text:
White and Black in chess
Black (2004 film)
GTF2F1
Black is the darkest color, the result of the absence of or complete absorption of light. It is the opposite of white (the combined spectrum of color or light). It is an achromatic color, literally a color without color or hue. It is one of the four primary colors in the CMYK color model, along with cyan, yellow, and magenta, used in color printing to produce all the other colors.
Black was one of the first colors used by artists in neolithic cave paintings. In the 14th century, it began to be worn by royalty, the clergy, judges and government officials in much of Europe. It became the color worn by English romantic poets, businessmen and statesmen in the 19th century, and a high fashion color in the 20th century.
In the Roman Empire, it became the color of mourning, and over the centuries it was frequently associated with death, evil, witches and magic. According to surveys in Europe and North America, it is the color most commonly associated with mourning, the end, secrets, magic, force, violence, evil, and elegance.
This page contains text from Wikipedia, the Free Encyclopedia -	https://wn.com/Black
In chess, the player who moves first is referred to as "White" and the player who moves second is referred to as "Black". Similarly, the pieces that each conducts are called, respectively, "the white pieces" and "the black pieces". The pieces are often not literally white and black, but some other colors (usually a light color and a dark color, respectively). The 64 squares of the chessboard, which is colored in a checkered pattern, are likewise referred to as "white squares" or "light squares" on the one hand, and "black squares" or "dark squares" on the other. In most cases, the squares are not actually white and black, but a light color and a contrasting dark color. For example, the squares on plastic boards are often off-white ("buff") and green, while those on wood boards are often light brown and dark brown.
In old chess writings, the sides are often called Red and Black, because those were the two colors of ink then commonly available when hand-drawing or printing chess position diagrams.
This page contains text from Wikipedia, the Free Encyclopedia -	https://wn.com/White_and_Black_in_chess
Black: The Man From Darkness is a 2004 Indian Malayalam crime thriller film written and directed by Ranjith, and produced by Lal. It deals with the underworld operations in Kochi. Mammootty plays the role of Police Constable Karikkamuri Shanmugham, who ironically is a hit man and a contract killer. The film features cinematography by Amal Neerad. The film was a comeback for actor Rahman to Malayalam cinema. The film was a box office hit.
Black is based on the underground activities in the city of Kochi(Cochin). Shanmughan (Mammooty) plays a Head Police Constable but also a hitman who does his job with perfection. On the top of the underworld, there is a man, Advocate Devin Carlos Padaveedan (Lal). He and Shanmughan are accomplices.
A newly appointed police officer, Ashok (Rahman), tries to clean up the city from the criminals, but fails to do so as he is killed by Padaveedan. Shanmugan is not very happy about the death of Ashok, and creates some indifference between the friends. After Shanmugan finds his own daughter, he wants to live a peaceful life, but the transformation is not acceptable to Padaveedan, and he wants Shanmughan dead.
This page contains text from Wikipedia, the Free Encyclopedia -	https://wn.com/Black_(2004_film)
General transcription factor IIF subunit 1 is a protein that in humans is encoded by the GTF2F1 gene.
GTF2F1 has been shown to interact with:
CTDP1,
GTF2H4,
HNRPU,
MED21,
POLR2A,
TAF11,
TAF1,
TATA binding protein, and
Transcription Factor II B.
Transcription Factor II F
GTF2F1 protein, human at the US National Library of Medicine Medical Subject Headings (MeSH)
FactorBook GTF2F1
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text:
Belize je mala obmorska država v Srednji Ameriki ob Karibskem morju. Na severozahodu meji na Mehiko, na zahodu in jugu pa na Gvatemalo. Honduras leži 75 km vzhodne plovbe daleč, na drugi strani Honduraškega zaliva. Belize je bila sprva znana kot Britanski Honduras, trenutno ime pa je država dobila po reki Belize in istoimenskem obmorskem pristanišču, ki je bilo včasih tudi prestolnica države.

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Severnoameriške države
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Bush Administration Ponders Liberian Peace Force
WASHINGTON – Bush administration officials weighed how to help Liberia (search) Tuesday but wouldn't say whether the United States would answer growing international appeals by sending troops to try to end more than a decade of civil war.
President Bush and his National Security Council (search) reached no conclusions in their discussions of the Liberian situation Tuesday morning, an official said. Secretary of State Colin Powell said Bush's advisers had not yet made a recommendation to the president, and another senior official said no decision was imminent.
Bush did not mention the issue in an afternoon speech on the global role of the U.S. military. Behind the scenes, Powell spoke to U.N. Secretary-General Kofi Annan (search). "The president is examining all of the options, all of the possibilities," Powell said on Fox News. "I wouldn't rule anything in or out yet."
Twice Tuesday, White House spokesman Ari Fleischer read a carefully calibrated statement on Liberia that sidestepped questions about whether Bush would deploy troops to the West African nation.
"The United States is actively discussing what the next steps should be to help the parties to meet their obligations to cooperate with the joint verification team that is in place to ensure that the cease-fire holds," Fleischer said.
One senior administration official said Bush was reluctant to send troops purely as peacekeepers. But if the troops were given a clear mission as part of a defined coalition, Bush might be more inclined, this official said, speaking on condition of anonymity.
That view closely reflected what Bush said as a candidate. "There may be some moments when we use our troops as peacekeepers, but not often," Bush said in a presidential debate with Al Gore in October 2000.
"It must be in our vital interest whether we ever send troops," Bush said then. "The mission must be clear. Soldiers must understand why are we going. The force must be strong enough so that the mission can be accomplished. And the exit strategy needs to be well-defined."
Another administration official said the White House did not want to take the military option off the table for fear of making headlines just before Bush starts a trip to Africa next Monday.
Annan has suggested the United States take a leadership role in peacekeeping. West African leaders asked on Monday for 2,000 American troops to head a predominantly African force to stop the turmoil and keep the peace. The Africans said they want an answer before Bush leaves for the continent, but administration officials were noncommittal about whether they will have a response by then.
France, Britain and both sides in Liberia's fighting also have pushed for an American role in a peace force for the country founded by freed American slaves in 1847.
The current round of fighting in Liberia began three years ago as rebels began trying to oust President Charles Taylor, who won contested elections and took the presidency in 1997 after a 1989-96 civil war.
Fighting killed hundreds of trapped civilians in the capital, Monrovia, just last month, and the war has displaced more than 1 million Liberians.
Fleischer said the administration has seen encouraging signs of calm.
"The situation in Liberia has been eased, and there's quiet and calm on the streets of Monrovia recently as a result of the international community coming together to work toward the cease-fire," Fleischer said. "The president wants to work with the international community -- we will play a role in that -- to try to bring stability to a post-Taylor government in Liberia."
Defense Secretary Donald H. Rumsfeld opposes sending U.S. troops, according to his aides, because of the heavy commitment of U.S. forces in other parts of the world. Rumsfeld also doubts there is a compelling U.S. interest in Liberia's affairs, these aides say.
At U.N. headquarters Monday, U.S. Deputy Ambassador James Cunningham told the Security Council during closed consultations that the United States wants three conditions met for further discussion about the nature of a peacekeeping force.
According to diplomats who spoke on condition of anonymity, Cunningham said Washington would insist that Taylor give up power as he promised to do and turn himself over to a special U.N. court in Sierra Leone and that a cease-fire be in place that can win international support. Taylor faces a U.N. indictment on war crimes allegations.
State Department spokesman Richard Boucher rejected any suggestion that Taylor cede power in exchange for a dismissal of the charges.
"The charges by the court stand. We support the court and we support its efforts to get justice," Boucher said.

