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strictly a DOUBLE opt-in service.THIS IS NOT SPAM If you choose to censore or delete it.The only ones hurt are those waiting on it and the people they could have helped ![]() From Carlisle ,Indiana
U.S.A. Welcome to The Funnies est.7-4-2000 "Friends are God's way of taking care of us." These are clean jokes. However, They are, PG - Not intended for younger readers - PG
The Hair
Dryer
Getting a hair dryer through
customs... A distinguished young woman on a flight from Ireland asked the Priest Beside her, "Father, may I ask a favour?" "Of course, child! What may I do for you?" "Well, I bought an expensive woman's electronic hair dryer for my Mother's birthday. It's unopened, but it's well over the Customs limits, and I'm afraid they'll confiscate it. Is there any way you could carry it Through customs for me? Under your robes perhaps?" "I would love to help you, dear, but I must warn
you: I will not lie."
"With your honest face, Father, no one will question you." When they got to Customs, she let the priest go ahead of her. The official asked, "Father, do you have anything to declare?" He replied, "From the top of my head down to my waist, I have nothing to declare." The official thought this answer was strange, so he asked, "And what do you Have to declare from your waist to the floor?" "I have a marvelous instrument designed to be used on a woman, but Which is, to date, unused." Roaring with laughter, the official said, "Go ahead, Father. Next!" ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ A TRULY OLD FRIEND I very quietly confided to my friend that I was having an affair. USA & Troops Animated Graphics Middle age is
when you get in the car and immediately change Please help, it won't cost ya a thing
-25- Dr. Humphrey Bate born Sumner County, TN 1875. Ernest "Pop" Stoneman, "Stoneman Family," born Monarat, VA 1893. Tom T. Hall, the Storyteller, was born in a log cabin, at Olive Hill, KY in 1936. Jessi Colter born "Mirriam Johnson," in Phoenix, AZ 1947. Married to Duane Eddy and Waylon Jennings. Gene Autry's "I Wish I Had Never Met Sunshine" charted 1946. Columbia Records signed Marty Robbins in 1951. The Louvin Brothers recorded "When I Stopped Dreaming" 1955. Marty Robbins released "Cap And Gown/Last Night About This Time" 1959. Faron Young's "Hello Walls" was #1 in 1961. Whisperin' Bill Anderson's "My Life, Throw It Away If I Want To" was #1 in 1969. Melba Montgomery's "No Charge" went to #1 in 1974. Waylon Jennings topped the charts with "Lukenbach Texas" 1977. Charly McClain's "Radio Heart" was #1 in 1985. Dick Curless, age 63, the Baron of Country Music, died 1995. Le Ann Rhimes' recording of "Blue," charted 1996. Columbia Records released Mary-Chapin Carpenter's "Party Doll & Other Favorites" 1999. The Academy of Country Music presented their 2004 Awards show in Las Vegas. The big winner was Toby Keith. Album of the Year, Top Male Vocalist and Entertainer of the Year. -26- James Charles "Jimmie" Rodgers, age 35, died in his Hotel room in New York City, 1933. Jimmie was known as "The Singing Brakeman," and was the first person to be inducted into the Country Music Hall of Fame 1961. The Light Crust Doughboys recorded "My Buddy" 1936. Gates Nichols "Confederate Railroad," born New York City, 1944. Bob Wills topped the charts with "New Spanish Two Step" 1946. Elizabeth Jane Haaby (Liz Anderson) married Casey Anderson Haggard 1946. Randall "Hank" Williams born to Hank and Audrey Williams, in Shreveport, LA 1949. Eddy Arnold's "I Really Don't Want To Know" was #1 in 1954. Patsy Cline released "Let The Teardrops Fall," 1958. Willie Nelson debuted on the charts with "Touch Me," 1962. George Jones' single "She Thinks I Don't Care" topped the charts 1962. Keith Gattis born Austin, TX 1971. Jeanne Pruett's "Satin Sheets," went to #1 in 1973. Hoke Rice, age 75, of "The Rice Brothers" died 1974. Onie Wheeler, age 62, died on stage at the Ryman Auditorium, during Jimmie Snow's "Grand Ole Gospel Show," in Nashville, TN 1984. The Nitty Gritty Dirt Band 's "Long Hard Road" charted 1984, and climbed to #1. Kenny Rogers topped the charts with "Tomb Of The Unknown Love" 1986. Vince Gill's "When I Call Your Name," charted 1990. Loretta Lynn opened a museum at her ranch in Hurricane Mills, TN 2001. Songwriter Larry Lee Favorite, age 62, died in Lebannon, TN 2001. The Academy of Country Music "ACM" awards show was broadcast by CBS-TV 2004. Also visit: Bill's "Rockabilly Country News & Views"
Page
