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The Reviews for The Hunger Games: Catching Fire (2013) Let the flames begin. Join OVR as we kick off our 56th anniversary! A summer filled with fun & life lasting memories begins! Hope to see you at the Jersey Shore in Ocean View Resort Campground! The Surface, Moral, Allegorical, and Sublime Meanings. For an updated discussion of the series in light of the finale, including the alchemical, allegorical, and anagogical meanings, please head over here. If you have read The Hunger Games and Catching Fireor you’re interested in a discussion of how to use traditional tools of literary analysis to understand contemporary fiction, then you are in the right place. Find yourself a beverage to your liking and pull up a chair. Last Sunday, in a post called . Donner- Undersee was the mastermind- puppeteer behind the Mockingjay story being written within the Capitol’s Hunger Games. Accidental Murder occurs when a situation that wasn't intended to be lethal ends with the death of someone anyway. Occasionally, this happens because a fight just goes too far (Bob and Alice start fighting, and the fight gets.Many readers have embraced the idea, at least as many have objected to the theory, and I have spent most of the past week answering questions about and objections to it (see here and here and here and here). Then let’s get started. Dante and The Hunger Games. The first premise of my argument about the layered meaning of The Hunger Games Trilogy is that Suzanne Collins is a brilliant writer whose novels are simultaneously inspired and deliberately crafted. Many of the objections to the Pearl Plot theory (hereafter just . Much of the denial, sadly, is class bias and misogyny, but I think most of it is really just a misunderstanding of why we read. We are taught that reading is an entertainment or diversion very much like any other type of . It is a tragic and not a trivial game. Writers are delivering much more than diversion. Saul Bellow once explained to newspaper reporters the difference between their written work and his was that he “wrote for eternity.” Think that’s pompous? How many newspapers do you keep on a shelf in your home or share with friends? Read to your children? Writers are after the big game of life’s meaning and we come to their work expecting them to deliver. Reading has spiritual import and consequences. I am convinced a good part of the skepticism about popular books having depth, beyond misunderstanding what reading is for, is doubt about the intelligence and craft of the series’ author. When writing about the Austen elements in Harry Potter and the Shakespeare echoes in Twilight, I was laboring against the pigeon- holed perception many readers have that non- academic writers like Ms. Meyer, who though well educated do not have advanced degrees in English or teach writing, cannot be familiar with or be using the tools from the Greats’ toolbox. Discussing the meaning and artistry of The Hunger Games, though, shouldn’t require clearing this particular hurdle. Suzanne Collins has a Master of Fine Arts (MFA) degree in dramatic writing from New York University (NYU). Let’s be clear about what that means, if only because most Americans don’t get what an MFA is. If you’re like me, you think of a “Masters Degree” as a stepping stone to real postgraduate study, namely, Ph. D or doctoral studies. An MFA is a Masters but it is the end of the road in the study of the fine arts with practical applications. MFA programs have generally required a bachelor’s degree prior to admission, but many have not required that the undergraduate major be the same as the MFA field of study. The most important admissions requirement has often been a sample portfolio or a performance audition. The MFA differs from the Master of Arts in that the MFA, while an academic program, centers around practice in the particular field, whereas programs leading to the MA are usually centered on the scholarly, academic, or critical study of the field. The MFA is seen as a terminal degree, meaning that it is considered to be the highest degree in its field. An MFA differs from a Masters, then, in being “hands- on” study, in being as far as you can go, and, most important, in its being truly Masters work, in the sense of an apprentice studying with a Master. To receive the MFA in creative writing at NYU today means a lot of workshops in Greenwich Village: Requirements for the Master of Fine Arts degree include the completion of 3. Four graduate creative writing workshops taken in four separate semesters (1. One to four craft courses (The Craft of Poetry or The Craft of Fiction), taught by members of the CWP faculty. Craft courses may be repeated provided they are taught by different instructors (4 to 1. Any