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Everyone has a certain wish, some would like to travel to long places, some would like to have their favorite food items, even some wished to own pet in their home and to take care of that for the rest of their days. When we look to own pets, some would be in confusion of choosing their pet. This is mainly because; people can find numerous numbers of pet animals, starting from dogs, cats, goats, labradoodle, rats, even squirrels.
Here, we are going to discuss having a squirrel as the pet animal in the home. Originally, the squirrels are a fun animal to watch, because when we look into their activities, they are amazing one and we can enjoy watching to that for the whole day. They always tend to play, chase, or burying something and this is quite interesting to watch. There is a chance to look into their activities even in the backyard regularly because this is not the rare species and this visits every place of home with huge fluffy tails. As mentioned earlier, watching to their activities will be quite interesting. This also climbs to the wooden fences and trees amazingly with ease. Its claws look nothing but this is short of talons. There is a chance of damaging items in home with their nail.
When we look deeply into the history of squirrels, they are the members of rodent family, which has existed for more than 50 millions of years and thus have adapted to coexist with human. This creature usually feed on fruits, nuts, scraps, or seeds. They usually nest high on trees and they forms between the branches, this is mainly because to make the nest as strong enough to support on trees. The nest started with the hollow entries. We can find that the squirrels become active in the season of winter. The squirrels are extremely adorable and this is hard to resist on keeping this as pets, but the looks of this creature can be deceiving.
When the time comes to assist squirrels as pets, we can notice that some types can domesticated, but this takes an enormous amount of time and cares to adapt them to humans. Because, we cannot guarantee the process to be effective, and even some simple mistakes lead to serious injury in your animal. Try to take care of the squirrel, when you start choosing this as your pet.
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text:
Essays – I Ain't A Gamblin' Woman
I Ain't A Gamblin' Woman, I Got Such-a Rowdy Ways: 1923-1937
(raunchy black women's blues: 1920s and '30s)
by Max Haymes
This is the full essay published in short form as the liner notes for 'I Ain't A Gamblin' Woman I Got Such-A Rowdy Ways' on JSP Records 4 CD boxed set. We hope you all enjoy it.
On reflection I think I should amend my sub-heading for this 4-CD set to "raunchy and dangerous black women's blues". Many of the selections are fraught with danger – of the terminal kind – whereas 'raunchy' usually conveys highly sexual/sensual material of which examples are here a-plenty.
I initially got my inspiration for this collection from a programme on BBC World Service between 0300-0400 on 19th February 2007. I came in mid-way through and discovered the title/theme was 'Women Who Are Black Like Me'. A survey of darker-skinned women from India, Asia and also of African Americans.
Apparently, according to several of the ladies interviewed on this programme, the caste system of the black US community which was so prevalent in the first half of the 20th. century is still just as firmly in place today. See examples like 'Chocolate To The Bone', 'Some Scream High Yellow' and 'Black Woman's Blues' by Barbecue Bob, Bo Weavil Jackson and Clara Smith (see CD 1) respectively, in this early period. The darker-skinned African Americans are generally excluded from jobs that their lighter coloured contemporaries consistently fill – here in 2017!
I have selected black women, lesser known to today's audience, from the early blues featuring mainly a CD by each of them. Clara Smith, Lucille Bogan, and Lil Johnson. Moanin' Bernice Edwards, who only has 14 vocal sides available, is supplemented by four Texas Blues sisters included to complete CD 4; Hociel Thomas, Sippie Wallace (part of Edwards' 'family'), Bessie Tucker and Victoria Spivey. This CD set covers rural, urban and vaudeville blues styles. CD 1/A is by 'the Queen of the Moaners', Clara Smith from South Carolina.
CD 1/A – CLARA SMITH
Clara Smith featured on The Music Trail in Spartanburg city centre. September,2015.
Pic. by Caitlin Rimmer
Raised in Spartanburg, South Carolina, from the age of 8, it has never been established if Clara Smith was actually born within the city limits. But at any rate the slightly earlier birth date of 1892, from the generally accepted 1894-1896 up until now, has been established (see my forthcoming book-WIP) so the 'Music Trail' signpost in Spartanburg city needs to be corrected, if not already done so.
One of the top 4 vaudeville blues singers along with Ma Rainey (JSP 7793) who was Clara's main influence, Bessie Smith and Ida Cox. The 'Queen of the Moaners' as she was commonly known (and 'Jolly Clara'!) is as good as any of them. Only performing live gigs for black audiences, Clara Smith was up there with Ma Rainey in the popularity stakes from the 19-teens onwards. She hit the travelling circuit in 1911 and known to be singing the blues on shows from 1912. As well as the tent shows connected with the railroad circus, by 1915 she starred in countless theatres from New York to New Orleans as well as the mid-west, West Coast, and other northern cities such as Chicago; Cleveland, Ohio; Pittsburgh; as well as Harlem in New York City: all by way of the railroads. Indeed, they appear in many of her blues including 'L. & N. Blues' on which she declares she is 'a ramblin' woman with a ramblin' mind.' – the first to put these words on a record. In Clara's day (she died in 1935) Harlem housed the largest black population in the world outside the African continent. It was in the Big Apple that she cut all 124 of her issued recordings from June 1923 to 25th. March 1932.
Her soubriquets 'Queen of the Moaners' and the 'World's Champion Moaner' were well-deserved and it was on 10th. September in 1923 when the singer introduced 'the moan' to a Blues record. Although the Fisk University Jubilee Singers had featured it to harrowing effect on their 'Po' Mo'ner Got A Home At Last' – a traditional gospel song-as early as 10th. February, 1911. This being the same year Clara hit the road on travelling shows. It's possible she had already developed her moaning style at this time. The 'moan' itself goes back to before the Civil War, into the 18th. century and beyond. Eye-witness reports from the 1780's by a slave-ship surgeon and a doctor illustrate the horrendous conditions that were extant below decks where slaves were packed together like the proverbial sardines on the Middle Passage across the Atlantic to American shores. Describing their songs as "melancholy lamentations of their exile from their native country [and] a howling melancholy kind of noise, something expressive of extreme anguish" .(1) A moan by any other name which portrays some of the grim and darkest roots of the Blues.
Clara moans in a way that was never surpassed on a record; the term 'moan' here is identified with 'hum' in US black-speak. Although interestingly, it appeared in poems and songs in 16th. century England, often deemed 'a lament' as well as 'a mone'. In the early part of that century, Thomas Wyatt penned a poem or 'ballade/folk poetry' as the author supposes, called 'My lute and I' which paints a portrait of unrequited love and the hero has to 'Restrain my lust' and ends with a verse of despair:
Thus in mischief
I suffre grief,
For of relief
Sins I have none,
My lute and I,
Continually,
Shall us apply
To sigh and mone. (2)
The lyrics certainly seem to foreshadow a blues in the making! The 'black moan' is delivered in a usually slow tempo and in a dragging style, especially by Clara Smith. The two final verses of Awful Moanin' Blues [Col A4000] run:
I got no friends, I can't trust men;
Everything's in soak* an' always broke.
There's no place where I can get a loan;
Even no place I can call my home.
That is why you always hear me moan.
(*=her only change of clothes are soaking in the wash tub.)
Mmmmmmmmmmmmmm-mmmmmm-mmm;
Mmmmmmmmmmmmmmmm-mmmm-mmmmmm.
How my heart aches. Soon it will break;'
I'm almost through.
What will I do, Lord;
Just to cure these 'Awful Moanin' Blues'. (3)
This, one of the most powerful of her recordings, encapsulates the socio-economic situation experienced by a large majority of African Americans during the opening decades of the 20th. century, on a 78 shellac disc and also portrays the essence of the Blues to the listener in 3 minutes and four seconds! Clara's moaning vocal, steeped as it is in a high degree of sensuality. There were five other versions of this song recorded, (see Table 1) four by her female contemporaries which do not really come close to matching the awesome artistry of Clara Smith who quite possibly got her name 'Queen of the Moaners' from performing this song live, prior to her recording debut in June 1923. The fifth was by rural blues guitarist Bo Weavil Jackson, allegedly from the 'Carolinas', adapting Clara's moaning style, in 1926.
Her first issued title, Every Woman's Blues [Col A3943] had lyrical influence to some rural blues singers from Georgia, yet to be recorded; Charlie Lincoln, and Kokomo Arnold. And indirectly Willie Baker (another Georgian) as well as Memphis resident Frank Stokes. (JSP7725) Clara moans:
Don't never let no one man worry your mind. (x 2)
Just keep you four an' five, messed up all the time.
Well, there ain't no love, there ain't no getting' along. (x 2)
My brown treats me so mean, sometimes I don't know right from wrong. (4)
12-string man Charlie Lincoln included the 2nd. verse above on his 'My Wife Drove Me From My Door' in 1927, also on Columbia. The first verse seems to be the precursor of blues on which the singer boasts of more than one sexual partner. This amoral (or immoral, depending on your outlook) approach to relationships was to appear in the early rural blues by the mid-1920s. Songs came out on disc such as 'It's A Good Thing' by the Beale Street Sheiks, (JSP7725) taken at a fast lick, and Willie Baker cut a really slowed down version inspired no doubt by the earlier performance of Ms. Smith. This title is followed by the phrase 'to have more than one' (woman/man). A spin off on this theme appears on various blues of having a lover for every day in the week. Each one supplying all the 'essentials' of life; money, cool can beer, sex, clothes, etc. As well as the lone version by Texan Sippie Wallace on her 'A Man For Every Day in The Week' in 1926, (see CD 4) the weekly requirements crop up in blues by Jim Jackson on his 'My Monday Woman Blues' and many others. The beautiful bottleneck 'Three Women Blues' by Blind Willie McTell (JSP7711) is rather less demanding but still on the same subject.!
Meanwhile, Charlie Lincoln's younger brother Barbecue Bob cut his more obvious 'Ease It To Me Blues' in 1928. Having first heard Clara Smith's Ease It [Col 14202-D] which she put out in November 1926. A smouldering vocal as only she could deliver, this was an obviously risqué song cloaked in the subject – omitted by Bob-of needing money from her man. This unfortunate individual was one of the black working men who had a regular day job; referred to derisively by early blues singers as 'a monkey man' (there were also monkey women). Clara describes his meagre wages as his "ones an' twos" that is, counted in 1 or 2 dollar bills rather than tens and twenties.
Red hot mama had a monkey man;
She called him 'Sugar Plum'.
He didn't know how come.
He was just as dumb.
Every pay day this dumb baby would collect his ones an' twos;
His red hot mama would find her dummy an' sing these weary blues.
Ref: Ease it here, babe. Don't hold it so long.
Give all, babe, or don't give me none. (5)
Then comes the sting in the tail as she tells how she uses the monkey man's weekly wage to give to her outside lover or 'back door man'. However, the singer's erotic vocal approach leaves no doubt as to what she is actually singing about!
Now, it's ashes to ashes an' sand to sand;
Every married woman's got a back door man. (6)
Clara is feeling distinctly mean towards her husband and this often colours her finest blues. In fact jazz man Doc Cheatham, who sometimes supported her on a gig said c. 1921, of her shows in Bessie Smith's home state of Tennessee "Clara outdrew Bessie in Nashville all the time…Because she was mean, and she sang mean. She would give everybody hell, give the men hell, give the women hell in her blues singing. She was a mean woman but she was a great singer." (7) By contrast, the late Mississippi Bluesman James 'Sonny Ford' Thomas "expressed the view that Bessie Smith…was not a blues singer at all." (8) Presumably thinking she was more a jazz-blues singer like Smith's disciple Billie Holiday.
Another excellent example appeared in May 1926. Featuring a fine slow-drag accompaniment with a grim, undercurrent. This is a blues with a stark warning to all pimps who exploited young girls and women; often referred to as 'sweet men' or 'jelly beans'. The 3 pre-war songs recording this title are all different to each other. The other 2 being by Ma Rainey (1924) and Merline Johnson (1938). The listener just knows that Clara means business! Her anger shows through in her hard-hitting vocal for the 'honest gal' working excessively long hours and horrendously low wages.
Oh! These so-called sweet an' pretty men. Please take 'em away. ( x 2)
All they want to do, lead some poor gal astray.
Some are like jelly beans. So cute an' so sweet. ( x 2)
I carry carbolic acid for every one of them I meet. (9)
And in the words of the usual mythical 3rd. person, 'Miss Sally Long', during her ejection of yet another mistreating man, Clara literally puts the boot in:
Folks livin' down in Mexico, will wonder what is wrong;
They will think the world is comin' to an end.
It'll only be the end of one of my triflin' men.
Ref: I'm gonna tear your playhouse down;
Tear it down to the ground.
Knockin' out windows;
Kickin' down doors;
( crashing sound effects)
Spoken: Your playhouse has done gone. (10)
But a man who treats her right and takes care of all her needs is one she often celebrated in her blues. Including a black labourer loading/unloading steamboats, known as stevedores, deckhands and usually roustabouts.
By the beginning of the 1920s, the steamboat was losing its dominance in US inland transportation to the burgeoning railroad industry. The awesome 'palaces' the packet boats carrying passengers and freight were virtually a thing of the past but their place had been taken on the river by the lowly towboat. A lot of people still travelled by river, especially in Mississippi. Only a few early blues or gospel recordings included this impressive American icon in their lyrics. Clara Smith was one singer who did and so was Lucille Bogan (see CD 2). In her Steamboat Man Blues [Col 14344-D] in 1928, Clara bragged about her 'steamboat John' who wears 'overalls an' old blue jeans'. As well as a champion 'rouster' he is also 'a champion lover'. Compared to middle class black males such as lawyers and doctors, her man has 'forgotten more than they-all ever known'. The moaning trumpet and trombone played by Freddie Jenkins and John Anderson respectively, invoke the steamboat's whistle in a dragging, haunting style to match the Queen of the Moaners vocal which owes something to the field holler. As the boat runs from 'Cairo down to New Orleans ' this would probable be on the well-known Lee Line which included one of their boats named STACKER LEE, based in Memphis and going as far north as Cairo, Illinois, situated in the 'Y' of the confluence of the great streams: the Mississippi and the Ohio Rivers.
An only child, Clara Smith was fiercely independent and this is readily apparent in her blues. In 1926, on another sizzling moaned song – Whip It To A Jelly [Col 14150-D] – she sings: 'I wear my skirts up to my knees an' whip that jelly with who I please' as she goes into her famous long-drawn moan. While on Shipwrecked Blues {Col 4077-D] in 1925, the singer illustrates her talents as a superb drama actress as she acts out the traditional role of a captain going down with his sinking ship. If no help is in sight on the vast expanse of open sea then she will leave the world "brave an' bold [and] goin' down singin' The Shipwrecked Blues" (11) with a young Louis Armstrong going with her all the way playing some of the most stunning cornet on a record.
Clara supported the N.A.A.C.P. from the beginning of the 1930s – a very rare example of political interest by a blues singer at the time. And as by 1915 she had become a headliner on travelling shows and those in bigger cities, including running her own Clara Smith Revue, she acquired a lot of money which she invested in real estate, with 2 substantial properties in Macon, Georgia, where she was extremely popular, and probably at least 2 more in New York City. As well as her powerful voice, it was her lighter and more humorous side that made these shows so successful and included 'womanly advice' talks to all the black women in the audience, spiced with original jokes and sayings.
On her Jelly, Look What You Done Done [Col 14319-D] Clara's declamatory vocal in heart-felt criticism of sexual and incestual lust, inspires an unidentified alto player, to reach up to the singer's high, musical plane; making this the definitive version.
She was bi-sexual (quite normal in early women singers) and included a brief if traumatic affair with a young teenaged Josephine Baker, a few years before the dancer left for France to become an international star.
I dunno where Clara got her blues, but when she moaned 'em – they stayed good an' moaned!
Notes – CD 1
1. Hogg P. p.24. ('Slavery The African American Experience')
2. Awful Moanin' Blues
3. Davies R.T. p.p. 294-295. ("Medieval English Lyrics")
4. Every Woman's Blues
5. Ease It
6. Ibid. [14341-3]
7. Baker J-C and C.Chase. p.43. (('Josephine The Hungry Heart')
8. Eagle B. & E.S. LeBlanc p.43. (Josephine The Hungry Heart)
9. Jelly Bean Blues
10. I'm Gonna Tear Your Playhouse Down.
11. Shipwrecked Blues
CD 2/B – LUCILLE BOGAN
Lucille Bogan (nee Anderson) was born in Alabama in 1897) "and the family were living in Birmingham in 1900,but her parents and all her elder siblings were natives of Mississippi"(1) near Amory, Mississippi but her family soon moved to a suburb-probably Fairfield-of Birmingham, Alabama. (2) Like Clara Smith (CD 1) she made her 1st. recordings in June 1923, as a vaudeville blues singer. Unlike Clara, she did not have to go north to New York City to do this. OKeh Records travelled south to Atlanta in Georgia for her very first session. She cut 'The Pawn Shop Blues' which was backed by the initial title by another female singer, Fanny Goosby. These are seen in the history of recorded blues as the first 'field recordings' or sessions cut in the South.
