it to be. Because there was such a big breakdown… My generation was really only into Pop expression, and Pop music, and Pop thought.

Most of the seriousness I experienced when I was growing up really only came from me. I was always trying to make them become more serious! That was like a social thing. And I would always be confusing social science with music. We grew up playing Funk music, which has very little Blues in it.

The Blues music is more continuous. You have to come up with ideas, and you develop them through the form. If you can trill a note up high and circular-breathe on it, you do that, you know…. TP: Albert Murray writes about Blues as a cultural style.

How does that translate into this period? Our music was mainly party music. The music was a background, really. People would shout for you if you played something that was flashy. The whole dialogue in the society was different. To us, the Funk was what was central. WM: There are certain things that Albert Murray strongly believes are at the root of the real Afro-American and also the American experience.

Like, I never looked at the people my age as being that different from my father. Of course, my father was a Jazz musician. I never was a part of any movement when I was 15 or 16 that I felt was hipper than what my father was doing.

We had our Afros and our dashikis and platform shoes, and whatever the trend of the day was, and we played Funk music. But I never had the feeling that what we were doing was as hip as what my father could do, or that we knew anything more than what he knew — or my grandfather, or my great-uncle.

Albert Murray believes in that, in the continuum. The whole question of affirming something, having a dialogue with something; counterstating it or else affirming aspects of it. The true central proposition that I really learned from Al is optimism.

Because in that way, the Afro-American expression is fundamentally different from European Art expression. A lot of European Art, especially in the Twentieth Century, is pessimistic, is tragic, has a tragic vision of what stuff is, whereas the Blues expression recognizes the tragedy but is optimistic. He sat down with me, and we went through all the different forms of tragedy, going all the way back to Greek tragedies, to Oedipus, The Libation Bearers and Agamemnon, how you set the tragedy up, the modes of tragedy, the complaint and plaint — we analyzed all of these things.

I started to really contemplate what he was saying, and I came to an agreement with what he was saying. But Duke Ellington was swinging. WM: Well, that was always what I wanted to do. But that was my intention from the beginning of playing music, from my first album.

Whatever information I knew about, I was always trying to include it. My thing is to not cut myself off from my own tradition. Because I grew up playing all of that different type of music. I played in a waltz orchestra. I played in the marching band. I played in a Funk band. I played in a Jazz band. I played in a circus band. Played on a Broadway show. Played Salsa music. All of these musics are part of my experience as a musician. WM: Well, it is very natural to me. First, I only went to school for a year — to Juilliard.

I went for one year. And there really was no Jazz class. I remember the first band we had, my brother had gone to Berklee, so he knew more about Jazz music, because they have all these exercises and stuff that they had done. A lot of what I have learned about Jazz music, I have learned from the musicians. I learned stuff from Art Blakey.

I had the opportunity to play and talk with Elvin Jones, and I learned a lot from him. Sweets Edison. Clark Terry. Roy Eldridge taught me how to growl on the trumpet, then I started trying to learn how to do that. How to use the plunger. Joe Wilder gave me lessons on how to play with the hat. I mean, these things I just learned. To me they are all techniques that are important to know, because the expression of Jazz music is something that you have to just be familiar with.

I remember being around Blue Mitchell or Sonny Stitt. Something like a New Orleans parade; I played in parades when I was eight years old. Now, because the environment that I grew up in was so poor in terms of what my generation was playing, my playing suffered. TP: In Blood On The Fields there are some impossible-sounding ensemble passages for horns that were executed flawlessy and totally flowed.

WM: Well, I just learn slowly. I get these scores of Duke Ellington, and I study them. I talk with Dave Berger. He helped me, just some basic things about the voices and about the instruments. I really wanted to play with Art Blakey, or to play Jazz music. Like, when Crouch brought me those Duke Ellington albums, it was twelve years ago. I play a style that has a lot of multiple rhythms in it and a strange kind of chromatic way of playing through the harmony.

So when I write it out for the ensemble, it sounds very strange. I turn the beat around. But I have been playing that way for ten years. WM: Well, Cassandra did a great job. She wanted to sing it. She worked real, real hard on it, and it was very, very difficult to get it together. Really, she just worked on it and hooked it up. Miles Griffith also worked very hard on his parts. There were a lot of different things I was trying to investigate.

Most of the words are generated from today. I used the situation of the people today, but I made them speak like they were slaves. Anybody, hear this plaintive song. Anybody in the world, hear this plaintive song. Then it gets specific. Who wants to help their brother? Who out of all these people will help me dance this dance? Just to hold the dance… You dance your way through the world, through life. Dance is the first art. So it gets more specific, like a community of people. Who wants to help me dance this dance?