remaining courses chosen from any department with the permission of that department and of the director of the CWP. A creative thesis in poetry or fiction, consisting of a substantial piece of writing—a novella, a collection of short stories, or a group of poems—to be submitted in the student’s final semester. The project requires the approval of the student’s faculty thesis adviser and of the director of the CWP. I do not know how this MFa in creative writing differs — or if it differs — from the MFA in dramatic writing when Ms. Collins was at NYU but I imagine the core requirements for Master seminars in Craft of Fiction were the same. What is that required course that students are expected to repeat with different instructors about? The website page with the MFA seminar faculty and schedules for the class doesn’t spell out course requirements, but with teachers like E. Doctorow, David Lipsky, and Edward Hirsch, we know the conversations in these classrooms are not just about how to package a book or screenplay proposal for your literary agent. But we all know, too, that you can skate through any degree program, alas, and that advanced degrees or the lack of one tell us very little about what an author knows or what talents they bring to the table. As with the Hogwarts and Forks Sagas, the test is in the text. Does the Panem Trilogy have the literary guts and substance reflecting that Ms. Collins got anything out of her advanced studies in dramatic writing? I think even the most superficial look at her books says that it does. And by “superficial,” I mean right at the surface: the number of books and chapters. If you haven’t noticed, the first two of the three book set are each twenty seven chapters long and in three parts of nine chapters each. So what? In itself, of course, this clever use of threes — a trilogy of books, each having three sections, each section having 3- squared chapters, for 3- cubed chapters in each book, and 3- to- the- fourth chapters in the series — could be meaningless or just an affectation. Even if so, it is also, nonetheless, a marker or red flag for Dante’s influence. His Divine Comedy is in three books or canticas of 3. When a writer makes a point of stacking threes in her story structure, the serious reader asks herself, “Is she telling me to think Inferno, Purgatorio, and Paradiso?”I think she is. I’ll explain that in a bit but I couldn’t resist the lede in to traditional literary criticism that this thin Dante link provides. Because to lay out why I think the text is substantive enough to stand up to a reading at depth, I need to look at Hunger Games as I would a “Great Book,’ as in, say, Hamlet or War and Peace. Dante, fortunately, left instructions in his letter to Can Grande about how readers should read his poems: in the four senses, namely, the literal, moral, allegorical, and anagogical levels of meaning. For me be able to present what I am going to say, you must know that the sense of this work is not simple, rather it may be called polysemantic, that is, of many senses; the first sense is that which comes from the letter, the second is that of that which is signified by the letter. And the first is called the literal, the second allegorical or moral or anagogical. Which method of treatment, that it may be clearer, can be considered through these words: “When Israel went out of Egypt, the house of Jacob from a barbarous people, Judea was made his sanctuary, Israel his dominion” (Douay- Rheims, Ps. If we look at it from the letter alone it means to us the exit of the Children of Israel from Egypt at the time of Moses; if from allegory, it means for us our redemption done by Christ; if from the moral sense, it means to us the conversion of the soul from the struggle and misery of sin to the status of grace; if from the anagogical, it means the leave taking of the blessed soul from the slavery of this corruption to the freedom of eternal glory. And though these mystical senses are called by various names, in general all can be called allegorical, because they are different from the literal or the historical. Now, allegory comes from Greek alleon, which in Latin means other or different. I have explained at length in my last three books — that would be Deathly Hallows Lectures, Harry Potter’s Bookshelf, and Spotlight— why these four senses are not arbitrary perspectives but straight reflections of the four ways human beings know anything (for the free short course in iconological criticism, read this). Before I roll out version 2. Collins is writing deliberatively and at depth and that her works deserve a serious reading — even outlandish speculation based on the themes and meaning of the books we have in hand at present. Time allowing, I’ll expand it into a proper book or booklet with the