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What Causes Foul-Smelling Stools?
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Foul-smelling stool can also indicate a serious health problem. Learn which conditions can cause foul-smelling stool, when to seek help, and how to prevent it.
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Foul-smelling stool can also indicate a serious health problem. Learn which conditions can cause foul-smelling stool, when to seek help, and how to prevent it.
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track by Matija
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Provided to YouTube by TuneCore House in Order · Mavis Staples The Voice ℗ 1993 Phono Records Released on: 1993-08-24 Auto-generated by YouTube.
Is a photo showing the White House South Lawn torn up and under construction for the UFC Fight Night ring in early June 2026 authentic? No, that's not true: The...
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Personnel：Ray Copeland, Leon Merian (tp), Jimmy Cleveland, Jimmie Dahl (tb), George Dorsey (fl,as), Sahib Shihab (as,bs), Aaron Sachs (ts,cl), Pritchard Cheeseman (bs), Hank Jones, Nat Pierce (p), Clyde Lombardi (b), Specs Powell (ds) Album：" Specs Powell / Movin' In " Recorded：February, 1957
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Sonata No 1 for Organ & Strings, Andante e molto semplice (1943) Daniel Pinkham (1923-2006) Timothy Edward Smith, organ Richard J. Clark, conductor Recorded live at St. Cecilia Church, Boston, Massachusetts, USA 11.27.2017
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Provided to YouTube by Universal Music Group Cousin Kevin · The Who Tommy ℗ 1969 Polydor Ltd. (UK) Released on: 1969-05-23 Producer: Kit Lambert Engineer: Damon Lyon-Shaw Executive Producer: Chris Stamp Vocalist: Roger Daltrey Composer Lyricist: John Entwistle Auto-generated by YouTube.
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The matinee idol sings one of his signature hits.
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Surprisingly, he got the science right at the end, but I guess if you say it incredulously enough, it makes it sound right? #physics #asteroid #dinosaurs
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The Premier of Ontario, Doug Ford, tells a story about meeting a boy named Arthur who wanted schools to reopen.
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Ronnie Gilbert sings "House of the Rising Sun" Guitar, Fred Hellerman / Erik Darling
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Art Mardigan Sextet - Moroccan Blues (1954) Personnel: Don Joseph (cornet), Milt Gold (trombone), Al Cohn (tenor sax), John Williams (piano), Teddy Kotick (bass), Art Mardigan (drums) from the album 'Various Artists - THE JAZZ SCHOOL' (EmArcy Records)
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This was without doubt a great voice, but Quartararo's career at the Met lasted only three years, as it was curtailed by her marriage to Italian bass Italo Tajo and the birth of a daughter. While her decision was a personal one, which we have no right to gainsay, it does seem to be the case that it meant a great loss to the world of music.
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Jacques Urlus (1867-1935) was one of the greatest dramatic tenors of his generation. Although born to Dutch parents, Urlus’ birthplace was actually in Germany. His parents moved back to Holland when Urlus was a baby and he was raised in Tilburg and Utrecht. As a youth, he worked in a steel mill but also sang in his local church choir. It was during his military service in the mid-1880s that the captain of his regiment noticed the young man’s singing voice. Although the officer was impressed with Urlus’ voice and even offered to pay for his singing lessons, nothing came of this opportunity. However, Urlus was encouraged by his captain’s reaction and decided to pursue singing as a hobby. After a number of local concerts and recitals, the young singer was heard by an artist from the Dutch National Opera, who recommended Urlus for an audition. Impressed by what they heard, the administration offered the young tenor a contract. Urlus made his debut on September 20, 1894 as Beppe in Leoncavallo’s Pagliacci. He remained in Amsterdam as part of Dutch National Opera’s repertory company for the next six seasons, gradually working his way up to leading roles. During his tenure with the company, Urlus performed throughout Holland, building an impressive and varied repertoire. His first appearances outside the Netherlands occurred in 1898 when he was invited to sing Tannhäuser and Lohengrin in Hannover. This led to an audition with Cosima Wagner at the Bayreuth Festival, for which Urlus prepared fastidiously. He took the time to relearn all of his existing Wagnerian repertoire in German (he had initially learned most of it in Dutch) and spent the entire summer working with Bayreuth’s coaches. Instead of receiving an offer for the upcoming season, Urlus was given the opportunity for further coaching. Feeling slighted, the tenor left Bayreuth and didn’t return for another 13 years. In the meantime, Urlus accepted an offer as principal tenor in Leipzig, a position he held until 1914. He also made regular appearances in Munich, Berlin, Dresden, Frankfurt, Stuttgart, Vienna, Antwerp, Prague and London. During the 1911-12 season, Urlus was finally given the opportunity to appear at Bayrueth as Siegmund in Die Walküre. The Metropolitan Opera in New York also offered the tenor a contract and he made his debut there as Tristan on February 8, 1913. It was not, however, a performance for the ages. Urlus, suffering from a bad cold, lost his voice during the first act, but was compelled to continue the opera, as there was no substitute to spell him. Reviews were mixed but understanding of the singer’s plight. Urlus acquitted himself admirably in subsequent performances and was secured as THE Heldentenor of the Met’s Wagner wing. He remained with the company for five seasons, singing over 120 performances of Tristan und Isolde, Parsifal, Lohengrin, Die Walküre, Götterdämmerung, Tannhäuser, Die Meistersinger, Siegfried, Fidelio and Die Zauberflöte. Unfortunately, when the U.S. entered WWI, the company suspended its Wagner productions and Urlus found himself out of a job. Returning to Europe, Urlus found himself more in demand than ever. Throughout the 1920s, the busy tenor appeared in Copenhagen, Stockholm, Rotterdam, Brussels and Paris. He also returned to London and New York and made his first appearance at the Liceo in Barcelona as Tristan in 1930. Following a Tristan in Amsterdam in November of 1931, Urlus bid farewell to the operatic stage. Despite his advancing age, the tenor was still in remarkable voice and continued to perform in concert throughout Holland. His final public appearance took place in Amsterdam in the spring of 1934, when he sang Mahler’s “Lied von der Erde”. His health now in decline, the 67-year-old tenor retired to his home in Noordwijk, where he passed away on July 6, 1935. Jacques Urlus was an amazingly versatile tenor with a repertoire that encompassed over 40 roles. Although largely self-taught, Urlus had no difficulty navigating the most treacherous roles in the repertoire and kept his voice completely intact during a 40-year career. His recorded legacy, consisting of around 150 sides made for G&T, Pathé, Edison, The Gramophone Company and Odeon between 1903 and 1927, reveal a tone that was not, perhaps, what we think of as the typical Heldentenor instrument. The voice was dark and baritonal in the lower and middle registers, but with an easy top. All in all, Urlus was a most lyrical and expressive singer and his recordings provide a pleasant contrast to the shouting and declamation of many Wagnerian tenors. In this recording, Urlus sings "Winterstürme wichen dem Wonnemond" from Act I of Wagner's Die Walküre. This was recorded in New York for the Edison label on March 1, 1915.