Interestingly, OKeh was part and parcel of the major company – Columbia – and of course had initially recorded Clara Smith on 31st. May 1923 but not issued these sides. They finally surfaced in "mid or late June" ( 3) while Lucille Bogan/Fanny Goosby's waxing is quoted as appearing in "early June." (4) There is a distinct possibility that both Ms. Bogan and Ms. Smith were at the same session in June 1923! (one for Bob Eagle's attention/comments).
In any event Lucille's next session later the same month featured 4 issued sides and still in the vaudeville blues vein. The only change being the piano accompaniment, switching from Eddie Heywood to Henry Callens. Unfortunately, the inferior recording quality (all-acoustic with horns) gave Lucille's vocals a slightly shrill and 'far-away' sound which did not do her justice. However, by 1927 and the introduction of electrical recordings the singer's voice naturally deepened to the rich timbre we know for all of her remaining sides up to 1935 and included on this CD.
In c. March 1927 Lucille switched to Paramount remaining with the label until the end of that year. At her 2nd. session c. June, she cut six sides, three of which included a fine Kind Stella Blues [Para 12504] which includes the title of this CD set. Backed by some stabbing barrelhouse piano by Will Ezell, she sings a song which Charlie Lincoln (again!) was to adapt for his 'Gamblin' Charley' in the following year of 1928.
Kind Stella was a good girl, known to be a good man's friend. (x 2)
She take money from her husband give it to her gamblin' man. (5)
Whereas Clara Smith, though a fiercely independent woman and a 'mean' blues singer, generally aspired to a life of stability and respectability – Lucille Bogan was often living outside the law; a denizen of the southern urban jungle. Her blues were much more rougher as she often sang of being a prostitute as well as a bootlegger of illicit liquor. Her 'Struttin' My Stuff '[Br 7193] from 1930 is probably an autobiographical brag about her prowess with sex and making booze!
Every time the police see me comin' they want to arrest po' me;
Say, I'm drunk an' disorderly n' rowdy as I can be.
Ref: 'Cos I'm struttin'my stuff;
I'm struttin' my stuff.
I'm struttin' my stuff, struttin' it in the rough.
Now, some pays a dollar, some pays a dime;
Just to see me strut this stuff of mine.
Ref: I'm struttin', etc
I'm a big fat woman with the meat shakin' on my bone;
Every time I shimmy a skinny woman lose her home.
Ref: 'Cos I'm struttin', etc. (6)
Prostitution is the theme of several other sides here, such as 'New Way Blues' [Br 7051] and 'Payroll Blues' [Br 7051] in 1928 both backed by Tampa Red and Cow Cow Davenport; Ms. Bogan's famous 'prostitutes' moan' 'They Ain't Walking No More' [ Br 7163] from 1930; most infamous of all of course being her raunchy version of 'Shave 'Em Dry' [ARC unissued] on 19th. July 1933; and in 1935 'Barbecue Bess' [Ba 33475] and 'Stew Meat Blues' [Ba 33448].
The latter title has an interesting 'micro-view' as its background involving a steamboat. Back in the later 1900s, white, New Orleans trumpet player, Wingy Manone, (b.1904) recalled that as a boy "I saw a lot of funny things up on the levee. Whenever a packet boat was going up the river all the colored stevedores had to tell their sweet mamas good-by. [sic]…at the door of every shack a boy would be saying that farewell to his gal. Some of the boys would be trying to get some last-minute lovin' for free. But those gals were too smart for 'em. They knew these boys would probably go on up the river and forget all about them. So you'd hear a boy sweet-talkin' his head off. But, man, he's laying the wrong kind of jive on that gal. She don't go for it, atall. [sic] You hear her tell him, 'Get gone up that river, tote [carry] that sack, the lovin''ll be here when the boat gets back'." (7)
The above 'sweet mamas' were generally prostitutes and raucous singer Lucille Bogan was almost certainly one, too, as well as a bootlegger with gangster connections in the black Birmingham underworld. On 'Stew Meat Blues' accompanied by delicious, rollicking piano by Walter Roland, she describes the scenario recalled by Wingy Manone.
My man say I had something look like new;
He wanted me to credit him with some of my stew.
Said, he's goin' up the river to sell his sack;
He could pay me for my stuff when the boat get back.
Now, you can go on up the river, man, an' sell your sack;
You can pay me for my stew when the boat get back.
I got good stew an' it's got to be sold;
The price ain't high, I wanna get you told.
Go on up the river, etc. (8)
Having once been stung by a customer (or 'trick') for her services up front, she firmly states 'it's cash today an' credit tomorrow'. The boy(s) was probably a small-time farmer who would take any opportunity to work on a steamboat in a much more lucrative job as a stevedore or roustabout, a 'semi-skilled' steamboat labourer. He would take along a lone bale or sack of cotton to sell at which ever landing the boat stopped at. While Wingy Manone's 'colored boys' would have worked on the Mississippi River, Lucille Bogan's tricks would find the Tombigbee or Warrior Rivers in Alabama more accessible and the same scenario would be re-enacted there.
Lucille Bogan reveals her most rowdy ways, with some wicked piano from Charles Avery, on 2 of her blues about illicit, hard liquor, as a bootlegger who makes it and drinks it-to excess! Her 'Sloppy Drunk Blues' [Br 7210] was to become something of a blues standard as successful singers such as Leroy Carr, Bumble Bee Slim, Walter Davis (as 'Sloppy Drunk Again'), Sonny Boy Williamson and Chicago's post-war singer/guitarist Jimmy Rodgers, all made recorded versions.
I'd rather be sloppy drunk than anything I know. (x 2)
An' another half-a-pint will see me go.
I'd rather be sloppy drunk sittin' in the can. [jail] (x 2)
Than to be at home rollin' with my man.
Mmmmmm-mmmm. Bring me another two-bit pint. (x 2)
'Cos I got my habits on, I'm gonna wreck this joint. (9)
At the same session, in 1930, she extended her anti-establishment stance in 'Whisky Selling Woman' [Br 7145] to include a whole town with whisky stills on every street and no police are allowed 'for fifteen miles around'.
If I had a thousand dollars, judge, I'd taken my way;
If I had a thousand dollars, judge, I'd taken my way. Heyy-hey!
And I would make this whole town sloppy drunk one day. (10)
Lucille's sheer exuberance for living the 'fast life' also appears on 2 sides made in 1933. On her 'Baking Powder Blues' [Ba 33509] she shouts encouragement to Walter Roland interspersed with the odd verse here and there. 'Play them things', that is play the blues. And Walter responds with raw, boogie-style piano. She offers him a good sum of money to come and play at her place where she is holding a big crap game.
Spoken: Uuhh! Beat 'em, boy. Beat 'em. Beat 'em down to the bricks.
Vocal: Ah! Good mornin' by the risin' sun.;
Didn't have no whiskey, I got to find me some.
Spoken: Boy! Play them things
Aah! Play 'em a year an' a day, papa.
Wanna hear the 'Baking Powder Blues'.
Owww! Oww!
Boy, shoot them dice, shoot 'em.
Got to gamble to win me some dough.
Spoken: Here, boy. Here's five dollars.
Here's another five.
Where you from. What's your name.
You the man all the womens like.
I'm from the Black Belt. If you do alright we might carry you back there, too.
Spoken: Play them blues. Don't play 'em so slow. 'Cos I'm gonna give you money an' I'm gon' give it
to you sure. (11)
And on 'Hungry Man's Scuffle' [Vo 25015] she pursues some jiving dialogue with Sonny Scott (a guitarist who played with Roland) sans instrument who on Lucille's request for the 'buck an' wing' (an old black dance from minstrelsy days in the earlier 19th. century) does a dance in the studio! Recorded as 'The Jolly Jivers'.
L.B.(spoken): What you do that for. Womens or for money.
S.S.(spoken): I don't do it just because I can. I do this to keep from starvin'. (12)
However, Lucille Bogan covered other themes as well. She included a reference to hoodoo (13) on her 'Jim Tampa Blues' [Para 12504] where she can see Jim 'five miles down the road', with ironic comments from Papa Charlie Jackson (JSP77184) who played some forceful banjo in the break. She also envisaged a time without men, claiming the wash woman would still have money coming in. Indeed, she describes a fairly dismissive attitude towards men generally.
All the women singin' blues, till the mens they feel so bad. (x 2)
The blues is something I ain't ever had.
Comin' a time, women ain't gonna need no men. (x 2)
Just like the wash tub, money will come rollin' in.
Men is like street cars, runnin' every day. (x 2)
Miss one now, get another 'un right away. (14)
The singer also invokes a Clara Smith line from 'Every Woman Blues' (CD 1) "Just get you four or five good men, woman, an' do the best you can." (15)
And on at least 2 of her blues she finds a lasting love. 'Mean Twister' [Ba33059] tells tragically of one of the many tornados on the Eastern Seaboard as she sings of losing her lover, fruitlessly searching the scattered ashes all around and not finding his body. Shaking her fist as she berates God for taking him away. Equally moving is 'I Hate That Train Called The M. & O.' [A.R.C.6-02-64]. Where she accuses the Mobile & Ohio RR. of taking the man she really loves away. I include part-text of my 'Railroadin' Some' with Walter Roland's poignant lead guitar complementing Lucille's majestic vocal.
More smokin' sensual/sexual symbolism occurs on Lucille's cover of a Charlie McFadden title 'Groceries On The Shelf' [Ba32904] on which she features a Piggly Wiggly store – the first supermarket in the South, opening at Memphis in 1915. And her 'disguised' smouldering vocals about another new dance, in 1930, the Georgia Grind; in much the same way as Clara Smith introduced her 'Whip It To A Jelly' (CD 1) some 4 years earlier.
And in her penultimate session on 7th. March 1935, she cut one of only 2 pre-war blues about lesbianism. The first one was 'Prove It On Me Blues' by Ma Rainey in 1928. Often referred to as 'bull-dikers' (B.D.) Lucille paints a not-too sympathetic tolerance for the 'male' of a lesbian couple on 'B.D.Woman's Blues' [ARC 5-12-58] while retaining a begrudging admiration for their independence, backed by some good-rockin' piano from Walter Roland.
B.D. women you sure can't understand. (x 2)
They got a head like a switch engine an' they walk just like a natural man.
B.D. women. B.D. women, you know they sure is rough. (x 2)
They are drinkin' up plenty of whiskey an' they sure will strut their stuff. (17)
A switch engine or goat (a shunting engine that operates in a freight yard. Pic. taken, in 1935 in Louisville Kentucky. The same year Lucille cut B.D. Woman's Blues.
pic. p.54. 'Louisville & Nashville –Steam Locomotives.' Richard EPrince. [Indiana University Press. Bloomington & Indianapolis] rev. ed. 1968. Rep. 2000.
A male vaudeville singer, Hound Head Henry,had used the switch engine as a sexual symbol on his 'Freight Train Special' in 1928. Like his pianist, Cow Cow Davenport, he may have also been from Alabama, and Lucille may well have seen them performing the song live.
Tuuk A. van der p.35. (The New Paramount Book Of The Blues)
Haymes M. see p.p.115-116.
Godrich R.M.W. J.Godrich. H.Rye. p.813.
Ibid. p.87.
Kind Stella Blues
Sruttin' My Stuff
Manone W. & P. Vandervoort II p.26.
Stew Meat Blues
Sloppy Drunk Blues
Whisky Selling Woman
Baking Powder Blues
Hungry Man's Scuffle
Haymes M. (and see Clara Smith & hoodoo links: p.p.140-144. 'Yes! I Sold My Soul To The Devil, Too!' From 'Frog Blues & Jazz Annual No.4.' Paul Swinton (Ed.) [Frog Records Limited. Fleet, Hants] 2015.
Women Won't Need No Men
Haymes. Ibid. p.116.
B.D. Woman's Blues
CD 3/C – LIL JOHNSON
Considering she was more prolific on record than Lucille Bogan and probably sold more actual discs, Lil Johnson remains an almost total biographical blank. There does not even seem to be a publicity pic. or any reference to any live shows, in the likes of a black newspaper such as 'The Chicago Defender': "there does not seem to be a single advertisement… for an appearance by Lil Johnson at any time during her recording career". (1) Rye does not refer to any other popular black papers such as 'The New York Age' (NYA). Or 'The Baltimore African American' (BAA). So possibly some results might be in their pages.
This singer cut 67 sides that have survived into the 21st. century-plus a lone post-war one. Some of these were not issued during her recording career. As Rye put it: "Lil Johnson was a big-voiced, exuberant singer of blues, hokum and vaudeville songs; who in an eight-year career recorded more than sixty songs, and that is very nearly all that is known about her." (2) She seems to have suddenly appeared in Chicago in the late 1920s!
Lil Johnson started recording in 1929, some 6 years after both Clara Smith and Lucille Bogan, but out-lasted them on wax by a good decade and a half. She seemed more explorative vocally at this stage (but always innovative with lyrics) using a falsetto solo on two of her initial cuts in the studio. 'Minor Blues' [Vo un-issued] and 'Never Let Your Left Hand Know What Your Right Hand Do' [Vo 1299] A similar solo was used by rural singers mainly from Georgia such as Barbecue Bob and Curly Weaver.
'Minor Blues' is instructive as to why a blues singer would use a minor key as well as featuring a rare, early appearance by pianist Montana Taylor.
I sing these blues in a minor key;
Everybody just tryin' to back-bite me.
I love my man better than I do myself;
Now, he's lovin' somebody else.
That's why I sing these, these 'Minor Blues'.
I sing these blues in a low-down key;
To let you know how he mis-treated me.(3)
Lil Johnson recorded 9 sides (of which 5 were un-issued at the time) in 1929 and then had to wait some 5 ½ years before she returned to the studio. She went on to have a commercially successful run for a further 2 ½ years cutting some 50 issued titles and 13 of her un-issued material eventually appeared on the Document label. (CD's). But as Howard Rye puzzles, why was this the case. The only explanation I can offer is that Lil Johnson lived outside the law a lot of the time. On Vocalion 1299, she sings 'Me an' my girl friend went out for a little run' which is most likely for a delivery of illicit booze, but she told Lil's man about it. Her next verse 'make me a pint of whiskey an' a bottle of beer' would seem to support the reason for their 'run'. Even though Prohibition had been repealed in 1933, many blacks continued to deal in moonshine as one of the main sources of income.
It was the latter that Lil provided, along with Southern food like fried chicken and red beans and rice, to the customers at her house rent party, charging a small entrance fee and also adding to the blues entertainment. The rollicking tempo supplied by Tampa Red's bottleneck guitar and the re-appearance of excellent pianist Charles Avery. Between the three of them they give what must have been a pretty accurate idea of the atmosphere generated at such a house rent party.
[vo.] My house rent's due, my gas bill run up to ten; [dollars] (x 2)
I wouldn't have no lights but the light man couldn't get in.
[spoken] I got everything from soda water to wine.
This is Miss Lil Johnson, Lord. Someone buy the piano man a drink.
Don't forget the landlady. (4)
Maybe Ms. Johnson, I suggest, could have run foul of the law in a more serious way, after 1929 which landed her a longer sentence of five years or so; possibly on a homicide rap.
With regard to her southern roots, Alabama is a possibility. At least 3 references appear in her recordings. On 'Anybody Want To Buy My Cabbage' [Ch 50002] she mentions Birmingham which does not appear in the other versions by Maggie Jones (1924), Mildred Austin (1928) or indeed the L. of C. group of young women prisoners in Parchman Farm (1939). The bouncy piano is probably by Dot Rice. On her 'New Shave 'Em Dry' [Vo 03428] Lil directs prospective customers to 18th. Street in Birmingham which was particularly notorious in the South for its brothels, shady jook joints and violent gambling dens. Up there along with Beale Street and Decatur Street in Memphis and Atlanta, respectively. While her praise song to Joe Louis – 'the Brown Bomber'- mentions the state of Alabama itself on 'Winner Joe (The Knock-Out King)' in 1936.
I also detect more than a nod to Lucille Bogan who was of course from Alabama. Lil Johnson's 'Shake Man Blues' [Ch 50052] in 1935, sits easily in both singer's approach and style.
I've got a man, he is actually my size. (x 2)
H trembles in the middle an' shakes on every side. (5)
The same comments apply to Lil's fine version of the traditional New Orleans-based 'Bucket's Got A Hole In It' [Vo 03666] with heavy back-beat from an unidentified drummer and rocking clarinet and piano. Washboard Sam, a major early Chicago blues man was to cover this just over a year later. Ms. Johnson includes a reference to Lucille Bogan's 'They Ain't Walking No More' (CD 2) while warning other prostitutes about the patrolling Vice Squad, as she re-locates this song to Chicago.
When you walkin' down 31st. Street you had better look around;
'Cos the Vice Squad is on their beat an' you'll be jailhouse-bound.
I been standin' on the corner, but everything is so slow;
I could not make no money, tricks ain't walkin' no more. (6)
Indeed, Lil Johnson seem to have take it on herself to continue Lucille Bogan's hard-hitting approach with sexual/sensual material.
The New Orleans connection continues as she delivers a take of the song that seems to have evolved from Bucket's in the shape of 'Keep On Knocking' [BB B6112]which 20 years later became a rock 'n roll hit for Little Richard. Singing to the poor cheated woman outside her flat, she says "I got your daddy." (7) With a sparkling, driving piano by Black Bob, possible Big Bill guitar, and unknown slapping double bass, Lil adds some different verses and wry comments:
Peep over the transom but you can't come in. (x 3)
I guess you better let me be.
Shake my door knob but you can't come in. (x 3)
Spoken: Knock, knock, knock. You can't come in here….I know you wanna come in. I'm so sure you
can't come in, but I ain't even bothered. (8)
One of the finest versions of this song along with bottleneck guitarist Kokomo Arnold's 'Busy Bootin' some 3 months earlier. Flipside of this no. has same rockin' tempo on the potentially sad 'I Lost My Baby' [BB B6112]. But Lil doesn't sound too phased as she sings with more than a hint of defiance and invites "I say some sweet man come up an' see me some time." (9) borrowing a leaf out of Mae West's songbook. This actress crops up again on 'That Bonus Done Gone Thru' [ARC Un-issued], a gentle dig at the US government dragging their feet when paying out W.W.I payments to veterans, in 1936! And the gals are there to help 'em spend it!
Come on girls. Yeah!
Ain't you goin' downtown. Yeah!
What you gonna buy. A new evening gown.
Ohhh! Ohhh! Ohh! Ohh! Listen to my talk;
Ohh! Ohh! Ohh! Ohh! Just watch this Mae West walk.
'Cos that bonus done gone thru'. (10)
Just like Clara Smith, Lil Johnson could be mean to both women and men in her blues. Taken from a song she had cut earlier 'Rock That Thing' in 1929, she is merciless to the impotent man on her classic 'Press My Button' [Vo 03199] from 1936.
Now, tell me daddy what it's all about;
Tryin' to fit your spark plug an' it's all worn out.
Ref: I can't use that thing;