It has forgiveness in it. It has a beauty to it. This is the thing that has been devalued. But the whole lyric comes down to that one thing. Who wants to help their brother dance this dance? WM: Well, each one comes out of the experience. It just goes up and down, up and down…. WM: Had the sections going against each other.

She plays, and the band is like the waves pounding against the ship; it just keeps coming in. Then the harmony goes inside. And Cassandra heard it. She adapted to the form so quickly. Because I felt that the form would be difficult for her to grasp, but she understood it immediately.

She just gravitated toward it and sang it. When they do the coffle march, she sings like a dirge. How are they generated in your mind? WM: Well, it depends on where they are. Plot summary. It is during this riot that Hopkins kills his first man, a deranged armory sergeant who was hunting down and killing African Americans.

Eighteen years later Hopkins is now a sergeant with the LAPD and has the highest number of arrests of any officer in the department's history.

He is considered a genius by many of his associates for his uncanny ability to make intuitive leaps of logic when tracking down criminals. Soon his abilities are put to the test when he investigates the brutal murder of a woman who was disemboweled in her apartment.

Hopkins quickly deduces that the person responsible for this murder has in fact been killing women since the late s, but has never been caught because he always changes his modus operandi. A subplot of the novel involves Hopkins' relationship with his family. He adores his three daughters and deeply loves his wife, though he is terminally unfaithful to her.

His wife loves Lloyd, but begins to realize that his habits are not healthy for their children, particularly his propensity for telling them about the cases that he has worked on. Kedgwick population: 1, is a Canadian village in Restigouche County, New Brunswick Located in the Appalachian Mountains in the western part of the county, Kedgwick is approximately 75 kilometres southwest of Campbellton and 15 kilometres east of the Restigouche River along Route Forestry is the major industry in the area.

Being surrounded by woods, fall is spectacular in Kedgwick. Every autumn the population celebrates it with the Festival d'Automne Fall fest.

It is the final episode of the Mighty Morphin Power Rangers. Meanwhile, Aisha arrives in Africa searching for the final sub-segment of the Zeo Crystal. While in Africa, she meets a girl named Tanya Sloan and learns of a famine affecting the land. Back in America, Goldar and Rito Revolto have broken into the underground chambers of the Command Center, and are setting up an implosion device In Africa, an elder gives Aisha the final piece of the Zeo Crystal, but being an animal expert, she decides to stay in Africa, hoping that when she is returned to her regular age, she can help with the famine.

In her place, she sends Tanya with the Yellow Zeo Crystal. As the episode closes, the Power Rangers regain their age, and Tanya decided to stay behind to be trained by Alpha 5 while the others bid a fond farewell to the Aquitian Rangers before they depart for Aquitar.

But the happiness is over, when in the final minutes of the episode, the implosion device set by Rito Revolto and Goldar goes off. Although Alpha teleports the Rangers out just in time, the fates of Zordon, Alpha, and Power Rangers as we know LP are left in the air, as Mighty Morphin Power Rangers comes to a close. Unlike most cliffhangers, this saga did not end with a To Be Continued or similar tag, and the TV advertising for the next series would n't appear until the following month.

It was a quadrupedal herbivore which lived during the Late Triassic around million years ago, in what is now Germany. It is named after Eberhard Fraas, its discoverer. Efraasia was approximately 20 feet 6 m in length. Classification and history. The fossils of Efraasia have been misidentified at least four times. Originally the fossils that would become known as Efraasia were mixed in with an unrelated rauisuchian. The mixed-up fossils were named Teratosaurus by Friedrich von Huene inand when the mistake was discovered by Eberhard Fraas, the rauisuchian portions inherited the Teratosaurus name.

Fraas actually considered Efraasia to be synonymous with another dinosaur, Thecodontosaurus. In it was identified as Palaeosaurus. Byit was thought the remaining fossils were actually portions of a juvenile Sellosaurusbut eighteen years later, were finally identified as a separate genus.

The name Efraasia was given to these fossils. Some internet sites still confuse the two genera. Efraasia was once thought to be a relatively small dinosaur, but this was because the known fossils were from a juvenile animal. Efraasia attained a length of 6 meters in adulthood.

Efraasia is a primitive sauropodomorph, somewhat more advanced than Thecodontosaurusbut less advanced than prosauropods like Plateosaurus and sauropods like Anchisaurus. Like many primitive sauropodomorphs, Efraasia might have been partially bipedal and partly quadrupedal. The type species is E. Arthur C.

Dutch Lonborg March 16, a January 31, was a well-known American collegiate basketball coach. Lonborg graduated in from University of Kansas, having played two years under coach Phog Allen. Later he coached at Northwestern getting wins during his time there leading them to the Big Ten Championship in and a Helms Foundation championship. He had a overall college coaching record at all three schools.