Compiled by Bill Morrison - billmorrison2002@hotmail.com **** Country Music News **** Motherlode of unreleased Hank Williams recordings coming Friday, May 23, 2008 – Hank Williams may have died 55 years ago, but a motherload of unreleased songs - 143 - will be released by Time Life starting this fall. Time Life is releasing the material, known as the "Mother's Best" recordings, under an exclusive agreement with Jett Williams and Hank Williams Jr. The 143 recordings will be released as installments over a three-year period with the first installment due this fall. When the Time Life series is complete it will increase the number of known Williams' recordings by 50 percent. The 143 recordings are from a radio series sponsored by a milling company in 1951. The show went out every morning at 7:15 a.m., and when Hank was scheduled to be out of town, he would prerecord the show. If you weren't listening to early morning radio in mid-Tennessee in 1951, you've never heard this music from the 72. He performs with his band, and the sound quality is favorably compared to his studio recordings, according to the publicist for the project. The shows were
recorded on 16-inch acetate discs that were shelved after the series ended and
were almost thrown into the trash. They were salvaged by an employee of WSM
before being given to the Hank Williams estate. The estate then fought an
eight-year battle to establish sole
ownership.
In 1951,
Williams was at the pinnacle of his career as several top pop vocalists,
including Tony Bennett and Perry Como, covered his mega-hit, "Cold, Cold Heart."
He also appeared on major national television shows including The Perry Como
Show and the last great medicine show, the Hadacol Caravan, where he topped the
bill over Bob Hope and Milton Berle. Those appearances transformed Williams from
a regional country artist into a national
icon.
These
recordings capture a side of Williams' personality that has never been presented
to his current day fans. It showcases his humorous side as he jokes with his
band and the emcee and talks about his favorite songs, whether written by
himself or others. The set includes 40 songs that he was never known to have
performed as well as many other songs that he didn't record commercially. These
include "Blue Eyes Crying in the Rain," "Cherokee Boogie," and "The Blind
Child."
"This is truly
a unique moment in music history," said Mike Jason, Time Life, Senior Vice
President, Audio & Video Retail. "Finding these once-in-a-lifetime
recordings is comparable to discovering a closet full of unreleased Beatles' or
Elvis Presley songs."
"This treasure
trove of music will introduce my daddy to a whole new generation of fans and
bring memories to his existing fans," says Jett Williams, Hank Williams' only
daughter. "Everyone will get to know the man and his musical genius as never
before. These recordings were my vehicle to get to really know the father I
never met."
Statlers' Jimmy Fortune receives honor Friday, May 23, 2008 – Jimmy Fortune, former tenor of the Statler Brothers for more than 20 years, was honored earlier this month by the Tennessee State Senate. The resolution celebrates "the numerous contributions and significant accomplishments of Jimmy Fortune, who, through his personal excellence and musical talents, has brought happiness to his countless fans" and commends him "for playing a significant role in the growth of the country music industry." Fortune performed two of the hit songs he wrote for the Statler Brothers - "Elizabeth" and "More Than a Name on a Wall" and received standing ovations. It's showtime for The Statlers Are Dixie Bee Liners "Ripe" for success? Hayes Carll has "Trouble In Mind" Longview goes deep again Tift Merritt gets tender Carlene Carter grows "Stronger" Larry Stephenson grows "Thankful" Allison Moorer covers bases Blue Highway chugs along For Gary Louris, it's time to be a "Vagabond" Kathleen Edwards smells the flowers See the complete list. Independence. Musicians crave some measure of it, yet many never quite attain it short of getting the ol' heave-ho. Staunton, Va.'s Statler Brothers have managed to pull it off. After 34 studio albums for Mercury/Polygram Records since 1970's classic "Bed of Roses," the longtime hitmakers left the label five years ago. Little did they realize that it would be five years before another all-out stab at an album of new material would come along. But there's a twist for the band's latest,
"Showtime." See, it's released on their own label, Music Box Records.