That ding-a-ling.
I been pressin' your button an' your bell won't wring.
Hear my baby all out of breath;
Been workin' all night an' ain't done nothin' yet.
Ref: What's wrong with that thing; etc. (11)
On her brash 'If You Can Dish It (I Can Take It)' [ARC 6-03-56] Lil says to her lover "you'se just a cream puff" (12) which soon became a song in its own right, as she sings "you can shake your body but you just can't move your tail. You just a cream puff an' ain't no good at all" (13) with some fine trumpet by Lee Collins. 'I'll Take You To The Cleaners' [Vo un-issued] threatens serious violence:
I'll take you to the cleaners. You know I'll slit your knee;
Oh! You try to be cute but that don't work with me. (14)
While, as did Lucille Bogan, Ms. Johnson resorts to hoodoo when talking to her friend who was trying to take her man. "I'll sprinkle goofer dust all around your door." (15)
Otherwise it's unashamed and joyous sexuality by Lil Johnson, on her great 'My Stove's In Good Condition' [Vo 03251], and in other sides she loves her meat balls, is wild about hot nuts, and really digs 'Sam the Hot Dog Man'. She's 'the hottest gal in town' but even for Lil Johnson, sometimes it's too much sex! As she sings of losing 'her' virginity. "If you want to twirl some more you'll have to twirl it yourself". (16) She includes a version of 'Take Your Finger Off It' (with an aggressive drum solo) popularised earlier by the Memphis Jug Band and Big Bill Broonzy.
Her 'My Baby Squeeze Me' [Vo un-issued] gets as near single entendre as you like and even Vocalion must have been getting nervous about a lot of Lil Johnson's material; in any event both takes of this song remained un-issued until the later 20th. century.
Just sit me up an' sit me on your knee;
'Cos I feel so 'mmmm' when you squeeze me.
He's so slippery. He's so slimery [sic] an' just like grease. (17)
Lil also includes verses from the infamous 'Boy In The Boat' often attributed to lesbians. (See p.p. 203-204 for more on this song in Screening The Blues Paul Oliver. Cassell. London] 1968. And check later reprint, on the internet) and "come an' get it while it's hot…I've got lots of customers comin' from miles around" (18) she sings on 'Come And Get It' [Vo 3530] from the same session.
Other aspects of the Blues are reflected in this singer's 'Snake In The Grass' (not included here) which could be partly autobiographical. With references to her sister, her mother who is dead, and her father is 'drinkin' in his gin'. And her 'So Long I'm Gone' is possibly a cover of a Clara Smith title from 9 years earlier 'So Long' which remains an un-issued Columbia recording.
Her Down At The Old Village Store [Vo 03941] is a gentle dig at the black religious community, addressing her "Bretherin' an' Sisterin'…turn the lights down low…an' leave our sins on the floor…I can see my sins, I can see them win.". (19) Accompanied by a rock steady, up-tempo rhythm and neat guitar picking by Big Bill, as well as some sarcastic shouts of 'hallelujah' from an unidentified male in the studio, which maybe Bill himself. Washboard Sam was to do his rockin' version a few months later in 1938.
Lil Johnson is to be regarded as a major player in the 1930s blues scene and up there with Georgia White and Peetie Wheatstraw. Where did you come from, Lil, and where did you go!
1. Rye Howard Notes to Lil Johnson Vol.1 [Document DOCD-5307.] 2007. 1st issued 1994.
2. Ibid.
3. Minor Blues
4. House Rent Scuffle
5. Shake Man Blues
6. Bucket's Got A Hole In It
7. Keep On Knocking
9. I Lost My Baby
10. That Bonus Done Gone Thru'
11. Press My Button(Ring My Bell)
12. If You Can Dish It(I Can Take It)
13. You're Just A Cream Puff (You Can't Take It)
14. I'll Take You To The Cleaners
15. Goofer Dust Swing
16. You Stole My Cherry
17. My Baby (Squeeze Me Again) – Tk.1
18. Come And Get It
19. Down At The Old Village Store
CD 4/D – MOANIN' BERNICE EDWARDS & FOUR TEXAS BLUES SISTERS
Until 2013, there were only a few details concerning Bernice Edwards, an excellent Blues singer and pianist. In that year an excellent essay by Alex van der Tuuk appeared in print. The first pic. of this singer (reproduced here with permission) is also featured. (1) This remained the definitive article until 2017 when Alex published his essential book 'The New Paramount Book Of The Blues'. This has an updated account under her entry. (p.p.105-109) While there is some repetition, I have drawn on the latter for these notes.
Ms. Edwards is quite likely the youngest singer on this JSP set; allowing we have no birth date for Lil Johnson. (CD 3) Following an interview with the late Mack McCormick, Texas blues collector/historian, on 2nd. July 1912, the author reveals she was born in c. 1908 in Waller County, in East Texas. Although in 2013 her birthplace was given as "probably Katy, Fort Bend County, 1907-Hermann Hospital, Houston, February 26, 1969." (date she died) (2) However, it is reported that Bernice "On March 14, 1968, [and] Fred Chatman…remarried in Fort Bend County." (3)
Earlier reports had already established the 'adoption' by the important piano blues/singers named Thomas. As Alex notes: "By 1911 the [Edwards] family had moved to their own home at 3110 Gillespie Street, where they remained until 1918." (4) Only a short distance away "lived George and Fannie Thomas and their large family.". (5) This was in Houston, Texas. They included Sippie Wallace and Hersal Thomas (younger sister and brother) as well as George's daughter Hociel Thomas. All of whom, apart from George, feature on this CD.
The earliest reference to Moanin' Bernice Edwards seems to be just that, her name back in 1969 when Paul Oliver included it in his 'The Story of The Blues'. (google for prob. reprint) Some 8 years later, he had some of the first details of the artist when he noted that after the Thomas family moved north to Chicago, "Bernice Edwards alone maintained the Thomas tradition. [in Texas] She wasn't a blood relative but she was, in Sippie's words, 'one of the family'…she had grown up with the youngest Thomas children including Hociel, and it was from them that she learned to sing and play the blues". (6) Along with more details of her recordings and accompanists, this was reproduced in 'Blues Off The Record' in 1984. (see bib.) Oliver noted the influences of her vocals by "that of Texas Alexander in her penchant for slow tempo and heavy moaning." (7) And ten years later, David Evans pointed out that her 'Moaning Blues' [Para 12620] "may have been influenced by the vaudeville style of Clara Smith." (8) Indeed, most of Bernice's vocal output could be thus described.
Mmmmm-mmmm. Mmm-mmm.
Spoken: I'm a-gonn moan this mornin'.
'Cos I got it bold.
Vocal: I moaned to you like a sinner.
An' it don't seem to do no good. (x 2)
You are cruel-hearted , papa.
Your heart must be made of wood.
I moan in the mornin'. I moan
late at night. ( x 2)
It's all because you know you
ain't treatin' me right.(9)
She then goes into a long moaned verse-Clara would have been proud of!
Moanin' Bernice Edwards c,1928-aged between 19 and 20 years old. Pic from Paul Swinton.
George W. Thomas Jr. "a composer and music publisher" (10) was the earliest to record, albeit under the name 'Clay Custer', in February 1923 with an instrumental 'The Rocks'. "It has been widely accepted that this is a pseudonym for the composer of 'The Rocks', George Thomas, but there seems to be no conclusive evidence for this". (11)
Be that as it may, Thomas includes the initial example of boogie piano on a record, if only a brief excerpt. He had already performed the 'first' boogie bass runs during a show in 1911, according to an awestruck, teenaged Clarence Williams well-known future black promoter/pianist/composer, who accompanied several of the major vaudeville blues singers as well as running his own jazz outfit-the Clarence Williams Blue Five. "Clarence reported in later years that he heard George Thomas's boogie bass in Houston as early as 1911." (12)
Although the 'heavy moaning' style attributed to Bernice Edwards and readily apparent on her 'Moaning Blues', became the 'norm' for this singer; her voice was a bit higher on her first 2 sides. This had deepened by her next cut 'Mean Man Blues' [Para 12633]
Now, it's funny to you, to see me shedding tears. (x 2)
But it's all coming back to you if it be a 1,000 years. (13)
She seems to be plagued with these mean men but on the flipside, her 'Long Tall Mama' [Para 12633] gets one of them told, hammering him with the equality ticket!
You don't want no one woman. You don't do nothin' but run around.
All you crave is a gang of women just like a Georgia hound.
I'm gonna get just like you, papa. I'm gon' get me five or six men;
I'm gonna get just like you, papa. Gonna get me five or six men.
An' if that won't do, I'm goin' to get me eight or ten.
'Cos I'm a long tall mama. Do just what I wanna do;
I'm a long tall mama. I can do just what I wanna do.
I have thinks to be a mistreater, baby, just like you. (14)
Bernice playing some of her hardest hitting piano, possibly fired by some personal anger, especially in her mean right hand. Ironically, the 'eight or ten' option would be reflected in her life style. Like Lucille Bogan and probably Lil Johnson, she was a prostitute, singing her blues 'between tricks' in the brothel. When the Paramount sales and recording manager, Arthur Laibly, found her "she was working in a brothel 'turning tricks', which she claimed Elzadie Robinson [another fine recorded blues singer] had also done. As well as entertaining clients, she sang and played the piano,." (15) After her initial sessions, Laibly "apparently sent her copies of her issued records, which gave her an advantage over the other girls. When she sang and played the piano, men would flock around her, and after she had finished a song, she would say, 'I have a record' By selling them, she made fifty percent more money than the other girls." (16).
A song she would probably have included was one of the barrelhouse 'test pieces' (that also fitted into the brothel atmosphere) which included 'The 44's', 'The Fives', and 'Here I Come With My Dirty Duckins On' (rarely recorded in early blues). The latter, Bernice cut as 'Hard Hustling Blues' [Para 12766]. Duckins being a common style of overalls at the time. The scenario is that a new piano player turns up at a barrelhouse to challenge the resident musician – i.e. a cutting contest. As these titles were very familiar to the black audience the winner was judged on the reception they received. The loser was often unceremoniously thrown out on to the dusty or muddy street. Some would wade back in wielding a gun or knife to wreak their revenge!
Like the other singers included here, Bernice would boast of her superior sexuality over other women and brashly offer any disappointed clients an item of popular jewellery in the blues world.
Some women are greenhorns, they don't know how to shake that thing;
Some women are greenhorns, don't know how to shake that thing.
But men, if I don't make you like it, I'll make you a present of a diamond ring.
'Cos I'm a high-powered mama an' I really takes my time. (x 2)
I want you greenhorns to come see me an' learn this 'Steady Grind'. (17)
The last line may have been a nod to Lucille Bogan and her 'My Georgia Grind' (CD 2). And as with all these singers a strong sense of independence lies at the heart of this blues.
'Born To Die Blues' [Para 12741] includes lines previously featured by Clara Smith and had become a floating verse with other women singers. 'Women all cryin' murder. I ain't raised my hand.'. Also adapted by male singers such as Texas Alexander. But she draws a red line, with more than a tadge of irony, as to how far she will go to please a man!
You must want your mama to lay down an' die for you;
Mmmmmm. Want your mama to lay down an' die for you.
Layin' down is alright, daddy, but dyin' will never do. (18)
Bernice also sings about hoodoo, including the well-known line 'I believe my man's got a black cat bone', on 'Two-Way Mind Blues' [Para 12713] and has a guitar added who B. & G.R. noted is possibly Ramblin' Thomas. But to these ears is more likely to be his younger brother Jesse, who went on to record in the post-war era.
On two of her only sides to survive from 1935, which were recorded in her home state, she included the popular animal symbolism as in 'Bantam Rooster Blues' [Vo 03036] which is not the Charley Patton number. The erotic 'Butcher Shop Blues' is on the flip. This blues contains some details of the slaughter house scenario which have an authentic ring. It's possible she had one of her husbands working on the 'killing floor' at some stage.
He knows a Bow[ie] from a Barlow, or a Holstein from a Jersey cow. (x 2)
He knows they minute they were killed, on the d ay up to the hour. ( 19)
The first half of the opening line refers to large knives used in the slaughter house. But then it's back to sex!
He cuts my steak in the night time. He grinds my sausage in the day.
An' the machine he uses will really take your breath away. (20)
Ramblin' Thomas is also suggested to be on 'Jack Of All Trades' [Para 12713] and this song may have been inspired using the same theme of having several lovers at the same time as sung by Clara Smith on 'Every Woman's Blues' (CD 1) in 1923. Pinetop Burks, another fine Texas pianist, covered the Edwards' song in 1937 as 'Jack Of All Trades Blues'. Whereas Sippie Wallace was to cut the only record in the pre-war era as 'A Man For Every Day In The Week' [OK 8301] in 1926. And on her remake of 'I'm A Mighty Tight Woman' [Vi 35802] in 1929 she too, brags of her sexual prowess and fits in the phrase "I'm a jack of all trades"(21) This features Sippie's rich vocals and her own very fine piano and beautifully augmented by a trio f some of the best jazz artists of the day in top form., including Johnny Dodds. She claims "I'm a broad that never feels blue" (22) Her closing lines are probably unique on a blues record.
If you a married man you ain't got no business here;
'Cos when you out with me I might make your wife shed tears.
'Cos I'm a mighty tight woman an' there is nothin' that I fear. (23)
In some of her earlier records, Sippie Wallace was backed by 'child prodigy' Hersal Thomas, her 'kid' brother. He also was on their niece's recordings, Hociel Thomas, from whom Bernice Edwards "learned to play piano". (24) Particularly fine on her 1925 offering 'Fish Tail Dance' [OK 8222]. Hersal also cut some exquisite piano solos, especially the beautiful 'Suit Case Blues' also in 1925. Sadly, he died of acute food poisoning in 1926- at age 20 (b.1906) he was some 2 years older than Bernice. The 1910 Census lists him as "April 20, age 4 (Hearcile [sic] Thomas).". (25)
The 2 remaining artists here are represented by Victoria Spivey with her superb 'Blood Hound Blues' [Vi 38570] from 1929 in which she confesses to murder and backed by a tremendous band headed by Luis Russell which featured Henry Allen on trumpet and Pops Foster slapping his double bass. The other singer is the most archaic-sounding here – Bessie Tucker who completes this set with a suitably paced, 'hollow' piano by K.D. Johnson ('Mr. 49)' and stretched out vocals in which she might have been partly influenced by Clara Smith.
Although based in Dallas, I have tentatively traced her home to Greenville, Texas, some 30-odd miles east of Dallas. (26) Like Lucille Bogan and Clara Smith, railroads often figured in her blues. As she moans to the Fort Worth Denver & Colorado RR which runs past her back door; accusing the railroad (as blues singers often do) of taking her man away.
I've got the'Fort Worth an' Denver Blues', don't know which way to go;
Mmmm-mmm. Don't know which way to go.
I hear that Fort Worth an' Denver, it call in my back door. (27)
Black citizens were often compelled by the ruling whites to live near the railroad tracks in the earliest part of the 20th. century.
Like Lucille Bogan and Lil Johnson, Bessie was a prostitute and describes her trip as a hobo on a train referred to as 'The Dummy' to ply her trade amongst black workers when they got paid, deep in the Texas piney woods at a logging camp. (28) How one of the railroad police hits her with a hefty piece of wood "'cross the head with a two-by-four." (29) before throwing her off the slow-moving box car.
A little later, Bessie sings of being committed to a prison gang in the brutal convict lease system. (30) Working under the watchful eye of an armed white guard – 'the Captain' – her anger at the death of her fellow prisoner called 'Sal' reaches boiling point:
Captain got a big horse-pistol. Ah-haaaah, and he think he's bad;
Captain got a big horse-pistol. Hah-haaaah, and he think he's bad.
I'm gonna take it this mornin' if he make me mad. (31)
Although light-skinned to the point of looking nearly white, Bessie's blues are as raunchy as the other darker singers on this essential JSP set.
1. Tuuk van der A. see p.p.90-91. (Blues & Jazz Annual No.3) 2013.
2. Eagle B. & E.S. LeBlancp.393. (Blues A Regional Experience)
3. TuukIbid. p.109. The New Paramount Book Of The Blues)
4. Ibid. p.106.
6. Oliver Paul. Notes to The Piano Blues Volume Four The Thomas Family 1925-1929 L.P. [Magpie PY 4404] 1977.
7. ———-"—— p.141. (Blues Off The Record)
8. Evans David. Notes to Texas Piano Blues Volume 1 1923-1935 CD. [DOCD-5224] 1994.
9. Moanin' Blues
10. Tuuk Ibid. p.106. (The New Paramount Book Of The Blues)
11. Dixon R.M.W. & J.Godrich & H.Rye. p.191.
12. Collinson John. p.35. from The Frog Blues & Jazz Annual No.1. Paul Swinton (Ed.) [Frog Records Limited. Fleet, Hants.] 2010.
13. Mean Man Blues
14. Long Tall Mama
15. Tuuk Ibid. p.p.106-107.
16. Ibid. p.107.
17. Born To Die Blues
19. Butcher Shop Blues
21. I'm A Mighty Tight Woman – Sippie Wallace.
24. Tuuk Ibid. p.106.
25. Eagle & LeBlanc Ibid.p.493.
26. Haymes see my article on Bessie Tucker on www.earlyblues.com
27. Fort Worth And Denver Blues Bessie Tucker.
28. Haymes 'Railroadin' Some'. Ibid. (see Ch.2, esp. p.p. 60-61)
29. The Dummy Bessie Tucker.
30. Haymes Ibid. (see Ch.6, esp. p.p.189-190)
31. Key To The Bushes Bessie Tucker.
1. Baker Jean-Claude & Chris Chase 'JOSEPHINE THE HUNGRY HEART [The British Library. London] 1979.
2. Davies R.T. 'MEDIEVAL ENGLISH LYRICS'. [Faber. Faber. London] 1987. Rep. 1st pub. 1963.
3. Dixon Robert M.W. J.Godrich. Howard Rye. 'BLUES & GOSPEL RECORDS 1890-1943' 4th. ed. [Clarendon Press. Oxford.] 1997.
4. Eagle Bob & Eric S. Le Blanc 'BLUES A REGIONAL EXPERIENCE' [Praeger. Santa Barbara, California. Denver, Colorado. Oxford] 2013.
5. Haymes Max 'RAILROADIN' SOME' [Music Mentor Books. York] 2006.
6. Hogg Peter 'SLAVERY THE AFRO-AMERICAN EXPERIENCE' [The British Library. London] 1979.
7. Manone Wingy & Paul Vandervoort II 'TRUMPET ON THE WING' [Doubleday] 1948.
8. Oliver Paul 'BLUES OFF THE RECORD' [The Baton Press. Tunbridge Wells, Kent] 1984.
9. Tuuk Alex van der 'THE NEW PARAMOUNT BOOK OF THE BLUES' [Agram Blues Books. Overveen, The Netherlands] 2017.
Label Abbreviations
ARC = American Record Company
Ba = Banner
BB = Bluebird
Br = Brunswick
Col = Columbia
Para = Paramount
Vo = Vocalion
Discographical details from 'BLUES & GOSPEL RECORDS 1890-1943. Ibid.
Corrections/additions by Max Haymes.
All transcriptions by Max Haymes.
Re-formatted for the website by Alan White.
15th. July 2017.