Olympic team manager for the Olympics. He also served as Kansas Jayhawks athletic director from He made the Basketball Hall of Fame in as a coach. Pizzelle can be hard and crisp or soft and chewy depending on the ingredients and method of preparation. Pizzelle were originally made in the Abruzzo region of south-central Italy. The name comes from the Italian word for round and flat pizze ; this is also the meaning of the word pizza.

Many other cultures have developed a pizzelle-type cookie as part of their culture. It is known to be one of the oldest cookies, and is believed to have developed from the ancient Roman crustulum. Pizzelle are known as 'ferratelle in the Lazio region of Italy. In Molise they may be called ferratelle, cancelle ', or pizzelle. The cookie dough or batter is put into a pizzelle iron, which resembles a waffle iron.

The pizzelle iron is held by hand over a hot burner on the stovetop, although some models are electric and require no stove. Typically, the iron stamps a snowflake pattern onto both sides of the thin golden-brown cookie, which has a crisp texture once it is cooled.

There are also several brands of ready-made pizzelle available in stores. Pizzelle are popular during Christmas and Easter.

They are often found at Italian weddings, alongside other traditional pastries such as cannoli and traditional Italian cookies.

It is also common for two pizzelle to be sandwiched with cannoli cream ricotta blended with sugar or hazelnut spread. Pizzelle, while still warm, can also be rolled using a wodden dowel to create cannoli shells. Having been in a singing trio - The Three Ambassadors - from age 15, Jack became a solo crooner inwith a voice described as a strong baritone with a tenor lilt. Following a guest appearance in the musical film Make Believe BallroomJack was offered the second lead in Warner Bros.

With the television's arrival, radio saw a decline in audiences, and Jack lost his show in He adapted however, and became the host of You Asked For It instaying with it in various roles until Jack Smith died in in Westlake Village, California of leukemia, aged Tribal Names. The following are some of the tribal names in Pakistan. Ancestral Names. The following are some of ancestral names in Pakistan. Andersonite, 'Andersonit or 'Andersonita Na2CaUO2 CO3 H2Oor hydrated sodium calcium uranyl carbonate is a rare uranium carbonate mineral that was only described in the last half century.

Named for Charles Alfred Anderson of United States Geological Survey, who first described the mineral species, it is found in sandstone-hosted uranium deposits. It has a high vitreous to pearly luster and is very fluorescent. Andersonite specimens will usually glow a bright lemon yellow or green with blue hints depending on the deposit in ultraviolet light.

The mineral is formed as a secondary mineral and as an efflorescent crust in uranium mines. It is commonly found as translucent small rhombohedral crystals that have angles close to 90 degrees although its crystal system is nominally trigonal Its Mohs hardness is 2. Andersonite is formed as an efflorescent crust in the dry air of uranium mines.

Thus, andersonite specimens are a secondary mineral being the result of human intervention, and these specimens are not considered by some mineral collectors to be a true natural mineral. As this mineral is water-soluble, samples must be stored in dry conditions.

The livre parisis Paris livre pound was a standard for minting French coins and a unit of account. Like the livre tournoiswhich was divided into 20 sols tournois each of 12 deniers tournoisthe livre parisis was also divided into 20 sols parisis each of 12 deniers parisisbut the livre parisis was worth 25 sols tournois i.

Before the seizure of the Anjou region around Tours by Philip II of France inthe livre parisis had been the official coin of the Capetian dynasty. The livre tournois quickly outstripped the livre parisis as a unit of account, and it ceased to exist as an actual coin under Louis IX.

Despite this, a monetary unit of accounting based on the livre parisis continued to be used in the area around Paris and was not officially abolished until by Louis XIV of France. He is 1. He is currently playing with the pro club Aris Thessaloniki. College career. Not heavily recruited on a Rice High School team in New York City that featured four Division I-bound seniors, Clark became one of the shortest players ever to lead the Division I in scoring at 5 ft 11 in 1.

A guard at Saint Peter's College from toClark scored three-pointers in his college career, briefly holding the record as the number one three-point shooter in NCAA history during the end of his senior season. Redick, who now holds the NCAA record for three point field goals made with Clark finished his career as number six on the list of all-time NCAA scoring leaders.

Inhe averaged In he averaged He also led Division I with 3. Clark led the MAAC in scoring for all four seasons. He is also the all-time leader in steals and three-point field goals for the Peacocks. Pro career. In Junehe signed a contract with the Greek club Aris Thessaloniki. The title track was originally released as a free MP3 on the day it was written and recorded, October 11, The track is a comment on the American media and its response to the September 11, attacks.

The lyrics are written from first hand experience, worked into the track are recordings from Francis' visit to Ground Zero five days after the attack. A Bob Dylan exchange with the press is played back at the end of this track. Bob Dylan - Seriously, if I want to find out anything, I 'm not going to read Time Magazine, I 'm not going to read Newsweek, I 'm not going to read any of these magazines.

