The Migration Policy Institute, a think-tank, found that they are likelier than their ineligible coevals to be in white-collar jobs, rather than the informal manual labour often performed by undocumented workers.
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Russia's young composers, it seems, are busily adapting to their own ends the extreme-sounds techniques of such contemporary masters as Helmut Lachenmann, much like their coevals in New York and Western Europe.
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A teenager in Calabasas sits poolside with a bandage over her face, recovering from a nose job; her coevals in South Central head to a prom in a limousine they paid for with years of savings.
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In 1841 Joseph Willson, a dentist, wrote "Sketches of the Higher Classes of Coloured Society in Philadelphia", an orotund, Victorian disquisition that urged his coevals to be cultured and educated, but above all to "show themselves very humble".
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Trained in the information that actually matters to teens, they train to become the people their coevals can turn to when they're not getting what they need in the classroom, or when they're embarrassed or afraid to go to their teachers with their most pressing questions and concerns.
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Reich is clearly trying to forge a legacy here, one that stretches from him and his near-coevals down to the middle-aged generation of the Bang on a Can composers—Julia Wolfe, Michael Gordon, and David Lang—and even further, to the comparative youngsters Nico Muhly and Bryce Dessner.
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" Arranged in long-lined verse and in the multi-page prose-plus-haiku format called haibun, the poems' attractive ruminations land Poppick close to John Ashbery, and even closer to near-contemporaries like Nick Twemlow and Dana Ward, who similarly mention friends and coevals by name (Zach, Chris, Andrés): "By alchemic code or grace or another's ear we make our way, flush with the end of things.
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Perlat Musta was born in Vlorë on 15 October 1958 into a family which did not have "strong" connections with football. He begun to show his liking for football at the age of 10, and unlike his coevals, Musta's favourite position was goalkeeper.
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In Epizephyrian Locri, maidens were prostituted as a reminder and punishment for a certain act. Ancient basis for prostitution was that girls would marry earlier than their coevals and foreigners would complete the rites. The completion of the rites enhances the status of girls. In the middle of the 6th century, this cult became more epic focused and centered on the expiation for the crimes of Ajax.
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Clancy's is a restaurant in New Orleans situated on 6100 Annunciation Street in the Uptown New Orleans district of New Orleans, Louisiana, near Audubon Park. It, like many of its New Orleans coevals, specializes in Louisiana Creole cuisine. Signature dishes include lemon ice box pie, fried oysters with brie (described in New Orleans Cuisine: Fourteen Signature Dishes and Their Histories as "irresistible"), smoked soft-shell crab, and smoked duck. Their oysters Rockefeller and Oysters Bedouin are also remarked upon.
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137–138; Eva Cantarella, Bisexuality in the Ancient World (Yale University Press, 1992), pp. 110–111. Like his coevals, Marcellus fought in the Second Punic War, probably accompanying his father on various military campaigns, including the famous campaign against Syracuse. He was military tribune under his father, when the two consuls were ambushed in 208 BC resulting in his father's death and the other consul's severe injury. Marcellus himself was badly wounded; his father's body was subsequently returned by Hannibal to the son.
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Tivoli's second century Hadrian's Villa, Vatican Museum Oceanus appears in Hellenic cosmography as well as myth. Cartographers continued to represent the encircling equatorial stream much as it had appeared on Achilles' shield. Herodotus was skeptical about the physical existence of Oceanus and rejected the reasoning—proposed by some of his coevals—according to which the uncommon phenomenon of the summerly Nile flood was caused by the river's connection to the mighty Oceanus. Speaking about the Oceanus myth itself he declared: > As for the writer who attributes the phenomenon to the ocean, his account is > involved in such obscurity that it is impossible to disprove it by argument.
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Born of humble origins in Rome, "Cecco" Marconi worked as a carpenter during his youth. The promising quality of his voice came to the attention of a singing teacher, Ottavio Bartolini, who gave him his first lessons. Later, he studied with a much more prominent pedagogue, Venceslao Persichini, at the Rome Conservatory.M. Scott, The Record of Singing to 1914 (Duckworth 1977, London), 121-123. Persichini also taught Marconi's coevals Antonio Magini-Coletti (1855–1912) and Mattia Battistini (1856–1928)—both of whom were baritones with outstanding voices and, like Marconi, international reputations. Marconi made his operatic debut in the Spanish capital of Madrid in 1878 at the Teatro Real, singing the title role in Faust by Charles Gounod.
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Since then he was regularly acting in films, and his every appearance on screen turned to be a real event for millions of spectators. Some of his most notable roles were in the films The Alive and the Dead (1964), melodrama Three Poplars in Plyushcikha (1967), Shine, Shine, My Star (1969), comedies Aybolit-66 (1966), and Beware of the Car (1966). In 1956, having gathered around himself students and graduates of the School-Studio, both his coevals and pupils, Oleg Yefremov organized the Studio of Young Actors (subsequently — the Moscow famous Sovremennik Theater and became its first director. Since 1970 he was an actor and a Chief Producer of the Moscow Art Theatre named after Maxim Gorky.
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The Dead Wait is a play by Paul Herzberg which tells the tale of a young South African athlete, conscripted as a soldier in the Angolan Civil War, who tries to own up to a crime on arriving back home. Partly autobiographical, it draws on Herzberg's similar experiences prior to his leaving South Africa. It was aired for a spell on BBC Radio. Although the play stems from and has its roots in the context of the Truth and Reconciliation Commission, it does not, unlike its coevals Ubu and the Truth Commission and The Story I Am About To Tell (with which it was shown at The Laboratory in Johannesburg's Market Theatre), embrace it directly.
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The prominent American impresario Henry Eugene Abbey managed him during that trans-Atlantic visit. To give just five specific examples of Tamagno's foreign engagements in the wake of the 1887 premiere of Otello, he performed at the New York Metropolitan Opera in 1894–1895, at London's Lyceum Theatre in 1889, at the Mariinsky Theatre in St Petersburg in 1896-97, at the Paris Opera in 1897, and at the Royal Opera House, Covent Garden, in 1895 and 1901. (During his London seasons, he also sang privately for Queen Victoria at Windsor Castle.) Orchestral conductors of the calibre of Franco Faccio, Luigi Mancinelli and Arturo Toscanini partnered Tamagno during his heyday, and he appeared opposite some of the most illustrious sopranos, baritones and basses in operatic history. Veteran opera- goers regarded Tamagno as being the legitimate successor to Enrico Tamberlik (1820–1889), the dominant Italian heroic tenor of the mid-19th century, while Jean de Reszke (1850–1925) was widely considered to be the finest of his tenorial coevals.
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