"Well, it gave us the freedom to do
exactly what and how we wanted to," says founding member Don Reid. "It's a good
deal for us. A good business deal."
As such, Reid, 56, suggests that they may
sign other acts to the label.
"That's a possibility," he says. "We're
kind of testing the waters ourselves right now, but there's a possibility that
that might happen. There's a lot of talent. You run into it all over the place.
We're gonna first consider whether we're gonna do it, and then we're gonna
consider who we're gonna do it with."
In the meantime, Reid and older brother
Harold, Jimmy Fortune and Phil Balsley have some records to sell.
"There's all kinds of things to be taken
into account," Reid says. "Distribution is your biggest thing (theirs is handled
by Portland, Ore.-based Pamplin Music Distribution). We can go away and cut the
album, get it packaged. That's no problem. It's the marketing, it's the
distribution and making sure you get it in all the stores. That can be a
harrying experience."
Now, given that the Statlers resided in
the house of Mercury for nearly three decades and sold millions of albums, one
wonders why they chose to leave. Be sure to realize, too, that their exit was a
band decision; Mercury did not cut them loose.
But that doesn't mean it wouldn't have
happened. As the mid-'90's rolled around, off the merry-go-round of radio
airplay went the Statlers. Labelmates such as Shania Twain vastly outsold the
veteran group. Oh sure, they still sold out shows as much as always, but for
so-called contemporary country radio, it was as if the Statlers didn't even
exist.
"We were with Mercury for a long, long
time," Reid says. "As you well know, people in our category are not radio-active
anymore. They've got a big catalog on us and still have great sales on the
albums, but it just seemed like the right thing to do at the time."
No question about it. From the 46-time
(!!) Music City News award winners' viewpoint, they no longer were a priority at
Mercury as they'd been for so long. See, image didn't sell the Statlers'
records, at least not a contrived image.
"That label like any other was looking for
new acts," Reid says. "They can get new acts - they want new, young and fresh
talent, of course - and they can get 'em cheaper. And they can handle 'em. This
is a big thing with record labels, why they're constantly looking for new acts
because they are easily handled and are cheap labor."
There, you have it. No big surprise, but
Reid's comments highlight what many have known for so long about major labels in
Nashville: It's all about the dollar. And that little ol' thing called control.
"The labels are trying to be more
controlling today than they've ever been before. I think the artists of today
have very little say in what they do and in what they record and in how they
record. There's just so many people with their finger in the pie. I think that's
why we have so little varied country music today. It's taken the style out of
it. It's taken the individuality out of it. It's cookie-cutter stuff."
Little wonder, then, that the Statlers
elected to veer clear of Nashville's current dictator-like regimes. With such
power behind Music City's wheel, honest-to-goodness stylism appears to have
become pass?. At least among the big wheels that appears to be the case.
"Oh boy, there's no mistaking your Hank
Snows and your Johnny Cashs and your Marty Robbins'. These people had style from
the first two notes," Reid says. "It's just not the way now. And more emphasis
is put on electronics and instrumentations instead of the voice and the song.
That's what it ought be, the voice and the song."
Make no mistake, pardners, once you hear
the Statlers sing, you've heard a sound not quite like any other.
"That's the most important thing, to be
recognizable. That's more important than talent. To be original is more
important than anything when you're in this business. That's what all the people
who stick around, like your Merle Haggards, they're original and boy you know
it's them."
Haggard said as much in an interview last
October. Hag said that what's wrong with today's music is that it strives for
perfection. "Music was never supposed to be perfect," Haggard said. "We're
humans, and humans aren't perfect."
Reid could not agree more.
"That's the beauty of it. I can remember
one time when we were in a session, and we had two guitars playing a unison
break," Reid says. "Somebody said, 'aww, we'd better re-tune.' And this other
picker said, 'no, that's the beauty of it.' They were not exactly there, a few
beats short. Kind of what Merle was saying, but that's what gave it the breadth,
that's what gave it the excitement. Electronically you can do it perfect. You
can out that machine on it to make it perfect, but that doesn't make it pretty."
Indeed, what you get on the Statlers'
latest album is them, not some digitized version. With longtime Nashville
session players such as Sonny Garrish (steel guitar, dobro), Eddie Bayers
(drums) and legendary ivory tickler Hargus "Pig" Robbins on board, the Statlers
shot for heart and feeling, not some pickled in perfection sound.