I mean, because they 've just got too much to lose by printing the truth, Member of press - What kinds of truths are they omitting? They 'd just go off the stands in a day if they printed really the truth Member of press - What is really the truth?

Bob Dylan - Well, really the truth is just a plain picture. In the grounds of the house, near the church, is a 7th century Anglo-Saxon burial mound.

This was excavated in and a number of treasures were discovered, unrivalled until the discovery of Sutton Hoo in There has been a manor house on the site since before the Norman Conquest in The manor was owned by the monks at Merton Priory until the Dissolution of the Monasteries.

It was then owned by the Hampson family in the 17th century, coming under attack during the English Civil War. They hosted an aristocratic and elite group known as the Souls at the house. Wells, Edith Wharton and Oscar Wilde. A sticke court was built by Lord Desborough at Taplow Court in and the dimension of this court subsequently became the standard size of the court.

Sincethe house has been a Soka Gakkai Buddhist centre. Us is a little French commune in the Val-d'Oise departement. Us borders the Viosne, a rather full of fish river in the regional natural park of the French Vexin. There are a castle and churches.

The main landscapes around Us are fields. The nearest shopping center is at Marines. As of the census ofthe population was. The estimate for was. In the 's, Osmel Sousa undertook advising selected contestants, many of whom went on to win the Miss Venezuela crown, at the same time he started designing nightgowns for most of the contestants. During his 25 year career he has been considered to be the driving force behind the large number of Miss Venezuelas who go on to become Miss World, Miss Universe, Miss International and Miss Earth.

He has been called a Pygmalion, an artist who turns out talented and beautiful young women. The oldest law school in the Southwestern United States, USC Law had its beginnings inand was officially established as a school of the university in It currently has about J. The Law Schoola ranking scheme that purports to use qualitative criteria instead of quantitative, ranks the law school fourteenth overall, tied with Duke, UCLA, and the University of Texas.

Morrison opened his courtroom for 36 law apprentices, who later formed the Los Angeles Law Students Association, to discuss the concept of a formal law school. Their efforts resulted in the incorporation of the Los Angeles Law School in Inthe program became affiliated with the University of Southern California and the first law degree was awarded in to Gavin W. Over the next several decades, USC Law rose to become one of the most prominent national law schools, priding itself on an interdisciplinary form of study.

Now the Master of Laws and Master of Comparative Law programs include 99 international students from dozens of countries on five continents. InThe Initiative and Referendum Institute - the nationas most prominent educational and research organization focused on direct democracy - moves to USC Law and joins the Center for the Study of Law and Politics. As ofthe law school continues to build upon its tradition of interdisciplinary training with the addition of the Center in Law and Philosophy, Center in Law, Economics and Organization, and the Center in Law, History and Culture.

A pub quiz is a quiz held in a public house. It is a largely British phenomenon, which reached its peak in the early s. Pub quizzes are still extremely popular and may attract people to a pub who are not found there on other days.

The pub quiz is a modern example of a pub game. Though different pub quizzes can cover a range of formats and topics, they have many features in common. The format. Pub quizzes also known as live trivia, or table quizzes are often weekly events and will have an advertised start time, most often in the evening. While specific formats vary, most pub quizzes depend on answers being written in response to questions which may themselves be written or announced by a quizmaster. Generally someone either one of the bar staff or the person running the quiz will come around with pens and quiz papers, which may contain questions or may just be blank sheets for writing the answers on.

A mixture of both is common, in which case often only the blank sheet is to be handed in. Often the pub expects that paper should be split in two - one half to hand in and one half to be kept as a record of the answers.

It is up to the quizzers to form teams, which are generally based on tables, though if one table has a large group around it they may decide to split up. Some pubs insist on a maximum team size usually between six and ten. The team members decide on a team name, often a humorous phrase or pun, which must be written on all papers handed in. Entry Fee. People often have to pay to participate - ranging from around 50p to 5 per person.

This is often used as prize money see below. Many pub quizzes require no payment at all, as the pub quiz is simply a way to get you into the bar typically on less busy nights like week nights to spend money. There may be between one and more than half a dozen rounds of questions, totalling anything from 10 to upwards of 80 questions.

Rounds may include the following kinds most common first : Joker Rounds and Bonus Questions. Jokers: In some quizzes teams are able to select one or two rounds in which their points will be doubled or trebled etc.

The reason why two is used is that a pack of cards has two jokers in it. Selection of the appropriate round s is usually made before the start of the quiz and made be available on all rounds or certain round s may be specifically excluded usually the first.

Teams who consider themselves to be particularly strong on certain subjects can thus improve their chances with a good joker round. Conversely, if their joker round is more difficult than expected their chances of doing well may nosedive. The idea of using a joker in a game may come from the programme It's a Knockout.