longer explanations this introduction cannot have if I’m to get back to the Pearl Plot this month! This is just because all of the other meanings have to come through the surface. Whether they are understood consciously or experienced unconsciously, the several allegorical layers can only be had via what the viewer sees in the painting or sculpture or in the narrative line the reader reads. For writers, the surface story has to do several things right up front. However fantastic the setting or unusual the characters and plot, the tale has to be sufficiently credible that the reader suspends disbelief and enters into the story in an act of poetic faith. It helps a lot if the lead character or narrator is someone- in- a- situation with whom the reader is fascinated, sympathetic, or, best of all, that s/he is someone both fascinating and sympathy- inducing. Furk.net is not a file locker and doesn't support filesharing for profit.100Girls – 2000 100Girls – 2000 10000BC -2008, DvDrip, eng 100Tears (2007) DVDRip XviD 10Things I Hate About You – 1999 13Going on 30 2004 1408Movie- 2007 14-2007 Women 16Blocks – 2006 1979 The Wanderers 1984 Ninja III. 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At Metacritic it holds a 7. Retrieved 2. 4 April 2. Retrieved 2. 4 April 2. Retrieved 2. 4 April 2. Retrieved 2. 4 April 2. Retrieved 2. 4 April 2. Retrieved 2. 4 April 2. Retrieved 2. 4 April 2. Retrieved 2. 4 April 2. Retrieved 2. 4 April 2. Retrieved 2. 4 April 2. Retrieved 2. 4 April 2. Retrieved 2. 4 April 2. Retrieved 2. 4 April 2. Berlin International Film Festival. Retrieved 2. 4 April 2. European Film Academy. Directed by Theodoros Angelopoulos. With Alexandra Aidini, Nikos Poursanidis, Giorgos Armenis, Vasilis Kolovos. This is the first film of Theo Angelopoulos' trilogy. The story starts in 1919 with some greek refugees. Trilogy: The Weeping Meadow (2004) Dir. Theodoros Angelopoulos. The Weeping Meadow Full Album - Duration. Theodoros Angelopoulos - Trilogy: The Weeping Meadow (2004). Download Direct: Theodoros Angelopoulos - Trilogy: The Weeping Meadow (2004). Download torrent: Theodoros Angelopoulos - Trilogy: The Weeping Meadow (2004. Retrieved 2. 4 April 2. Theodoros Angelopoulos. 301 Pins 93 Followers. The Weeping Meadow (Theo Angelopoulos - music by Eleni Karaindrou) youtube.Limbo subtitles Show trailer. Release: June 4, 1999: Cast: Mary Elizabeth Mastrantonio, David Strathairn, Vanessa Martinez, Herm Date Description Size FileCount Category Health; 08/29/2013: Human.Trafficking.2005.DVDRip.XviD.Srb.SUB. Human.Trafficking.2005.DVDRip.XviD.Srb.SUB. Sample/imts-humtra-rerip-sample.avi 7.37 MB; imts-humtra-rerip-cd1.avi 701.69 MB; imts-humtra-rerip-cd2.avi 700.82 MB. Torrent anonymously with torrshield encrypted vpn pay with. Human.Trafficking.2005.DVDRip.XviD.Srb.SUB Human.Trafficking.2005.DVDRip.XviD.Srb.SUB 2.00MB. Download files up to 5 Gigabytes; Ease of use; Step 1: Select your plan. Furk.net is your personal secure storage that fetches media files and lets you stream them immediately You can use it to stream video or listen to your music from PC, smartphone, HTPC or even a game console (XBOX, PS3. SRB btspread, torrent, magnet, bt - BTSOW - The free online torrent file to magnet link conversion, magnet link to torrent file conversion, Search magnet link and Search torrent file. Share Facebook; Twitter. Limbo subtitles (1. Search torrent: the package a tale of human trafficking. The new SRB torrent file download,SRB torrent file download,SRB magnet link download,Get SRB.torrent file download.Download SRB on google drive share what you want. Chinese; English; Japanese; Korean; Search. The Cajuns, Balfa and Abshire. Balfa Brothers and Nathan Abshire (FRC1. By Dan Foster. A Brief Cajun History. Singing in French. The accent is sometimes hard to understand, especially for somebody who doesn't speak english as its mother tongue. Dry Wood is one of a number of Les Blank's critically. Search: Dry Wood: Entire Folkstreams: Background. Bois Sec and Canray; Mardi Gras; Cajuns and. Directed by Les Blank Les Blank. The world it captures probably looked, sounded and tasted just as good 50 years earlier. Spend It All is a 45-minute study of cajuns and cajun music. Les Blank - Gap-Toothed Women (1987). SPEND IT ALL (director/writer: Les Blank; cinematographer : Les. He claims the Cajuns had it much better then because everyone in the community stuck. A fiddle adds plaintive drones and harmony. A boisterous accordion, all staccato attack and ornate rolls, provides lift and bounce. After releasing another LP, the Balfas appeared in the 1972 Les Blank documentary Spend It All. That year they also recorded The Cajuns on Sonet and another for Swallow, The Good Times Are Killing. The Cajuns of Southwest Louisiana still retain the language. Werner