This is a fascinating bit from Law Notes, a monthly magazine edited Albert Gibson and Arthur Weldon, who wrote a smatter of papers on law in the early 20th century.
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Instead, observe the drama from a comfortable distance, like a spectator at a tennis match, diligently following the increasingly aggressive volleys with (at most) a dignified smatter of applause for a good match point.
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Most bands would probably slap a few Friday the 203th samples between songs, smatter some blood on the cover, and call it a day, but Mark McCoy (Charles Bronson, Das Oath) and James Trejo (Cadaver Dog) have taken their comprehensive knowledge of the horror genre and stabbed it straight into the heart of Deep Blood.
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"They said there was going to be 2,000 protesters, and we counted, there was 43, and they're way over there," sneered Trump, generating a smatter of laughter among his adoring golfer fans and looks of confusion among the media, whose movements had been so tightly controlled that many were barely aware of the protest.
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The only significant difference from Smatter is that the compound doesn't grow. Now it's by ORB.
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A Nickelodeon/Flying colors compound that is Nickelodeon's alternative to "Silly String". It came in different colors, and different varieties such as Smatter Blaster, Spit Smatter, and Fatter Smatter; which if you got a lot in your hand, it would grow. However, it was voluntarily recalled in 2003 due to incidents where the aerosol cans forcefully broke apart, resulting in a laceration injury to a consumer and several incidents involving property damage. In 2014, Spin Master revived this product without Nickelodeon branding as "Spatter" under their "Wacky-tivities" banner.
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The U.S. Patent #3705669 includes a clear description of preferred implementations. Similar toys are Goofy String, Streamer String, Wacky String and Nickelodeon Smatter.
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Beaufort walks into the scene first and addresses the ladies and speaks of Jack's lack of communication in a timely manner. Then Mr. Codger enters and Lady Smatter asks him about friends from the north and Mr. Codger tries to tell a story but takes too long to do so and keeps getting interrupted. Mr. Dabler then enters and Lady Smatter starts to praise his work and at first he seems concerned but then feels at ease talking and sharing his works to Miss Smatter. Mr. Codger questions his work but doesn't really want to read his work. Mrs.
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The Witlings is a comedic play written by Frances Burney in 1779. It is a comedy of manners that satirizes the self-same literary society which Burney depended on for her support. The story involves the young lovers, Beaufort and Cecilia, who become estranged when Cecilia's estate is suddenly lost. Lady Smatter, Cecilia's governess, will not allow the match to proceed, but Beaufort's friend, Censor, catches Smatter in her own literary pretensions.
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Thus blackmailed, Smatter is forced to relent, and the lovers are reconciled and the estate is recovered. Burney's father, Charles Burney, understood the insulting parallels in the play, and persuaded his daughter to bury the play. The Witlings was not published until 1994, when Katherine Rogers included it in her anthology of Restoration and 18th-century women playwrights. The play was first performed on February 7, 1998 at the Main Street Theatre.
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Paramount, the industry leader, put out its first talkie in late September, Beggars of Life; though it had just a few lines of dialogue, it demonstrated the studio's recognition of the new medium's power. Interference, Paramount's first all-talker, debuted in November.Eames (1985), p. 36. The process known as "goat glanding" briefly became widespread: soundtracks, sometimes including a smatter of post-dubbed dialogue or song, were added to movies that had been shot, and in some cases released, as silents.
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Act 2: Act 2 begins with a conversation between Miss Stanley (Cecilia), and Lady Smatter, Mr. Beaufort's Aunt in a drawing room of Lady Smatter's. Their conversations consist of Mr. Dabler's literary works as well as their knowledge of literature in general. The audience starts to understand each other's point of what use is their knowledge and their purpose for involving themselves in these topics. Other characters that walk into the scene are Mr. Codger, Beaufort, Mr. Dabler, and Mrs. Sapient.
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Act 3 Scene 1: During this act Cecilia reacts in total disappointment about her being broke. Mr. Beaufort is concerned because Cecilia is so upset and asks that his aunt calm her down. His aunt immediately reconsiders Cecilia's engagement with Mr. Beaufort and thinks it's unfortunate that she is broke but doesn't hesitate to disown her. Both Censor and Lady Smatter want Mr. Beaufort to leave Cecilia be and not marry her anymore but Mr. Beaufort is adamant about marrying Cecilia because he truly loves her.
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In the period 1797–1801 Burney wrote three comedies that remained unpublished in her lifetime: Love and Fashion, A Busy Day and The Woman Hater. The last is partly a reworking of subject-matter from The Witlings, but with the satirical elements toned down and more emphasis on reforming her characters' faults. First performed in December 2007 at the Orange Tree Theatre in Richmond, it retains one of the central characters, Lady Smatter – an absent-minded but inveterate quoter of poetry, perhaps meant as a comic rendering of a Bluestocking. All the other characters in The Woman Hater differ from those in The Witlings.
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Fruitvale has become the backbone of Oakland's Latino community, in which East Oakland had a rapid increase of 132% of Latinos between 1990 and 2000. Latinos make up 38% of the population of East Oakland. There is also a diverse Asian population, including Chinese, Vietnamese, Lao, and other southeast Asian ethnic groups generally inhabit the area of East Oakland closest to downtown, from Chinatown east to San Antonio. Asians make up a smatter percentage of only 4% of the population, but between 1990 and 2000 saw and increase of 13%. Between 1990 and 2000 both the white and black population of East Oakland saw a decrease in their populations by 24% and 16% respectively.
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King played also in his own pieces. Love at First Sight, a ballad- farce, by him (1763), was acted at Drury Lane on 17 October 1763, King playing in it Smatter, a servant who personates his master. Wit's Last Stake (1769), another farce, was given at Drury Lane on 14 April 1768; It was an adaptation of Le Légataire Universel by Jean-François Regnard, and its success was attributed to King's reading of the part of Martin, the Crispin of the original, a servant who personates a man supposed to be dying, and dictates a will by which he himself benefits. Under the title of A Will and no Will, or Wit's Last Stake, it was revived on 24 April 1799 for King's benefit, on which occasion King was Linger the invalid, and Bannister, jun.
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