Either the first team to hand in the correct answer wins either a spot prize or additional points to their total score 'OR the questions continue until all teams have the correct answer with each team been given progressively fewer additional points the longer it takes them to submit the correct answer. A separate round of questions usually 3 at the end of the quiz each week. If no team gets all answers correct more money is added for the following week.

The maximum amount of the jackpot may be limited by local gaming regulations. Cash Jackpots may also be a variety of methods including one-off questions and dance-offs.

Question setting. The questions may be set by the bar staff or landlord, taken from a quiz book, bought from a specialist trivia company, or be set by volunteers from amongst the contestants. In the latter case, the quiz setter may be remunerated with drinks or a small amount of money. Often questions may be drawn from the realm of 'everybody knows' trivia, therefore leading to controversies when the answers are false or unverifiable. In addition, as the quizzes are not formal affairs, slight errors in wording may lead to confusion and have led to a recent court case in the UK.

In some cases, the papers are marked graded by the bar staff. Alternatively, teams may have to mark their own answers and the handed-in papers are consulted only to check that prize claimants have n't cheated by altering their answers. Another method is to have teams swap papers before marking, though this can be divisive.

In some quizzes, certain questions score higher marks, particularly if they are unusually difficult. With the mass use of mobile cell phones and mobile internet access, cheating has become a problem for some pub quizzes, with covert calls and texts made in the toilets, recent newspapers and magazines brought along especially for the event, 'ringers' and so on. Though a maximum number of members set for teams may help to prevent huge numbers of people collaborating, groups posing as several distinct teams are quite common.

Some quizzes now ban the use of mobiles and nullify the score of any team found to be cheating. Though more prevalent where large sums of money are at stake see belowcheating can be observed even for relatively low stakes. One case exists where a landlord banned the use of mobile cell phones completely Album) the establishment during the quiz evening and in order to guarantee that no contestant used such a device, an FM radio tuner was connected to the public address system.

Should any team member use a mobile phone during the duration of the quiz, loud pulsing sounds would be heard while other teams tried to locate the culprit. Some quizzes also now ban re-entry to the pub after the quiz has started, in order to prevent team members from going to use public internet stations, public telephones and mobile devices out of sight of the quizmaster.

Generally, though, a pub runs its quiz alongside its normal operation, making such a measure impractical. Prizes are awarded to the highest scoring team, and possibly runners-up as well. Prizes are usually one of the following: Another format for quizzing is called infinite bounce.

This format is generally used when the number of teams in the quiz is large - usually around Every question is addressed to the team succeeding the team that answered the previous question. If no team answers the question, the next question is addressed to the team succeeding the team to whom the previous question was addressed. Quiz leagues. A quiz league is an organisation that runs quizzes, normally in pubs, though such competitions are distinct from the standard pub quiz as they will normally involve two teams and often include a number of individual questions.

No prizes are normally awarded at such a league match, but prizes and kudos may go to the quiz team winning a league or a knockout competition. The National Trivia Association runs a nation-wide contest involving various pub trivia games played around the US. Regional and national competitions. Teams from throughout a region, county, state or country meet annually for more prestigious competitions, with greater prizes.

Representative teams may either be the best team s from each pub or a team selected from the best individuals may be chosen. New Zealand's largest pub quiz provider has held an annual Champion of Champions quiz in Auckland since Initially open to teams from pubs within the greater Auckland region it is now open to teams from throughout New Zealand. In practicality travel costs prevent most teams from the lower North Island and the South Island participating although Christchurch, Nelson and Wellington have all provided teams.

Roughly 1, players attended the event. World record. However, this record is unsubstantiated as no evidence on the Guinness World Record site exists and Guinness itself denies existence of the record. The largest quiz, according to Guinness, occurred on December 3,with a total of 1, concurrent players.

Bingo quiz. A variation in which players are provided with a pre-printed answer sheet for each round containing lines tagged by a random number for example 20 lines with numbers between 1 and For each question the quizmaster picks a random number in that range, and the answer is written on that numbered line if present.

When a player has completed a sheet with a certain number of adjacent answers typically 6 he can call out and submit the sheet for marking. If all the adjacent answers are correct he wins, if not any incorrect lines cannot be re-used, and the game continues.

Ties can be resolved by sharing the prize, or by a tie-breaker question; typically an obscure date so that the player who guesses closest wins. Whilst a knowledgeable player will still have an advantage, particularly if the questions are 'difficult', the random element in a Bingo quiz means that even the less knowledgeable can win, and the quiz format is generally felt to be more stimulating than a conventional one.

The printed sheets required for it are commercially available. Olavarria is a city in the province of Buenos Aires, Argentina. It is the capital of the Olavarria Partido and has over 83, inhabitants as per the. The settlement was officially founded on November 25named in honour of General Jose Valentin de Olavarria - who was an Argentine military leader.

