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Cowans was our vocalist, part-time, and jimmy britten was the other vocalist. we never had a girl. so that's the whole personnel. brower: how would you rank the band with the bands that you played with? terry: how would i rank them? brower: yeah. terry: i tell you. it was one of the best bands i have ever played with. you know how the band got its reputation? we played the club plantation, and all the acts from nat "king" cole to ella fitzgerald, sarah vaughan, the nicholas brothers all acts came to the club plantation, because it was a very, very popular place. they brought their music, and we would play their music better than anybody ever played it, because most people who play show music, they just fluff over it. you know, "next. get out of here." but we would take the music home and have section rehearsals on the music and come back, and they would hear the music played like they'd never heard it played before. they would go on all over the country, "man, you got to go out to st. louis and have that george hudson band play your music. you'll never ever hear it played like that." so that's how the band got their reputation. it was a great band. in the segment that follows, brower's comments and questions are only partially audible. a summary appears in brackets. brower: [a story in miles davis's biography concerns an incident when billy eckstine's group came to st. louis and was to play at the white club plantation, where hudson worked, and instead played at the black club riviera.] terry: it could possibly be. i never heard that before. i'm born and raised in st. louis, but i never heard it. not to say that it couldn't be true, but . . . possibly it's true. brower: [were the gangsters in control of club life?] terry: that who was in charge of clubs? brower: gangsters. were they . . .? terry: oh yeah. the scarpelli brothers and all those gangs across the purple gang and so forth. yeah, the gangsters were pretty much calling the shots there. there's one story about jo jones. one of the people came out from kansas city, because they needed a drummer to play the show in the plantation. they went to papa jo jones, and said, "we need a drummer in st. louis. go there tomorrrow." they gave a ticket to jo and said, "look, buddy, just don't worry about it. just be there." so he came back the next day, and jo was still in kansas city. jo, what he was trying to tell him before, was that his drums were in hock, and he couldn't go. so they said, "aren't you supposed to 23 smithsonian jazz oral history program. 127. 110 continued: vitti and his crew turn and face sindone and mangano across the parking lot. vitti i don't want to do this, primo. sindone you don't want to do this? that's fuckin' rich. what did you think, you could just quit and walk away? you think this is a fuckin' civil service job? what are you, crazy? vitti not anymore. to mangano ; hey, carlo, tell me. you gonna stab me in the back like the piece of shit i always knew you were? mangano stares at him, cold and hard. mangano i'm not gonna stab you in the back, paul. i want to see your face when i do it. vitti i don't think so. calls out ; mo-mo! mo-mo stands up from behind a car pointing a shotgun at mangano and sindone. bigs! johnny bigs steps out from behind a shed holding an assault rifle. eddie! the back of a van opens to reveal eddie "cokes" and tuna manning a military air-cooled machine gun on a tripod. vitti it's over, primo. now get the fuck outta here. sindone glares at him, then lowers his gun, turns, and starts to walk back into the building joined by mangano and the soldiers. continued ; vitti vitti 110. Iii ; the procedures to be followed if the qualifying non-crest shareholder wishes to dispose of all or part of his entitlement or to convert all or part of his entitlement into uncertificated form; and iv ; instructions regarding acceptances and payment, consolidation, splitting and registration of renunciation. on the basis that provisional allotment letters are posted on 30 october 2006 and that dealings in nil paid rights commence on 31 october 2006, the latest time and date for acceptance and payment in full will be 11.00 a.m. on 21 november 2006. if the rights issue is delayed so that provisional allotment letters cannot be despatched on 30 october 2006, the expected timetable as set out at the front of this document will be adjusted accordingly and the revised dates will be set out in the provisional allotment letters. references to dates and times in this document should be read as subject to any such adjustment. the maximum number of new ordinary shares that a qualifying non-crest shareholder may take up is up that which is set out in the relevant provisional allotment letter which have been provisionally allotted to that qualifying non-crest shareholder. the minimum number of new ordinary shares a qualifying non-crest shareholder may take up is one. b ; procedure for acceptance and payment i ; qualifying non-crest shareholders who wish to accept in full holders of provisional allotment letters who wish to take up all of their entitlements must return the provisional allotment letter, in accordance with the instructions thereon, together with a cheque, made payable to ``capita irg plc a c colliers cre plc'' and crossed ``a c payee only'', for the full amount payable on acceptance, by hand during normal business hours only ; or post to capita registrars, corporate actions, the registry, 34 beckenham road, beckenham, kent br3 4tu, so as to arrive as soon as possible and in any event so as to received not later than 11.00 a.m. on 21 november 2006. if you post your provisional allotment letter within the uk by first class post, it is recommended that you allow at least four days for delivery. a reply paid envelope for use in the uk will be enclosed with the provisional allotment letter for this purpose. ii ; qualifying non-crest shareholders who wish to accept in part holders of provisional allotment letters who wish to take up some but not all of their rights and wish to sell some or all of those which they do not want to take up, should first apply for split provisional allotment.