"You want it to be you, and if it's not
you, then it's not right," Reid says. He adds that when artists take such
liberties in the studio as to perfect their sound, they do so at the peril of
subsequent live performances.
That's never been a problem for the
Statlers. For one thing, they've managed to record all their albums since 1970
-- including their latest -- with the same producer, Jerry Kennedy. For another,
through the years the foursome penned most of its own material.
"Oh, Jerry's the fifth brother," Reid
says. "He is everything to us. When we walk into a studio, he is it. He's been
with us since 1970. We trust him explicitly. He was the first guy that gave us
total freedom in the studio, and that's important. He had worked some sessions
with us years ago as a guitar picker when we were on Columbia Records in our
first five years in the business."
When the Statlers' Columbia contract
expired, they simply walked across the street and looked up their pal Kennedy,
by then Mercury's head honcho in Nashville.
"We said that we were looking for a label.
He said 'I'd love to record you guys, but I've got one problem, I don't have
time to look for material. Have y'all got any material?'"
Umm, yeah. The Statlers were overflowing
with songs they'd written. "We'd been writing for years and hadn't been able to
record it because Columbia was making us do what was handed down, ya know. So he
opened the doors to the studio, and we started recording the stuff we wanted to
the way we wanted with the pickers we wanted."
And gosh, consider the gems that have
flowed from Staunton's finest pens: "Carry Me Back," "Class of '57," "Flowers on
the Wall." All hits, all classics. No less than famed novelist Kurt Vonnegut
wrote in his book "Palm Sunday" that "Class of '57" should be named America's
new national anthem. Now that's high praise.
"That was nice what he said. He has proven
to be a fan through the years. He and his wife come to our concerts. We call him
up and sing "Happy Birthday" to him, so it's been a fun relationship."
Then there's filmmaker Quentin Tarrantino.
He re-popularized the "Flowers on the Wall" when he used it in his seminal film
from 1995, "Pulp Fiction."
"We were in strange company on that album
for that movie," Reid says with a laugh. "When they contacted us, it wasn't even
titled yet. So, we didn't really know until it came out. Of course, the album
went platinum and was great for everybody involved, but we were in strange
company when we look at everybody that's on that album."
Not that their fans noticed. Reid says
after initially watching the movie, he worried that the band's fans would deluge
their office with disapproving letters. That, however, never happened.
"Not one of our fans have written, called,
stopped us or anything. We thought we were really gonna hear it from our fans.
Our fans didn't go see that movie. Our fans didn't buy that album. We got to
hear from the college crowd; it got all kinds of new people after us."
Still, "Flowers on the Wall" once again
struck paydirt last year when country newcomer Eric Heatherly recorded the tune
and took it into country's Top 40.
"We were very honored that (Eric) did it.
We thought he did a great 'today' job on it," Reid says. "He gave a nice 21st
century twist to it. It sounded like today, and it sounded good."
Today, Reid says that he's honored that
both men would think so highly of the song. Still, he stops short of offering
approval of Tarrantino's often violent film that clashes head-on with the
Statlers' clean-cut and wholesome boys-next-door images.
But back to the new album. Jimmy Fortune
penned one tune, "Look At Me," and then there's a Steve Wariner and Gordon
Kennedy-penned tune, "Darlin' I Do." Elsewhere, it's all Reid written. Brothers
Don and Harold along with several of their offspring wrote the album's remaining
10 tunes.
Including a pair of paint-peeling gospel
tunes, "The Other Side of the Cross" and "I've Got Jesus On My Side."
"We like the way these gospel songs came
off, and we're excited about the way the (upcoming) one will do," Reid says.
"We've got about eight songs ready to go. In fact, we just got finished with
rehearsals this morning. It's all gospel."
Reid says that though the band is perhaps
more well known for such hits as "Silver Medals and Sweet Memories" and
"Whatever Happened to Randolph Scott," it's a gospel song that attracts most
applause during their shows.
"Gospel music is our first love. We've
never done a concert where we didn't do at least one or two. Of all our hit
songs, the most requested song we've got is "How Great Thou Art." We've been
doing it in concerts for 30 years. We grew up with gospel. Our hearts are really
in it when we're doing them."
More simply put, the Statler Brothers are
not merely a country group.