The Humanitarian Law Project founded is a U. The organisation's mandate includes the long-term strengthening of human rights standards - particularly those ratified by nation-states - and to promote human rights dialogue between human rights activists, legal academics, members of the US Congress and their staffs, and other interested U.

Assembler is a stage name of avant-garde electronic musician Nobukazu Takemura. A body plan, or 'bauplan, is essentially the blueprint for the way the body of an organism is laid out. An organism's symmetry, its number of body segments and number of limbs are all aspects of its body plan. One of the key issues of developmental biology is the evolution of body plans as different as those of a starfish, a fern, or a mammal, from a common biological heritage, and in particular how radical changes in body plans have occurred over geological time.

The body plan is a key feature of an organism's morphology, and since the discovery of DNA developmental biologists have been able to learn a lot about how genes control the development of structural features through a cascade of processes in which key genes produce morphogens, chemicals that diffuse through the body to produce a gradient that acts as a position indicator for cells, turning on other genes, some of which in turn produce other morphogens.

A key discovery was the existence of groups of homeobox genes which are responsible for laying down the basic body plan in organisms. The homeobox genes are remarkably conserved between species as diverse as the fruitfly and man, the basic segmented pattern of the worm or fruitfly being the origin of the segmented spine in man. The field of evolutionary developmental biology, which studies the genetics of morphology in detail is now a rapidly expanding one, with many of the developmental genetic cascades, particularly in the fruitfly drosophila, now catalogued in considerable detail.

Body plan is the basis for phylum, and there are 35 different basic animal body plans, corresponding to different phyla. The evolution of body plans became inevitable with the emergence of differentiated multicellular life in the Ediacaran Era, over million years ago. The most basic and successful structure, for free-moving organisms, is the pipe or alimentary canal. This is common even to organisms as diverse as humans and earthworms. It is essentially a passage having a mouth at one end, and a cloaca or anus at the other.

The simple process of nutrient capture, digestion, and waste disposal is fundamental to the body plan of advanced, free-moving animals. Vertebra, limbs, even brains are supplementary to the pipe. Natural selection has spun off an enormous range of variations on this basic theme, but the pipe model itself remains.

The basic symmetry and organization of this body plan apparently gave an ancient organism an enormous advantage at survival and reproduction, and it has been preserved in most animals ever since. The Cambrian explosion refers to the massive increase in different body plans that took place around million years ago. Fossils from this era show all sorts of weird and wonderful shapes, many quite unlike anything found today. At that time it was possible for organisms to survive and make a living even though they were unrefined and unlikely, because predation had yet to evolve, along with arms races that would optimise and streamline them to occupy a particular ecological niche.

Bauplan German for building plan, blueprint; plural: bauplane or bauplaene is a closely related term in biology referring to the common new and original homologous properties of the members of a systematic group taxon.

It is not necessary that a bauplan precisely describes any one particular species of that group. The concept of bauplan is employed in the studies of morphology, taxonomy, comparative physiology and, most notably, phylogenetics and evolution. Before the advent of genetic sequencing, the analysis of the bauplan of fossils was an important method to devise hypothetical relationships and lineages of species, both living and extinct.

The idea is, that species that are closely related share more common properties, hence a more detailed bauplan. Small differences of bauplan are indicative of species belonging to a parent, child or sibling taxon.

The current range of body plans is far from exhausting the possible patterns for terrestrial life: the Ediacaran biota appears to contain numerous species and taxa with body plans quite different from any found in currently living organisms. The most commonly seen body plan amongst vertebrates is that of the 'tetrapod, which include all mammals, birds, amphibians and reptiles. Some animal groups, such as the cetaceans, bats and most birds have been modified e.

The invertebrates employ a much more diverse array of body plans, such as seen in insects six legs, three body parts and an exoskeletoncephalopods no skeleton, hydrostatically stiffened tentacles, primary propulsion by squeezing water out of a mantle cavityechinoderms five-fold radial symmetry, external skeleton, movement by hydrostatically operated tube feet and various phyla of worms tube-shaped, movement by expanding and contracting parts of the body. The most varied collection of body forms known is found in the Burgess Shale, where fossils from a Cambrian sea show a tremendous variety of body forms that came to rise only to later fall extinct during the Cambrian explosion.

One common theme in science fiction is the appearance of extraterrestrial beings, descriptions of which have ranged from being simple variants on human anatomy to beings with body plans wildly different from any found on Earth. The field of exobiology attempts to bring these and similar speculations into the realm of serious scientific investigation. It is available as a downloadable song in the music video game series Rock Bandalong with Dirty Little Secretwhich was developed by Harmonix.