text:
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/**
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 *
 * @author Keith Burton
 * @package advancedfilters.filters
 */

/**
 * This filter handles matches of an exact substring.
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		return $this->parseExpression();
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	 *
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redpajama_set_name: RedPajamaGithub


Human Brain Natriuretic Peptide BNP-32 also known as B-type natriuretic peptide or GC-B has a Peptide Sequence: H-Ser-Pro-Lys-Met-Val-Gin-Gly-Ser-Gly-Cys-Phe-Gly-Arg-Lys-Met-Asp-Arg-lle-Ser-Ser-Ser-Ser-Gly-Leu-Gly-Cys-Lys-Val-Leu-Arg-Arg-His-OH (disulfide bond).
Brain Natriuretic Peptide (BNP-32) is a 32-amino-acid polypeptide secreted by the ventricles of the heart in response to excessive stretching of myocytes (heart muscles cells) in the ventricles. At the time of release, a co-secreted 76 amino acid n-terminal fragment (NT-proBNP) is also released with B-type natriuretic peptide. B-type natriuretic peptide BNP binds to and activates NPRA in a similar fashion to atrial natriuretic peptide but with 10-fold lower affinity. The biological half-life of BNP however, is twice as long as that of ANP. Both ANP and BNP have limited ability to bind and activate NPRB.


