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In a variant, swindlers might stake a claim to a tract of barren land and announce they had found silver. When the surveyor decided on which part of the claim to dig to confirm the find a dead snake would be lobbed into view; a rattler was the preferred choice. Before the surveyor had a chance to notice the serpent wasn't moving it would get both barrels of a shotgun. Blackface soon found a home in the taverns of New York's less respectable precincts of Lower Broadway, the Bowery, and Chatham Street.[17] It also appeared on more respectable stages, most often as an entr'acte.[17] Upper class houses at first limited the number of such acts they would show, but beginning in 1841, blackface performers frequently took to the stage at even the classy Park Theatre, much to the dismay of some patrons. Theater was a participatory activity, and the lower classes came to dominate the playhouse. They threw things at actors or orchestras who performed unpopular material,[18] and rowdy audiences eventually prevented the Bowery Theatre from staging high drama at all.[19] Typical blackface acts of the period were short burlesques, often with mock Shakespearean titles like "Hamlet the Dainty", "Bad Breath, the Crane of Chowder", "Julius Sneezer" or "Dars de Money".[20].

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Lace Wigs D. Matt Innis 12:40, 23 February 2008 (CST)Yes, the Hokusai article was posted on Textop on about 5 October, 2006. (See Talk:Hokusai I don't have access to the 'deleted articles' on Textop to get the exact date, but the comment on the Talk page indicates it had already been posted as of that date.) If you have any indication that the priority claim is incorrect, I will of course cheerfully remove it, but it is, AFAIK, correct! J. Lace Wigs

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U Tip Extensions "Crying" followed in July 1961 and reached number 2; it was coupled with an up tempo R song, "Candy Man", written by Fred Neil and Beverley Ross, which reached the Billboard Top 30, staying on the charts for two months.[42] While Orbison was touring Australia in 1962, an Australian DJ referred to him affectionately as "The Big O", partly based on the big finishes to his dramatic ballads, and the moniker stuck with him thereafter. (Orbison's producer would later form the Candymen quintet, which was Orbison's backing band from 1965 to 1970, while releasing a few singles and two albums of their own). Also in 1962, he charted with "The Crowd", "Leah", and "Workin' for the Man", which he wrote about working one summer in the oil fields near Wink.[4][45] His relationship with Joe Melson, however, was deteriorating over Melson's growing concerns that his own solo career would never get off the ground.[46] U Tip Extensions.

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