Herzog on Les Blank’s Spend It All - Duration: 10:01. Les blank wELL SPENT LIFE.1972.ABOUT GUITARIST Mance Lipscomb.av. Uploaded 04-26 2013, Size 630.21 MiB, ULed by fech: 0: 1: Video (Music videos) les blank lightninhopkins.bonus. Spend It All (1971) Media Center Video/C 1302. Dizzy Gillespie (1965) Media Center Video/C 3557. God Respects Us When We Work, But Loves Us When We Dance (1968) Media. Beneath this trinity of voice, fiddle and accordion, a rhythm guitar and a great iron triangle jangle out a rude chanky- chank. The result is the quintessential sound of the South Louisiana prairies and bayous, Cajun music. The early history of the Cajuns is a tale of endurance against outside forces bent on their destruction. In the seventeenth century, the first European settlers left western France and sailed for the new world. Their destination was Cadie, or Acadia, a region of New France that is now called Nova Scotia. There, they and their descendants lived until 1. British authorities. Many Acadians were deported to English colonies in what is now the southern U. S. More wandered to the West Indies and elsewhere. Most of them eventually ended up as subsistence farmers in South Louisiana, where there was already a French population, and where the Spanish government welcomed Catholic immigrants. In Louisiana, they reconstructed their culture and made modifications to suit their new environment. They had contact with new groups, principally Native Americans and free people of color. This environment allowed Acadians, who in their rough and ready French called themselves “Cadiens” or “Cajuns”, to combine elements of French, Celtic, Spanish, Native American and African music into a new and unique musical genre: Cajun music. This genre had almost two centuries to develop, mature and mellow before the first entrepreneurs and collectors arrived on the scene to make records. The later 1. 95. 0s was another bust time for older styles of Cajun music, as producers moved on to record swamp- pop music, rock and roll performed in many cases by the sons of Cajun musicians. Once again, being Cajun and possessing the French sound, felt by many to be nothing but chanky- chank, was a source of shame rather than pride, and Americanization was the order of the day. Still, many of the greats like Nathan Abshire continued to ply their trade until the American folk revival provided a new outlet for Cajun musicians. Newport’s 1. 96. 4 festival marked the first time a Cajun band played for a national audience. At best, they thought they’d be a novelty act rather than a serious attraction. If you want to download the video torrent les blank SPEND IT ALL ABOUT CAJUNS (1972) you will need a torrent client. Copyright/DMCA; Metasearch; Trackers; Block Annoying Ads. At worst, they feared getting laughed off the stage. But they received a thunderous standing ovation for their performance, and band member Dewey Balfa (who had played with Abshire’s Pine Grove Boys, among other acts) returned to South Louisiana a changed man, a cultural missionary whose goal was to spread the gospel of traditional Cajun music and culture. Along with his brothers, Balfa became an unstoppable force in the world of Cajun music. Nathan Abshire (born June 2. Gueydan, Louisiana; died May 1. Basile, Louisiana) was a Cajun accordion player who, along with Iry Le. Jeune, was responsible for the renaissance of the accordion in Cajun music in the 1. His father, mother and uncle all played accordion; as an adult Abshire recalled that his father played reels on the instrument. Abshire began playing accordion at the age of six and was proficient enough to play at local bals de maison by the time he was eight. Within a few years he was well known throughout southwest Louisiana and in great demand on the dance hall circuit. Abshire’s music was greatly influenced by the legendary Creole accordion player and singer Amede Ardoin; as a young man Abshire sometimes shared bandstands with Ardoin. This influence is reflected in the great infusion of blues Abshire brought to Cajun music; many of his songs bear titles such as Service Blues, French Blues and Pine Grove Blues. Abshire first performed on the accordion in public at age eight. He continued playing at dance halls and parties through his teenage years. In the 1. 93. 0s, he performed with and learned from fiddler Lionel Leleux and accordionist Ame. In 1. 93. 5, he recorded six songs with the Rayne- Bo Ramblers, a group led by guitarist and singer Leroy “Happy Fats” Leblanc. Abshire was active throughout the 1. RCA Bluebird Company in 1. World War II. Abshire served in the U. S. After the war, he settled in Basile, Louisiana, where he played regularly at the Avalon Club. He released his best- known record, “Pine Grove Blues”, in 1. O. T. His Pine Grove Blues, recorded in 1. In the 1. 