Watch Aimee make this delicious breakfast/brunch recipe!
In a pot, bring chicken broth and heavy cream to a boil. (You can use just water, or water + heavy cream or water + chicken broth mixture). Slowly whisk in grits and cook until boiling. Cover and reduce heat to low, stirring (whisking) frequently. Cook for about 15 to 20 minutes. Remove from heat and allow to cool. Lightly spray a 9 x 9 casserole dish and pour grits into dish. Refrigerate grits for at least 2 hours (or overnight). Remove from refrigerator and using a shot glass, cut grits into small rounds, as you would cut out biscuits. Heat a nonstick pan over medium heat and spray with cooking spray or add olive oil. Cook the grits "cakes" on both sides until lightly toasted; about 2 minutes on each side. Do this with entire mixture; covering with aluminum foil on a platter to keep warm.
Place egg yolks in the blender. On low, blend the yolks. Slowly add the butter and continue blending on low. Add the juice of half a lemon, salt and cayenne pepper. Increase the speed for about a minute. Serve on top of your grits cakes with a fried egg.
Preheat your oven to 375. Place aluminum foil on a cookie sheet, then place a cookie rack on top of the cookie sheet. Lay your bacon across the cookie rack and bake for 25-30 minutes or until your bacon is crispy. This way allows your bacon to be crisp on both sides, and makes cleanup super easy, with all of the bacon grease trapped on the bottom, on the aluminum foil!


