So, did the cops in Gardner launch a manhunt to track down these nocturnal cutups?
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Roberta Smith, "The Pastime of Victorian Cutups", The New York Times, 4 February 2010. Retrieved 13 March 2013.
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Marginal EP is the third album of the Belgian rock band Dead Man Ray. It was released in 2001. It is a compilation of random outtakes, bizarre cutups and b-sides of previous recording sessions.
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Also bluegrass groups like Jimmy Martin and the Sunny Mountain Boys, Charlie Moore & Bill Napier, Red Smiley and His Bluegrass Cutups, Tater Tate and the Shenadoah Cutups, and Frank Necessary and the Stone Mountain Boys became more common at the Jamboree.Tribe, p. 70. Even gospel groups like the Blue Ridge Quartet—who became the most popular act of 1970—and Walter Bailes Singers were regulars at the show. In the early 1970s, "Trucker's Jamborees" were held at the Jamboree with performers such as Dick Curless, Dave Dudley, and Patti Powell.
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One of his most popular songs: Your Old Standby became his signature song. Another heart touching gospel song he wrote "Not Afraid" was widely recorded by many well known artists. Eanes worked as a deejay in the 1960s for several radio stations. In the late 1960s, he worked with "Red Smiley and the Bluegrass Cut-Ups" and when Smiley retired, Eanes took over the band calling it "The Shenandoah Cutups".
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Her albums and glue pot are set out on a large table beside her. Much smaller, Sir Edmund Filmer, her husband, is seated next to a pet dog. In 2010, the work was included in an exhibition at the Art Institute of Chicago, which traveled to the Metropolitan Museum of Art, titled "Playing With Pictures: The Art of Victorian Photocollage".Roberta Smith, "The Pastime of Victorian Cutups", The New York Times, 4 February 2010.
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After the split, though, Smiley continued to play on the TV shows as the "Bluegrass Cut-Ups" until Top o' the Morning was cancelled in 1968, which lead him into retirement. When Smiley retired in the late 1960s, Jim Eanes acquired the band, renaming it "The Shenandoah Cutups". From late 1966 to early 1977, Don Reno traveled with Benny Martin. Red Smiley decided to come out of retirement to join the two and toured with them from 1969-1972.
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The Heritage Collection brand reissues recordings from the 1950s–1960s Rural Rhythm archives. Recent Heritage artists include Hylo Brown, Red Smiley and The Blue Grass Cutups, and Mac Wiseman, Don Reno, Bill Harrell, J. E. Mainer, Curly Fox, Dale Potter, Earl Taylor, Max Martin, Buck Ryan, Lee Moore, Raymond Fairchild, and Jim Greer. Besides the Heritage Collection brand, Rural Rhythm issues bluegrass recordings under the Sound Traditions and Bluegrass Power Picks brands. In 2017, SONY Red Distribution became the distributors of Rural Rhythm mainstream recordings.
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The reason for the use of the "TOPY cant", such as the spelling of "thee" and "ov" in the network's name, derives from the writings of Genesis P-Orridge, which advocate a deconstruction of "normal" or consensus modes of communication in order to achieve a more integrated understanding of the Self (a la the cutups of William S. Burroughs). The anonymity of individual members was frequently protected via the use of pseudonyms, often including the use of "Kali" for a female and "Eden" for a male member.
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The film was controversial at the time of release because of its apparent glorification of murderers, and for its level of graphic violence, which was unprecedented at the time. Bosley Crowther of The New York Times wrote: "It is a cheap piece of bald-faced slapstick comedy that treats the hideous depredations of that sleazy, moronic pair as though they were as full of fun and frolic as the jazz-age cutups in Thoroughly Modern Millie." He was so appalled that he began to campaign against the increasing brutality of American films.Gianetti; Eyman.
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They "were total cutups at the ad agency" where they worked and were approached by the Canadian Broadcasting Corporation based on their reputation to write sketches. They hit the airwaves coast to coast long before their more famous counterparts Wayne and Shuster decided to leave their wildly popular radio show. Aylesworth had done some radio as a teenager and Peppiatt had done some theatre before landing the first ever comedy series on Canadian television, After Hours on the CBC in 1952. That program is also notable as giving Bernard Slade his start in television.
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Two years later, with Red Smiley, he formed Reno and Smiley and the Tennessee Cutups, a partnership that lasted fourteen years. Among their hits were "I'm Using My Bible For A Road Map", "I Wouldn't Change You If I Could" and "Don't Let Your Sweet Love Die". Included in this lineup was his son, Ronnie Reno, who played mandolin. Videos from those days are shown regularly on Ronnie's show on RFD- TV. In 1964, after the retirement of Red Smiley, Reno and guitarist Bill Harrell formed Reno & Harrell.
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The son of Fredrick and Marie Aylesworth,Science Fiction and Fantasy Literature, vol. 2, R. Reginald, 1979, pg 803 Aylesworth was born on August 18, 1928, in Toronto, Ontario, Canada, and performed on radio as a child. He left high school before graduating and went into the advertising business as a writer, working together with Frank Peppiatt. His wife recalled that they "were total cutups at the agency" and were approached by the Canadian Broadcasting Corporation based on their reputation to write sketches for the late night variety program After Hours.
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My favorite is the Offensive Locution (verbal melee) rules, providing characters with a means for engaging in 'witticism' and 'repartee.' Another great piece is the Non-Player Character Cutups table, where you roll dice to see what horrendous social gaffe your hirelings have just committed ('This is to be used at judge's discretion, in large crowds, taverns, on the street, etc.'). This supplement contains lots of other wacky and even relatively useful stuff, like the elaborate Crime, Trial, and Punishment rules. Ready Ref Sheets deserves a six- star rating.
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In March 2009, a major installation of subway advertising by the Museum of Modern Art at the Atlantic / Pacific subway stop in Brooklyn, consisting just of reproductions of works shown in MOMA, was doctored by what was claimed to be "the mysterious Poster Boy collective" along with Doug Jaeger of thehappycorp. The cutups included part of a Goodyear tire appearing to be floating with Monet's waterlilies. The initial Poster Boy work was all illicit, and he claimed "I don't want to make any money off of it. I don't want to bring it into the galleries.".
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Born in Sparta, Tennessee in White County, his father and two of his sisters played music professionally. From childhood, he learned the fiddle taught to him by Carl Alverson, Sr., of Sparta and ukulele, as well as the guitar and in his early teens left home to go to Nashville to pursue a full-time career as a country musician. Martin was working at radio station WLAC in Nashville, Tennessee in 1948 when he was asked to replace Bill Monroe's fiddler Chubby Wise who was going to leave the Bluegrass Boys.Rosenberg 2005, p. 78. In 1949, he became a member of Don Reno's Tennessee Cutups. For the next seventeen years, until December 1966, Don Reno and Martin performed on and off together.Ewing 2000, p. 30. In 1950, Martin joined Roy Acuff's Smoky Mountain Boys on the Grand Ole Opry, staying with the group until the fall of 1951. During 1951, Martin appeared on all 20 songs at Roy Acuff's last three recording sessions for Columbia Records, playing fiddle, mandolin, guitar, and banjo. In 1952, he joined Flatt and Scruggs and the Foggy Mountain Boys cutting eight songs.
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