96. 0s, he became one of the first musicians to take Cajun music beyond the borders of Louisiana, Although a highly respected and influential musician, Abshire was never able to support his family completely with his music. He was, for many years, employed with the town of Basile, Louisiana, where admirers from all over the world would come to see him. Traveling with the Balfa Brothers to concerts and folk festivals throughout the United States and Canada. Abshire also hit his stride as a recording artist in the late 1. Swallow label that included Tramp Sur La Rue, Lemonade Song and Valse De Bayou Teche. Abshire was featured in Les Blank’s 1. Spend It All and the 1. PBS documentary “The Good Times Are Killing Me”. The Balfa Brothers (Les Freres Balfas) helped keep traditional Cajun music alive in the 1. The sons, three of a family of six of a Louisiana sharecropper, from whom they learned about traditional Cajun lore and culture. Fiddler Dewey Balfa was heavily influenced by players such as J. B. Fusilier, Leo Soileau, Harry Choates and Bob Wills. He and his brothers — Rodney, who sang and played guitar and harmonica, Will, the second fiddler, Harry, the accordion player, and Burkeman, who played triangle and spoons — began playing informally at family parties and local gatherings during the . They achieved enough local popularity to play up to eight dances a week at local dance halls. The Balfas were later joined by neighbor Hadley Fontenot on accordion. They made their recording debut in 1. La Valse de Bon Baurche” and “Le Two Step de Ville Platte,” which were captured on a home recorder and released as a 7. Dewey Balfa went on to a solo career playing with numerous Cajun artists and recording on such labels as Khoury, Kajun, and Swallow. In 1. 96. 7, Dewey, Rodney, Will and his daughter Nelda, along with Fontenot formed the Balfa Brothers and began spreading the Cajun sound throughout Europe and at folk festivals across the U. S. In 1. 96. 8, they played for the Olympics Festival in Mexico City. They made their first professional recording, “Le Valse de Bambocheurs/Indian on a Stomp,” in 1. Swallow. This led to an album, Balfa Brothers Play Traditional Cajun Music, also on Swallow. After releasing another LP, the Balfas appeared in the 1. Les Blank documentary Spend It All, which introduced a new generation to the lively Cajun sound. That year they also recorded The Cajuns on Sonet and another for Swallow, The Good Times Are Killing Me, which included the soundtrack for the documentary of the same name. Although most of their musical focus was on tradition, the Balfas were not averse to trying more modernized Cajun songs with a nightclub orchestra comprised of Dewey, Rodney, accordion player Nathan Menard, fiddler Dick Richard, J. W. Pelsia on steel guitar, Austin Broussard on drums and Rodney’s son Tony on bass guitar. Things went well for the band until February 1. Rodney and Will were killed in a car wreck. The next year, Dewey’s wife died of trichinosis. Despite the tragedy, the Balfa Brothers continued (with a few personnel changes) even after Dewey’s death in 1. Through them, his rich and valuable legacy of Cajun music carries on. Both albums show both a love of old French and Acadian folksongs and the skills to make exciting new Cajun music. The concern for history and tradition was a conscious and deeply- felt ideal for the Balfas. One of the most satisfying results is that, unlike most of the musicians mentioned so far, the Balfas recorded songs old enough to have roots in France. Songs like “La Valse du Bambocheur” and “Je Me Suis Marille. On the other hand, Dewey himself wrote some of the songs; he had nothing against innovation, and indeed saw it as essential for the tradition to survive. Two fiddles, one tuned low, two guitars, and a triangle were the Balfas’ instruments, and their friends Hadley Fontenot (Vol. Marc Savoy (Vol. 2) were on hand to add accordion to the band. All 2. 4 tracks are excellent. The vocals are strong and the instrumental blend is beautiful; the second fiddle, mostly played by Will Balfa, adds a particularly rich resonance to their playing on many tracks. This disc’s cleanly traditional live- in- the- studio sound, as well as its clear recording quality, ensure that it will remain classic and undated for years to come. The booklet contains all lyrics (very helpful for anyone who learned their French outside of Louisiana) as well as translations into English. The notes are generally good, but one major error states that the Balfa brothers were the first Cajun band to play at Newport. This is inaccurate; only Dewey was a member of the pioneering Newport group. Dewey Balfa was born in 1. Grand Louis, a small community near Mamou, Louisiana, to Charles Balfa and Amay Ardoin. There was music in the Balfa household from the beginning, with papa Charles playing the fiddle and singing ballads. Dewey’s older brother Will played with his father, and at the age of ten Dewey began to join in as well. In the mid- 1. 