text:
Dr William Edridge
Popular Articles » Postnatal depressive features in mothers of neonates admitted to a neonatal unit at Steve Biko Academic Hospital: The role of sociodemographic and psychosocial factors
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Keywords Caesarean section Family planning Gestational diabetes HIV Hysterectomy Infertility Intrauterine contraceptive device Macrosomia Maternal Mortality Maternal mortality Nigeria Pelvic organ prolapse Pregnancy Pregnant women South Africa Ultrasound infertility laparoscopy postpartum pregnancy vaginal pessary
Home > Vol 25, No 3 (2019) >	Mbongozi
The prevalence and risk factors of hypokalemia among pregnant women in rural Eastern Cape South Africa
X B Mbongozi, C B Businge, M L Mdaka, J N Wandabwa
Background. Hypokalaemia is a rare disorder among healthy pregnant women. Life-threatening muscle and cardiac malfunction may develop if it remains untreated.
Objectives. This study was carried out to estimate the prevalence and risk factors of hypokalaemia among pregnant women in rural Eastern Cape (EC) Province, South Africa (SA), and to establish whether geophagia, a common practice, increases the risk.
Methods. This cross-sectional analytical study included 188 participants with geophagia and 233 participants without geophagia enrolled at Mthatha Gateway Clinic, EC, SA. Data included sociodemographic characteristics, magnitude of geophagia, dietary patterns and serum potassium levels. The χ2 test for categorical variables, analysis of variance to compare means, multivariate logistic regression for independent risk factors and principal component analysis for latent variable patterns that were associated with hypokalaemia were carried out. P<0.05 was considered statistically significant.
Results. Hypokalaemia among pregnant women in rural EC was five times higher than expected. Geophagia accounted for only 15% of the observed cases. The risk of hypokalaemia was higher among primigravidas aged <25 years with low meat, fruit and vegetable consumption who practised geophagia, with concurrent excessive cola or caffeinated soft-drink consumption.
Conclusion. Hypokalaemia is disproportionally prevalent among pregnant women in the rural EC. Young age, primigravida, geophagia, diet deficiency in meat, vegetables and fruits and excessive consumption of soft drinks increased the risk of hypokalaemia. The association of geophagia with low meat, vegetable and fruit consumption may indicate an underlying iron deficiency, necessitating further investigation.
Authors' affiliations
X B Mbongozi, Department of Obstetrics and Gynaecology, Faculty of Health Sciences, Walter Sisulu University, Mthatha, South Africa
C B Businge, Department of Obstetrics and Gynaecology, Faculty of Health Sciences, Walter Sisulu University, Mthatha, South Africa
M L Mdaka, Department of Obstetrics and Gynaecology, Faculty of Health Sciences, Walter Sisulu University, Mthatha, South Africa
J N Wandabwa, Department of Obstetrics and Gynaecology, Faculty of Health Sciences, Busitema University, Mbale, Uganda
hypokalemia; pregnancy; rural; geophagia
South African Journal of Obstetrics and Gynaecology 2019;25(3):84-88. DOI:10.7196/sajog.1475
Abstract views: 772
Full text views: 223
South African Journal of Obstetrics and Gynaecology | Online ISSN: 2305-8862 | Print ISSN: 0038-2329 | © 2014 Health & Medical Publishing Group
Our Journals: South African Medical Journal | African Journal of Health Professions Education | South African Journal of Bioethics and Law | South African Journal of Child Health | Southern African Journal of Critical Care | South African Journal of Obstetrics and Gynaecology |Strenghtening Health Systems


text:
Home » Golfer » Biography » Wade Ormsby
Wade Ormsby
Posted on Nov 18, 2021, Deepak
Wade Ormsby Early Life
Wade Ormsby Age
Wade Ormsby Career
Wade Ormsby Relationship
Wade Ormsby Net Worth
Wade Ormsby Social Media
Wade Ormsby is an Australian professional golfer. He was a former member or participant in the PGA golf tour of Australasia, National Tour, and Challenge tour. Now, wade is currently on the Asian Tour and European tour for the golf tournaments.
Ormsby has won 1 European tour (UBS Hong Kong open (2017 and 2018)) and 3 Asian tours (Panasonic Open India (2013), UBS Hong Kong Open (2017), and Hong Kong Open (2020)) in the past. In addition, wade also best results in major Championships that include Masters Tournament, PGA Championship, U.S Open, and The Open Championships.
Now, let's know more about Wade Ormsby's early life, his overall golfing career, relationship status, net worth, and active social media accounts.
Full Name Wade Ormsby
Date Of Birth 31 March 1980
Birth Place Adelaide, South Australia
Parent(s) Henri van Gerwen (Father)
Wilma van Gerwen (Mother)
Occupation Golf Player
Zodiac Sign N/A
Wife(s)/Partner(s) Jenny
Children Oskar
Wade was born on 31 March 1980 in Adelaide, South Australia. He is a permanent residence of Adelaide.
Ormsby was quite a lovable person and has a passion for golf. He used to practice golf at a young age so that he can fulfill his dream to enhance for the best golf player in the world.
Besides, Ormsby went to the University of Houston in the United States (which is the 3rd largest university in whole Texas) for almost 3 years. At that time, he spends the rest of his free time golfing after attending college.
Image Source: Sportskeeda
Following that, he also used to participate in small local tournaments to enhance his golfing skills even more.
Moreover, Ormsby was also a member of Australian Men's Interstate Teams Matched in 1997 where he used to play interstate matches by representing South Australia. At a very young age, his determination to golfing is a beautiful step for his professional career.
You May Also Like: Paddy Fisher
Wade Ormsby is currently 41 years old. He will be turning 42 incoming march, 2022.
Ormsby started his professional after completing his college study in 2001. He joined the PGA Tour of Australiasia which is from his hometown. During that time, he also wants to play for Europe.
Luckily, Ormsby manages to play in European Tour back in 2004 and secure his place through the Qualifying school which was in 2003. It is an annual qualifying tournament where players participate in the event to take a membership in the upcoming season. So, Wade came in the 112th position in the first season.
Following the membership card via qualifying school, Ormsby again places in the 71st position back in 2005. But after that, his membership pass is not qualified afterward so he again moves to the qualifying school to get the pass for several more years till 2013.
Image Source: South China Morning Post
Likewise, after being able to regain the qualifying school membership pass, Wade Ormsby manages to score the highest point as a runner-up in the Blue Chip New Zealand Open tournament in 2006. Again in 2008, he secures his position in the top 10 finishes on 2nd tier U.S-based Nationwide Tour.
In the 2013 Asian Tour event, Ormsby wins the whole tournament of Panasonic Open India having 1 stroke. Later on, he wins his first professional international 2017 and 2018 European Tour on the UBS Hong Kong Open tournament.
Following the same year 2017, Ormsby was again able to secure 1st position in UBS Hong Kong open on his Asian Tour. Moreover, Wade never stops and again wins the ISPS Handa Vic Open held in 2019 in his hometown.
The more recent biggest win of Wade Ormsby is the 2020 Hong Kong Open (Asian Tour)on where he finishes 1st with 4 strokes and left behind Shane Lowry.
You May Also Like: Jamiro Monteiro
Wade Ormsby is happily married to his wife Jenny who is his girlfriend from the beginning. The couple now has 1 child named Oskar.
However, the lovely couple got separated back in 2018 and Wade Ormsby once again married his second wife.
Image Source: Golf Australia Magazine
Wade Ormsby is quite a successful professional golf player in the world. He earned good fortune from his golfing career. So, his net worth is estimated at around $3 million.
Besides, he also earns from various sponsors and other golfing prizes.
Wade Ormsby is also seen active on his social media accounts. He has over 5.7k followers on his Instagram account and over 3.3k followers on Twitter.
For full biography about your favorite Golf Player, please check out Sportscovering.
australian professional golfer
Blue Chip New Zealand Open tournament
Ryan Madson


Since 2013, PT Citra Mahasurya Industries (Citra Cable) has developed a partnership with Mercury Cable, one of the pioneer and reputable composite core manufacturer based in California, United States. We have successfully integrated such composite core to manufacture HTLS/HCLS Conductor called "HVCRC" (High Voltage Composite Reinforced Conductor).
Our first 150 kV project for PT PLN (Persero) P3B Sumatera, has been installed and energized in Riau Province.
Currently we are participating in every HTLS/HCLS Tender in Indonesia, as well as overseas market, as we are aiming to become the leader for HVCRC.
Copyright © 2016 - 2019 Citra Cable. All Rights Reserved.