Music video. The music video was directed by Marc Webb. It starts off with Tyson Ritter falling into a empty pool before the song starts. When the song begins he stands there singing while the background and his outfit changes over and over. Then it goes back to where he falls into the pool. People appear out of nowhere and carry him to a piano and the rest of the band. The quick-cut style of the video was inspired by Marlowe Gregorio, who posted his own version of the video on YouTube.

Also, the drummer Chris Gaylor can be seen wearing a t-shirt for the crust punk band Filth. Chart performance. The song charted at 15 on the U. Billboard Hot and went top 10 on the Pop Airplay chart.

It also went to 4 on the Hot Digital Tracks chart. Move Along was also featured in the new Bionicle commercial for the Toa Inika. The track stayed in the Billboard Hot Top 50 for 39 weeks because of the amount of time it took to surface.

It was released in January and peaked at 1 in TRL but did n't chart until late March because their first single Dirty Little Secret was still all over the charts.

It was the 21 rated song of my year To date, the single has sold over 1 million downloads. It runs through the cities of Funabashi and Chiba.

As well as the rapid train there are limited expresses and the Narita Express among others. The line is through connected to the Yokosuka Line at Tokyo Station and many trains run through. The European Union Prize for Contemporary Architecture or 'Mies van der Rohe award is a prize given biennially by the European Commission and the Fundacio Mies van der Rohe, Barcelona, 'to acknowledge and reward quality architectural production in Europe'.

Created by Charles Horton Cooley in McIntyrethe looking-glass self is a sociological concept that a person's self grows out of society's interpersonal interactions and the perceptions of others. Cooley clarified it in writing that society is an interweaving and interworking of mental selves.

The term looking glass self was first used by Cooley in his work, Human Nature and the Social Order in It has three major components and is unique to humans Shaffer According to Lisa McIntyreas The Practical Skeptic: Core Concepts in Sociologyin the looking-glass self a person views himself or herself through others' perceptions in society and in turn gains identity. The looking-glass self begins at an early age and continues throughout the entirety of a personas life as one will never stop modifying their self unless all social interactions are ceased.

Some sociologists believe that the concept wanes over time because only a few studies have been conducted with a large number of subjects in natural settings.

Symbolic interaction and the looking-glass self. In hypothesizing the framework for the looking glass self, Cooley said, the mind is mental because the human mind is social. Beginning as children, humans begin to define themselves within the context of their socializations. Schubert references in Cooley's On Self and Social Organizationa growing solidarity between mother and child parallels the child's increasing competence in using significant symbols.

This simultaneous development is itself a necessary prerequisite for the child's ability to adopt the perspectives of other participants in social relationships and, thus, for the child's capacity to develop a social self.

The words good or bad only hold relevance after one learns the connotation and societal meaning of the words. George Herbert Mead described self Album) taking the role of the other, the premise for which the self is actualized. Through interaction with others, we begin to develop an identity about who we are, as well as empathy for others. This is the notion of, 'Do unto others, as you would have them do unto you.

Cooley Three main components of the looking-glass self. There are three main components of the looking-glass self Yeung, et al. Studies of the looking-glass self.

The term looking-glass self was coined by Cooley after extensive sociological testing inalthough more recent studies have been published. Another study in the Journal of Family Psychology inmeasured the validity of the looking glass self and symbolic interaction in the context of familial relationships. Self reflection study. On Halloween night, children trick-or-treated at 18 different homes in Seattle Washington.

Each of these 18 homes was selected to take part in the experiment and was in turn arranged in similar ways. In a room near the entry way there was a low table and on it was a large bowl full of bite sized candy. A festive backdrop was also placed in sight of the candy bowl with a small hole for viewing; behind the backdrop was an observer who would record the results of the experiment.

The experiment was conducted in the same way at each of the 18 different homes, with each home conducting two different conditions of the experiment, self-awareness manipulation and individuation manipulation. All of the homes conducted both conditions; half of the homes conducting self-awareness manipulation while the other half conducted individuation manipulation. In each of the conditions a woman would answer the door commenting on the childrenas costumes and inviting them in.

She would then instruct the children to take only one piece of candy from the bowl and excuse herself to another room. Self-awareness manipulation. Self-awareness manipulation was the first of 2 conditions performed in Beaman, Diener, and Svanumas experiment.

The self-awareness manipulation condition was performed with a mirror placed at a ninety degree angle directly behind the entry-way table fifty percent of the time. Claude Hopkins Band w. Doc Cheatham In L. Sort of jazz, sort of classical. Lee Morgan and the Meadowlarks Polygram Spec. Muller, Durst. Wayne, T. Atkinson, D. Erwin Helfer Memphis Slim, L. Montgomery B. Bobby Blue Bland, B.