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Recorded at the Grass Valley Bluegrass Festival, 1992. Video: Barry Brower Like Bluegrass? Check out my website: www.barrybrower.org
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Good to have Vin back, this is one of his own songs from the eighties, inspired by concerns about over population.
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From the movie: COLLEGE HOLIDAY 1936 Very cute song and dance number featuring Johnny Downs who was an actor and song and dance man who had a long career in Hollywood and later on TV. Sadly Eleanore Whitney is largely forgotten today and that's a shame because she was absolutely one of the best tap dancers of the 1930's. It is said that as a child Eleanor actually got tap dance lessons from tap legend Bill Robinson. Although her career was short she was said to have been the fastest tap dancer in Hollywood at least until Ann Miller came along.
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Music video by Dana Key performing Dear Mr. Clapton.
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????????????????????????????????????: U.S. Marshal Raylan Givens is a modern day nineteenth century-style lawman, enforcing his brand of justice in a way that puts a target on his back with criminals, and places him at odds with his bosses in the Marshal service. That conflict results in a reassignment for Givens to the U.S. District covering the town where he grew up. He is an anachronism, a tough, soft-spoken gentleman who finds his quarry fascinating, but never gives an inch. Dig under his placid skin and you'll find an angry man who grew up hard in rural Kentucky, with an outlaw father, who knows a lot more about who he doesn't want to be than who he really is.
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Mike Reid at the Bluebird Cafe on January 20, 2017 with Michael McDonald, Gary Burr and Jim Photoglo.A Benefit for Alive Hospice
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Provided to YouTube by Sanctuary Records Here Come the People in Grey (2022 Remaster) · The Kinks Muswell Hillbillies ℗ 2022 Kinks Properties Limited under exclusive license to Sanctuary Records Group Ltd., a BMG Company Released on: 1971-11-24 Keyboards, Guitar, Producer, Vocals: Raymond Douglas Davies Guitar, Vocals: Dave Davies Bass: John Dalton Drums: Mick Avory Keyboards, Accordion: John Gosling Harmonica: Ken Jones Sound Engineer: Mike Bobak Sound Engineer: Roger Quested Sound Engineer: Martin Levan Sound Engineer: Barry Hammond Sound Engineer: Gregg Jackman Sound Engineer: Mike Butcher Composer, Author: Raymond Douglas Davies Auto-generated by YouTube.
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Video for 60's inspired, Leeds garage pop band The See No Evils' single Secrets in Me. www.soundcloud.com/see-no-evils
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Elgins Heaven must have sent you (Northern Soul)
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Diana Ross wanted to do the largest outdoor crowd performance. So she got a legendary 1million people to come out to New Yorks Central Park in 1983. Suddenly there was a serious storm that led to a down pour. Diana Ross refused to get off stage thinking of the people in attendance.
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Provided to YouTube by Universal Music Group Crazy Ass Shit · Beastie Boys Hot Sauce Committee ℗ 2011 Capitol Records, LLC and Beastie Boys Released on: 2011-04-27 Mixer, Studio Personnel, Associated Performer: Beastie Boys Associated Performer: Jon Weiner Associated Performer: Andre Kelman Mixer, Studio Personnel: Philippe Zdar Mastering Engineer, Studio Personnel: Vlado Meller Studio Personnel, Mastering Engineer: Mark Santangelo Vocals, Associated Performer, Composer: Michael Diamond Composer, Associated Performer, Vocals: Adam Yauch Composer, Associated Performer, Vocals: Adam Horovitz Associated Performer, Vocals: Mix Master Mike Auto-generated by YouTube.
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A cover of the great JJ Cale's Sensitive Kind. Don't take her for granted, she has a hard time Don't misunderstand her or play with her mind Treat her so gently, it will pay you in time You've got to know she's the sensitive kind
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Pete Jolly (p), Chuck Berghofer (b), Nick Martinis (ds) Album：" Pete Jolly / Live in LA: The Red Chimney and Sherry's Bar Recordings " Recorded：Los Angeles, February 27, 1965