94. Musical Brothers and began playing at Hick’s Wagonwheel Club. Along with his brothers Will, Harry, Rodney and Burkeman, Dewey began playing a schedule that would break many musicians today, often playing eight dances a week while holding down a full time job. With the beginnings of rock and roll, however, Cajun music entered a period of decline and the band performed less and less. In 1. 96. 4, Dewey was called in as a last minute replacement on guitar to perform at the Newport Folk Festival. Films of Les Blank. Bay Area Documentary Filmmakers. Les Blank Yum, Yum, Yum! Features tangy music, Marc Savoy, Paul Prudhomme, and other great cooks. Media Center: DVD 3. Video/C 2. 12. 8J'ai . Includes many Cajun and Zydeco greats, featuring Michael Doucet and Beausoleil, Clifton Chenier, Marc and Ann Savoy, D. L. Menard, and many others. Media Center: DVD 3. Video/C 1. 82. 8 Gap- Toothed Women (1. A charming valentine to women born with a space between their teeth, ranging from lighthearted whimsy to a deeper look at issues like self- esteem and societal attitudes toward standards of beauty. Interviews were conducted with over one hundred women, including model Lauren Hutton and Supreme Court Justice Sandra Day O'Connor. Media Center: DVD 4. Video/C 3. 55. 8In Heaven There Is No Beer? The explosive energy and high spirits of the polka subculture are rendered with warmth and dedication to scholarship in this journey through Polish- American celebrations. Media Center: Video/C 2. Sprout Wings and Fly (1. This touching tribute to Appalachian culture profiles legendary, old- time fiddler Tommy Jarrell. His unpretentious folk wisdom is interlaced with family scenes and reminiscences, plus plenty of old- time music. Media Center: DVD 4. Video/C 1. 82. 8Always For Pleasure (1. Captures the music, food, and street celebrations that typify New Orleans. Media Center: Video/C 1. Hot Pepper (1. 97. Documents the life and music of Black zydeco- blues accordionist Clifton Chenier. Captures the sources of his music in the lives and culture of southwest Louisiana's urban and rural French- speaking Blacks. Media Center: DVD 4. Video/C 1. 30. 5The Sun's Gonna Shine: The Blues Accordin' to Lightnin' Hopkins (1. A lyrical recreation of Lightnin' Hopkins' decision at age eight to stop chopping cotton and start singing for a living. Media Center: DVD 3. Video/C 1. 83. 5Werner Herzog Eats His Shoe. When documentarian Errol Morris was a student and German director Werner Herzog his professor at the University of California at Berkeley (at least this was the relationship as I recall it) Morris approached his mentor with an idea for a film on pet cemeteries. Herzog was so certain of the subject's obscure difficulty, he immediately. Luckily for us Les Blank was around to document it in his 2. Werner Herzog Eats His Shoe. It's all rather bizarre, but the impassioned director explained that he held himself to his word for a few reasons: 1) he wanted to acknowledge what he felt was a brilliant effort by Morris, one that utilized its subject to reveal something about humanity; 2) he wanted to show his student audience the importance of setting a goal and following a course that you think is right, ignoring the naysayers. In addition to the shoe- eating scenario, Blank's film provides a stage for Herzog and his theories on filmmaking and life - revealing him as a bold, impassioned and oft- crazed philosopher. Shoe was screened immediately preceding Blank's Burden of Dreams, and it proved both the perfect introduction to Herzog as a person and an essential part of a three- film Herzog/Morris package. Roger Ebert. Chicago Sun- Times. The Films: Dreams (1. Werner Herzog. Media Center DVD 3. Video/C 1. 35. 2Gates of Heaven (1. Errol Morris. Media Center Video 9. Werner Herzog Eats His Shoe (1. Les Blank. Media Center DVD 4. Video/C 1. 35. 2 Other Les Blank Films in the Media Center. The Maestro: King of the Cowboy Artists (1. Media Center Video/C 4. Innocents Abroad (1. Media Center Video/C 7. Sworn to the Drum: A Tribute to Francisco Aguabella (1. Media Center Video/C 4. Ziveli! Medicine for the Heart (1. Media Center DVD 4. Video/C 3. 55. 4Del Mero Corazon (1. Media Center Video/C 1. Dry Wood (1. 97. 3) Media Center DVD 4. Video/C 1. 30. 6Spend It All (1. Media Center Video/C 1. Dizzy Gillespie (1. Media Center Video/C 3. God Respects Us When We Work, But Loves Us When We Dance (1. Media Center Video/C 3. A Well Spent Life (1. Media Center DVD 4. |
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