Barron Uptown Water, etc. Brownie McGhee etc. James Cotton,Otis Spann,W. Dixon etc. Also on DVD! Ronnie Cuber, Lonnie Smith. With Avreeal Ra. Live concert. Ari Brown. Charlie Parker, Dexter Gordon. Windhurst, D. Cary, Ed Hubble. Lester Bowie,Ari Brown! Lucky Straight-ahead bebop with Odies Williams. Bascomb, Doc Sausage, Coe DD - Volume 2 w. Willis Jackson, King Curtis Eddie Chamblee,T. Roosevelt Sykes U United Series! Feelgood - A solo session EEuphonic series. Euphonic series.

Ralph Bass series. Roosevelt Sykes, Lit. Montgomery, Willie Dixon Ronnie Earl, Deitra Farr. Ralph Bass Series. His debut American release. Jimmy Rogers,Willie Mabon. Johnny B. Muddy Waters, Elmore James Murphys Ovaltine? Johnson Signing Off EEuphonic series! Short - Stavin Chain Blues recording. Includes studio banter. Arnold Wiley. Moore and the Too Hurt Horns. Sykes, Speckled Red, Spann, Sunnyland!

Apollo Series. U United! Lurrie Bell. Blues w. Ras 2nd album! United masters from Julian Priester. His first album! Foreign Subscription 4. No Items in the catalog are already discounted. No further Less Credit Memo Enclosed additional charge for shipping. Sorry, no used or second hand product sold by mail.

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9 thoughts on “Frankie And Johnnie - The Earl Hines Trio - Fatha (Vinyl, LP, Album)

  1. Dangerous: The Double Album Morgan Wallen $ $ 60 $ $ (6,) AM Arctic Monkeys $ $ 79 $ $ (6,) Mercury - Act 1 Imagine Dragons $ $ 97 $ $ Rumours (Vinyl 33 & 1/3 RPM) Fleetwood Mac (9,) MTV Unplugged in New York Nirvana $ $ 44 (4,) dont smile at me Opaque Red Billie.

  2. Jun 25,  · Linger (Album Version) The Cranberries bbdbae4edf7aa Magic Records 80s Modularity 07 Renate Heinzmann dba16eda81 80s Modularity. Zeit das was passiert Update f-cda5-fed0e Balance Don P Trillville cbaaeefffe6 Trillvillians .

  3. Dangerous: The Double Album Morgan Wallen $ $ 60 $ $ (6,) AM Arctic Monkeys $ $ 79 $ $ (6,) Mercury - Act 1 Imagine Dragons $ $ 97 $ $ Rumours (Vinyl 33 & 1/3 RPM) Fleetwood Mac (9,) MTV Unplugged in New York Nirvana $ $ 44 (4,) dont smile at me Opaque Red Billie.

  4. Dangerous: The Double Album Morgan Wallen $ $ 60 $ $ (6,) AM Arctic Monkeys $ $ 79 $ $ (6,) Mercury - Act 1 Imagine Dragons $ $ 97 $ $ Rumours (Vinyl 33 & 1/3 RPM) Fleetwood Mac (9,) MTV Unplugged in New York Nirvana $ $ 44 (4,) dont smile at me Opaque Red Billie.

  5. Jun 25,  · Linger (Album Version) The Cranberries bbdbae4edf7aa Magic Records 80s Modularity 07 Renate Heinzmann dba16eda81 80s Modularity. Zeit das was passiert Update f-cda5-fed0e Balance Don P Trillville cbaaeefffe6 Trillvillians Inc Greatest Fear Noctis.

  6. Dangerous: The Double Album Morgan Wallen $ $ 60 $ $ (6,) AM Arctic Monkeys $ $ 79 $ $ (6,) Mercury - Act 1 Imagine Dragons $ $ 97 $ $ Rumours (Vinyl 33 & 1/3 RPM) Fleetwood Mac (9,) MTV Unplugged in New York Nirvana $ $ 44 (4,) dont smile at me Opaque Red Billie.

  7. May 23,  · Find out who performed the original version of a particular song, or who covered or sampled that song. Unlike many related sites, we try to be as complete as possible (not just performer and song title, but also songwriters and original releases) and order the data in a reusable and maintainable way.

  8. Apr 25,  · Tommy Dorsey. Source: Wikiwand. Né en en Pennsylvanie, pianiste extraordinaire Earl "Fatha" Hines, d'abord enregistré par 'Tomber' et 'Congaine' le 23 octobre , avec les Serenaders de Lois Deppe au studio Gennett à Richmond, avait quitté la maison à l'âge de 17 ans pour jouer du piano à Philadelphie dans une boîte de nuit appelée le Liederhaus avec un groupe .

  9. Jimmie also reused narrative ideas he had recorded in his own lasting version of “Frankie and Johnny,” in the verse about the woman showing up with a pistol, raging for revenge. Cash now sings that verse, too; he had already had a hit himself with an updated reading of Jimmie’s version of the much-traveled nineteenth-century ballad.

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