201e st. louis room bubbles and squeaks: a technique for modifying braille instruction through duxbury for windows francis c. daniels, braille institute access technology specialist & monique mariani, braille institute braille instructor we cannot take literacy for granted. whoever loses access to the written language become illiterate. using duxbury for windows and short story examples in a progressive manner, we will show how to motivate braille instruction and encourage reading. this process allows the braille instructor to modify the level of contractions and apply it to excerpts from real literature. 202e dallas room working with cvi students connie unsicker, teacher, visually impaired this workshop will demonstrate techniques and materials developed for instruction of the lowest functioning cvi students, including teens and those enrolled in inclusion programs. the theories of dr lilli nielsen and applications for instruction will be described. discussion of cortical visual impairment, an approach to assessment and intervention, by dr christine roman-lantzky, and applications gleaned from her book will be included. the presenter will demonstrate multi-sensory lessons which incorporate these theories. the lessons use common, easy to find, portable for itinerant teachers ; , age-appropriate materials found in places other and las vegas hotel casino. If you are an employee, you can deduct the cost of qualifying work-related education only if you: 1. did not receive any reimbursement from your employer, 2. were reimbursed under a nonaccountable plan amount is included in box 1 of form w-2 ; , or 3. received reimbursement under an accountable plan, but the amount received was less than your expenses. if either 1 ; or 2 ; applies, you can deduct the total qualifying cost. if 3 ; applies, you can deduct only the qualifying costs that were more than your reimbursement. in order to deduct the cost of your qualifying work-related education as a business expense, include the amount with your deduction for any. 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the triumph of love. little theatre. ; comedy. marivaux, adapted by stephen wadsworth. 4 m., 3 f. int. or ext. here is a splendid translation of a classic marivaux comedy about love. written in 1732, it follows a princess as she adopts the dress and prerogatives of a man, invades the retreat of a rationalist philosopher who hates love, and wins the prince she of her dreams. gender confusion is pivotal in the hilarious situations that ensue as the emotional stakes rise. the language is magnificent and the characters fascinating including marivaux's adaptation of the witty idiot harlequin ; . ``a literary and theatrical revelation. . . . this is the greatest play that shakespeare and molere never wrote.''--american theatre. ``the transla tion seems altogether right. . . . captures the universal humanity of marivaux's characters with such exactitude, in fact, that you may occasionally need to remind yourself that you're watching a period piece.''--philadelphia inquirer. .25. royalty, -. ; #22929 ; trust. little theatre. ; drama. gary mitchell. 5 m., 2 f. int. geordie, a high-up member of an underground organization in ireland, is the guardian of his community. people come to him for help and guidance. while he strives to protect those who have put their trust in him, his eyes are closed to things going terribly wrong in his own family. as this emotionally engaging and intelligent drama draws to a shattering climax, geordie's business and family life intertwine with near fatal results and #22923 ; he is in danger of losing his wife and child. .50. royalty, -. ; two trains running . black groups. ; drama. august wilson. 6 m., 1 f. int. this is the 1960s chapter of the pulitzer prize-winning playwright's decade-bydecade saga of ordinary african americans in this turbulent century. it takes place in memphis lee's coffee shop in a pittsburgh neighborhood that is on the brink of economic development. focus is on the characters who hang out there: a local sage, an elderly man who imparts the secrets of life as learned from a 322 year-old-sage, an ex-con, a numbers runner, a laconic waitress who slashed her legs to keep men away, and a retarded man who was once cheated out of a ham. with chekhovian obliqueness, the author reveals simple truths, hopes and dreams, creating a microcosm of an era and a community on the brink of change. ``wilson has written roles for actors to love, complete with riffs and full-blown emotional arias.''--n.y. newsday. ``the most comic of the wilson cycle so far.''--christian science monitor. ``wilson's most delicate and mature work.''--time. ``wilson's most adventurous and honest attempt to reveal the intimate heart of history.''--n.y. times. .95. #22800 ; royalty, -. ; slightly restricted. unexpected tenderness. little theatre. ; drama. israel horovitz. 4 m., 3 f. comb. int w. insert. this poignant drama about a dysfunctional jewish family in massachusetts is structured as a memory play. roddy stern recalls what it was like growing up in a family dominated by his paranoid and pathologically jealous father, a truck driver who lurked outside his house instead of working to catch his wife with other men. a long-suffering and abused saint, roddy's mother raised two children in this difficult environment. roddy's complex father is portrayed as a loving man with a demon inside that he fights but cannot exorcize. he eventually loses all control and drives away the family he loves. ``a play of real power and dimension. . . it stays with the mind and heart.''--n.y. post. ``one of the most horrific but complex stage fathers in recent dramatic history.''--chelsea clinton news. ``characters spring to immediate life and built-in humor helps propel both the characterizations and the #23007 ; 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