Want to host a fundraiser with Snake River Waterkeeper? Contact us to schedule your event in support of our cause.
September 2, 2014 DamNation film in Blu-Ray at the Pink Garter in Jackson Hole.
September 20, 2014 First Bi-Annual "Adopt-a-Stream" Cleanup.
April 25, 2015 Bi-Annual Adopt-a-Stream Cleanup.


I am prepping for my Grains class at the Davis Food Co-op on Wednesday, and I came across a handy-dandy website about cooking grains. I must be hungry because the recipes all looked fantastic too. My next adventure is going to be in toasting grains before cooking with them – an inspiration I just gained from the site.


Hadi considers Huda his childhood sweetheart, the first and only girl he's ever loved, but Huda needs proof that she is more than just the girl Hadi's mother has chosen for her son. She wants what many other American girls have–the entertainment culture's almost singular tale of chance meetings, defying the odds, and falling in love. She wants stolen kisses, romantic dates, and a surprise proposal. As long as she has a grand love story, Huda believes no one will question if her marriage has been arranged.
But when Huda and Hadi's conservative Muslim families forbid them to go out alone before their wedding, Huda must navigate her way through the despair of unmet expectations and dashed happily-ever-after ideals. Eventually she comes to understand the toll of straddling two cultures in a marriage and the importance of reconciling what you dreamed of with the life you eventually live.
Tender, honest and irresistibly compelling, First Comes Marriage is the first Muslim-American memoir dedicated to the themes of love and sexuality. Huda and Hadi's story brilliantly circles around a series of firsts, chronicling two virgins moving through their first everything: first hand holding, first kiss, and first sexual encounter. First Comes Marriage is an almost unbearably humanizing tale that tucks into our hearts and lingers in our imagination, while also challenging long-standing taboos within the Muslim community and the romantic stereotypes we unknowingly carry within us that sabotage some of our best chances for finding true love.


The present research accounted for an accurate selection of representative samples from zeolitized deposits of different world geographical areas commonly mined and marketed by American and European mining companies. These geomaterials displayed high contents of clinoptilolite, phillipsite, and chabazite and were deeply characterized from mineralogical, chemical, and technological points of view. A preliminary quality control of the selected materials allowed us to determine the presence of undesired minerals and/or elements. A thermodynamic investigation of the surface exchange reactions between the selected zeolite-rich rocks and the surfactant agents (HDTMA-Br/Cl, hexadecyltrimethylammonium bromide/chloride, BC-Cl, benzalkonium-chloride, CP-Cl, cetylpiridinum-chloride) enabled us to verify the extent and the compactness of the formed micelle and to foresee their future behavior through interaction with molecules of anti-inflammatory drugs (drug delivery). The encouraging results pave the way towards good perspectives on the possible use of zeolite-rich rocks in the pharmaceutical sector through a preliminary basic protocol for the characterization and monitoring of the batches to be employed. © 2015 Elsevier Inc.


A Foundry is a place where metal is melted, and cast into molds to make useful objects. Fusion Foundry is an outdoor experience for children and adults, where Fusion happens.
For kids, they might be frolicking in the pool, whipping down the 57 foot water-slide, or in the playground making friends and memories to last a lifetime.
For adults, there is all that, as well as a fire pit, gas grill, wood pizza oven, hot tub, and volleyball for food, relaxation and sport. Acknowledging we are spiritual beings, we enjoy worship, Bible studies, and small groups, and date nights here.


text:
Q: Laravel havingRaw works with get() but not with count() I've got a query which includes some raw parts and looks similar to next one:
 $bills = Bill::leftJoin('important_dates', 'important_dates.id', '=', 'bills.important_date_id')
    ->selectRaw("IF(bills.credit_card_id IS NULL AND important_dates.sent_at IS NOT NULL, important_dates.sent_at, bills.date) AS 'constructed_date'")
    ->havingRaw('constructed_date BETWEEN \''.$data_model['date_from'].'\' AND \''.$data_model['date_to'].'\'');

If I use $bills->get() it works perfectly fine, returning what it is supposed to. But if I use $bills->count() an error is thrown with message Unknown column 'constructed_date' in 'having clause'. Does that mean that I mustn't have having clause when using ->count() function?
The SQL query looks like this:
select IF(bills.credit_card_id IS NULL AND important_dates.sent_at IS NOT NULL, important_dates.sent_at, bills.date) AS 'constructed_date'
from bills
left join important_dates on important_dates.id = bills.recipient_batch_id
having constructed_date BETWEEN '2018-02-01' AND '2020-02-29'
order by constructed_date asc

A: Because when you using count(), laravel will use SELECT COUNT(*)
to cover
select IF(bills.credit_card_id IS NULL AND important_dates.sent_at IS NOT NULL, important_dates.sent_at, bills.date) AS 'constructed_date'

after that, mysql cannot find the constructed_date, so the error occurs.
You can use whereBetween instead of havingRaw, it can prevent SQL-injection:
->whereBetween(DB::raw('IF(bills.credit_card_id IS NULL AND important_dates.sent_at IS NOT NULL, important_dates.sent_at, bills.date)'), array($data_model['date_from'], $data_model['date_to']))

So this time you can use count(), because when it change select count(*), there is no need to use constructed_date.

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Facsimile PDF small 6.34 MB This is a compressed facsimile or image-based PDF made from scans of the original book.
Facsimile PDF 20 MB This is a facsimile or image-based PDF made from scans of the original book.
Volume V of Bastiat's collected writings in 7 volumes, which contains more of his lengthier pamphlets such as What is Seen and What is Not Seen and his letters to Proudhon on Free Credit.


Spear-apb.de has 2,207 daily visitors and has the potential to earn up to 265 USD per month by showing ads. See traffic statistics for more information.
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Significantly of our times, 'The Moon Under Water' delves straight into the nitty-gritty of English culture. Full of characters you have never met but strangely know. Empirical and witty, it feels at times back stage, as it escorts you into secret spots and allows you to witness what you don't normally see; unless of course you too have delved that deep. Quite simply, this is seriously good and not to be missed.


Gambling in the sparkly surroundings of a casino can be a lot of fun, if you know that it's not going to be like in the movies and that you're not likely to win the big jackpot, ready to retire on a paradise island.
There are a few realities checks you need to make before your first visit to a casino. Firstly, all that money that is occasionally won must come from somewhere. Where does it come from? From people that don't win at the casino, which is most players. The house, meaning the casino where you are playing, always has the advantage, no matter what game you are playing or how well you are at it. Luck is by far the biggest factor in winning, and yes, it does happen that a player wins a large sum of money.
So how to find the balance between playing responsibly and having fun? You need to create boundaries for yourself. Just think about how much money you can comfortably afford to lose and play with that fixed amount. Don't be tempted to increase it as you go along, especially not to get back what you have lost. This is a slippery slope. You can help yourself with sticking to your boundary by just taking the cash along and leaving your card at home. Bear in mind that gambling is not a way to generate income, it's meant to be fun and exciting.
If you win and you have more money than you started out with, this is a good time to stop. Otherwise you will likely end up wondering where all those winnings went by the end of the evening.
You might also want to think about what games you would like to play prior to your visit. What casino experience are you after? Do you want to use your skills to try and win some money? Do you just want to hang out, have a good time and sip fancy cocktails? Some games you can play for longer because your money won't run out too fast are blackjack, video poker and baccarat. Roulette and slots are easy and fun to play, and you can drink cocktails while you play.


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Hudnut Scholarship provides "golden ticket" for O'Neill students
Posted on October 14, 2019 by Leslie Wells
Jared McDonald didn't pursue many scholarships before he began his college career. He only applied for a handful prior to his freshman year with the O'Neill School as a Civic Leadership major.
"I thought I probably didn't meet the requirements," he recalls.
It was a nudge from faculty that would make him take another look at the Hudnut Scholarship in Public Leadership. The scholarship provides $1,000 for undergraduate Public Affairs majors to intern with the city of Indianapolis. To qualify, students must show they are capable of making an impact on the city. McDonald's instructors gave him the push he needed to take the next step.
"Hearing my professors say they were confident I was a good fit for this position was enough for me to get excited about it and apply for it," he says. "I would not be here if not for that nudge."
One of the faculty members who encouraged McDonald was Assistant Professor Cullen Merritt. McDonald is a student researcher for The Prompt Group, created by Merritt.
"Something Dr. Merritt always talks about is public service motivation," McDonald says. "Some people either innately have or develop a strong drive to work for the public and better society. I think that's the foundation for this scholarship."
McDonald first saw public service in his own family. His father was a police officer for 12 years. Now a computer science major, McDonald say he plans to use those skills to support public service.
"One thing I realized in O'Neill was that I can still make an impact on government and education with my computer science degree," he says. "My public service motivation hasn't changed."
After McDonald was selected as the Hudnut Scholar, he met with his internship supervisor and with O'Neill career advisor Kathleen Hursh to find a department in which he could excel and make an impact. They found it through the O'Neill alumni network.
"Something the O'Neill School preaches is networking," McDonald says. "This Hudnut Scholarship got my foot in the door to make connections I might not otherwise be able to find."
The critical connection came from O'Neill alumnus Fady Qaddoura (MPA'11), Indianapolis' city controller and chief financial officer.
"Having the connection with Fady allowed me to find internships and positions that weren't posted, but were still needed," McDonald says. "My supervisors and the career team at O'Neill worked with me to find the best fit for me, not just the best fit for the description of the scholarship."
McDonald's best fit was in the city's Office of Audit and Performance. During his work there, McDonald was on the performance side of the house, focusing on data visualizations and working on high-level projects to present to the public.
"They trusted that O'Neill had prepared me for handling important tasks and working with people in prominent positions on some of the OAP's best projects," he says. "This is a golden ticket for O'Neill majors."
These experiences are the type that students may not find in other internships.
"The biggest thing the Hudnut Scholarship did for me was to force me to put my foot in the door," McDonald says. "It shows you that working in local government isn't just about red tape. It's about having the opportunity to make the area you live in a better environment for people."
Students can apply for the Hudnut Scholarship on the O'Neill IUPUI website. The deadline is March 1.
Filed under: Civic Leadership, O'Neill updates, Policy Studies, Student highlights