"We're basically a gospel quartet with
country lyrics. We used everything we knew from the Southern gospel quartets and
just put country lyrics to the songs. That makes us different. That makes us
original."
Paisley, Keith hold number one spots Thursday, May 22, 2008 – Brad Paisley assumed the top spot on the Billboard country song chart for the week ending May 31, while Toby Keith stayed number 1 on the album chart with "35 Biggest Hits." Paisley took over the number one position from James Otto and his first number one, "Just Got Started Lovin' You." Phil Vassar moved up one to second on the chart with "Love is a Beautiful Thing." Rascal Flatts was up two to fourth with "Every Day," while Lady Antebellum jumped from eighth to fifth with their first single, "Love Don't Live Here." Carrie Underwood is racing up the
charts with "Last Name," now at seventh, up three. Kenny Chesney was up one to
eighth with "Better As a Memory," and Montgomery Gentry moved into the top 10
with "Back When I Knew It All," at 10th, up 1.
Alan Jackson was up 3 to 13th with
"Good Time." Tim McGraw's "Kristofferson" was up 3 to 16. Reba McEntire moved up
4 slots to 19 with "Every Other Weekend." Brooks & Dunn jumped 5 places to
22nd with "Put a Girl In It."
On the album chart, Taylor Swift
was up one to second with her eponymous debut, switching spots with Dierks
Bentley's "Greatest Hits // Every Mile a Memory 2003-2008." Underwood jumped
from seventh to fourth with "Carnival Ride," while Otto was up one to fifth with
"Sunset Man."
Chesney was a big mover with "Just
Who I Am: Poets & Pirates," up 5 to 10th. Robert Plant and Alison Krauss'
"Raising Sand" was up 3 to 13th. Keith Urban was at 23rd, up 3 with "Greatest
Hits."
On the overall top 200, Keith was
9th, Swift 11th, Bentley 14th, Underwood 24th and Otto 25th.
Manager who gave new life to 'Opry' in 1950s dies By PETER COOPER • Staff Writer • May 23, 2008 Walter David "D" Kilpatrick, a producer, music executive and Grand Ole Opry manager who recorded Johnny Horton and Jimmy Dean and brought Porter Wagoner and the Everly Brothers to the Opry, died Wednesday afternoon at his home in Franklin. Mr. Kilpatrick was 88, and had battled lung cancer. "He gave the Opry a lot of really sincere, professional attention at a time when it needed a steady hand," said Craig Havighurst, who interviewed Mr. Kilpatrick during the writing of Air Castle of the South: WSM and the Making of Music City. "He was there at the Opry during a tumultuous stretch." Born in Charlotte, N.C., on July 18, 1919, Mr. Kilpatrick served as a Marine and then made his way into the music industry. According to The Encyclopedia of Country Music, he worked in sales with Capitol Records' distributorship in Charlotte before moving to Atlanta to manage a Capitol branch. In 1950, Mr. Kilpatrick moved here and became the city's first salaried country music producer, and recorded major artists, including Hank Thompson and Tex Ritter. Upon Mr. Kilpatrick's move to Mercury Records in 1951, he worked with artists such as Johnny Horton, Benny Martin, Carl Story and Bill Carlisle. In 1956, at a time when a new type of music called rock 'n' roll was damaging country music's popularity, Mr. Kilpatrick became manager of the Grand Ole Opry. A powerhouse during the 1940s and early 1950s, the Opry had struggled to sell tickets in the 1950s in the wake of Elvis Presley's ascendance. With teens turning to rock, Mr. Kilpatrick felt it necessary to seek young, vital performers to play the Opry. "He was there when rock 'n' roll was eating their lunch, and he was aware of how old the core Opry cadre was," Havighurst said. "He said, 'We've got to get some dynamic new people in here.' " Thus, Mr. Kilpatrick invited the Everly Brothers, Porter Wagoner and others to become part of the Opry family. Mr. Kilpatrick also helped found the Country Music Association in 1958, seeking to find ways to recover and ultimately extend country's popularity. With Mr. Kilpatrick's death, Mac Wiseman and Charlie Lamb are the only surviving members of the inaugural CMA board of directors. Mr. Kilpatrick left the Opry in 1959, and in his new position at the Acuff-Rose Artists Corporation he worked with Opry stars and with pop acts such as Roy Orbison. Later, he worked at Warner Bros. and again at Mercury. In the late 1960s, he formed Brentwood-based Athena Records with producer and arranger Rick Powell, and though Mr. Kilpatrick's original vision was to foster singer-songwriters, the label's roster wound up showing a different side of Nashville music. Athena's first release, in 1968, was an album by the all-female rock band The Feminine Complex. Soon thereafter came two collections of electronic music. Visitation will take place at Williamson Memorial Funeral Home, 3009 Columbia Ave., Franklin, from 5-8 p.m. today. A memorial service will take place at 11 a.m. Saturday at the funeral home, with visitation beginning at 10 a.m. A private burial will follow. Surviving family members include: wife, Mary Jane Kilpatrick; son, W. David Kilpatrick Jr. and wife Cindy, of Brentwood; daughter, Judith K. Tucker, of Charlotte, N.C.; and grandchildren Darby Tucker of Folly Beach, S.C., and Carter Kilpatrick and Cannon Kilpatrick, of Brentwood; and sister, Ruby Brooks, of Charlotte, N.C. Peter Cooper can be reached at 259-8220, or at pcooper@tennessean.com. Staff Writer Jonathan Marx contributed to this report. **** Amy's Kitchen **** Orange Angel Food Cake Dessert With just one bite of Janet Springer's light-as-air angel food, even dieters will be on cloud nine! Cutting back on the fat and sugar doesn't squeeze the flavor from the sunny citrus cake she makes frequently in St. Petersburg, Florida. SERVINGS 15 CATEGORY Dessert METHOD Chill PREP 30 min. COOK 30 min. TOTAL 60 min. INGREDIENTS a.. 1 package (16 ounces) angel food cake mix b.. 1 package (.3 ounce) sugar-free orange gelatin c.. 3/4 cup boiling water d.. 1/2 cup cold water e.. 1-1/2 cups cold fat-free milk f.. 1 package (1 ounce) sugar-free instant vanilla pudding mix g.. 1 teaspoon orange extract h.. 1 carton (8 ounces) frozen reduced-fat Cool Whip® whipped topping, thawed i.. 1 small navel orange, halved and sliced j.. 1/2 cup sliced almonds, toasted DIRECTIONS Prepare and bake cake according to package directions, using an ungreased 10-in. tube pan. Immediately invert tube pan; cool completely. In a small bowl, dissolve gelatin in boiling water; stir in cold water and set aside. Cut cake into 2-in. slices; arrange cake slices in a ungreased 13-in. x 9-in. x 2-in. dish. With a meat fork, poke holes about 2 in, apart into the cake. Slowly pour gelatin over cake; chill until set. In a bowl, whisk milk and pudding mix for 2 minutes. Whisk in extract. Let stand for 2 minutes or until soft-set. Fold in whipped topping. Spread over cake. Garnish with orange slices and almonds. Cover and refrigerate until serving. Yield: 15 servings Diabetic Delight...
From Taste of Home
1 package (3 ounces) peach or orange gelatin 1 cup boiling water 3 medium ripe peaches, sliced 2 tablespoons honey 1/4 teaspoon almond extract 1/2 cup heavy whipping cream, whipped or 1 cup whipped topping Fresh mint and additional peach slices, optional In a large mixing bowl, dissolve gelatin in water. In a blender, combine peaches, honey and extract; cover and process until smooth. Stir into gelatin mixture. Cover and refrigerate until syrupy, about 1-1/2 hours. In a large mixing bowl, beat peach mixture on high speed for about 5 minutes or until doubled in volume. Fold in whipped cream. Spoon into dessert dishes. Refrigerate until firm, about 1 hour. Garnish with mint and additional peaches if desired. Yield: 8 servings. Nutrition Facts One serving: (prepared with sugar-free orange gelatin and reduced-fat whipped topping and without garnish) Calories: 46 Fat: 1 g Saturated Fat: 0 g Cholesterol: 1 mg Sodium: 23 mg Carbohydrate: 8 g Fiber: 0 g Protein: 1 g Diabetic Exch: 1/2 starch. ****A Parting Thought **** Medicine is sky high. I got one prescription that says, "Take one capsule as often as you can afford it."
Disclaimer : All of my materials are Borrowed from various areas on the web and from my readers. All are
believed to be public domain . If you hold copyright
on any of these materials please inform me so I may give the proper credit, or remove it which
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