FINGERSTYLE GUITAR

NEW DIMENSIONS & EXPLORATIONS

Volume Two
by Mark Humphrey
On the biggest day in my early life my mother took me in to
Knoxville. There I saw a blind man playing a guitar on the street. I
can still see him, with that old, beat-up guitar and a tin cup tied close
to the pegs. I can even hear the coins drop into the cup. When we got
home, I told Mother, I wish I was blind and had a guitar. Thats how
much I wanted to play.
- Chet Atkins with Bill Neely, from Country Gentleman
(1974, Ballantine Books, New York).
...sonority and its infinite shadings are not the result of stubborn
will power but spring from the innate excellence of the spirit.
- Andres Segovia, preface to Diatonic Major and Minor Scales
(1953, Columbia Music Co., Washington, D.C.).
I believe that the guitar has a particular character: soft,
harmonious, melancholy; sometimes it borders on the majestic...On
the other hand it offers a delicate charm, and its sounds are capable
of being modified and combined so as to give it a very mysterious
character...Of all the instruments in use today, it may be the best
means of suggesting the illusion of an orchestra in miniature, with its
various effects.
- Dionisio Aguado (1784-1849), pioneering classical guitarist,
in his Nuevo metodo para guitarra (Paris, c. 1846)
Guitar and lute are the only instruments in which the fingertips
of both hands are in immediate contact with the sounding strings and
produce the toneas opposed to the violin, for example, where a
bow does half the work, or a piano, whose hammers intervene between
player and strings. Frederic V. Grunfeld, The Art and Times of the Guitar
(1974, Da Capo Press, New York).

There are thousands of fingers around the world at this very

moment playing guitars. The movers of these many digits are variously celebrated and obscure, but all are engaged in an act which, in
an age of increasingly passive entertainment, may be seen as slightly
subversive: they are actively entertaining themselves. Granted, a few
are entertaining others, too, and may even do it well enough to earn
a livelihood. These exceptional individuals represent an elite minority. Most of us who play guitar
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Our motivations are as multiple as our fingers. Perhaps it is the

tactility of the instrument, as Grunfeld suggests, which engages many
of us, while for others it may be the challenge of conducting what
Aguado likened to an orchestra in miniature. Many of us can recall
an encounter with an extraordinary figure, such as Atkinss blind
street singer, who propelled us into an active pursuit of this Muse.
And, too, there is the aspiration to express Segovias elusive innate
excellence of the spirit. To suggest that guitar playing engages the
spirit as well as the brain and fingertips is perhaps controversial in
post-modernist America, but other cultures are less shy of such
matters. Music reaches farther than any other impression from the
external world, the Sufi mystic Hazrat Inayat Khan wrote in 1921.
And the beauty of music is that it is both the source of creation and
the means of absorbing it. In other words, by music the world was
created, and by music it is withdrawn again into the source which
has created it.
The solo guitarists who perform on this video represent several
strains of development in a relatively new art form. It has only been
since World War II that the non-classical guitar soloist has emerged
as a concert performer. And it is only in the past 20-plus years that
their numbers have swelled to the extent that it is possible to present
a series of videos notable for the variety of performers and musical
ideas performed. As the redoubtable Claw, Jerry Reed, once remarked,
I dont go to see a man pick. I go to see a man think.
Thinking, coupled with the 90% perspiration, 10% inspiration formula, is evident in the performances here, no less than in
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the artful arrangements in the original compositions. And who would

have thought that some of these artists would get from where they
evidently started to their later points of arrival? Anyone hearing the
1950s English jugband racket called skiffle would scarcely presage
in it the folk baroque chamber music of Pentangle, but John
Renbourn, no less than John Lennon, was smitten with skiffle as a
kid. The important thing was access to a catalyst, and the opportunity to then explore the windows the catalyst opened. Rev. Gary
Davis might not recognize his influence in Stefan Grossmans Bermuda Triangle Exit, but he fired Grossmans hunger for hearing, absorbing, creating and playing music. All good pupils eventually step
outside their masters shadows. Evident, too, in these performances
is the way in which the exchange of musical currency is international. A Frenchman, Marcel Dadi, plays the country music of Merle
Travis. There are English guitarists playing original music tinged by
American blues, and American guitarists picking with English accents. There are guitarists from everywhere bringing music from the
keyboard and other sources to the guitar. There is an apparent userfriendly adaptability happening around the instrument: the example
of these players encourages the rest of us to tinker with arrangements, explore open tunings, try varied techniques of picking. The
means, they demonstrate, are flexible. And the ends? Endless.

Dave Evans

We spring to a brisk start with a dazzling display of Stagefright,

which inspired Ron Brown to write in the sleeve notes of Evanss
Kicking Mule album, Sad Pig Dance, that the tune has some 3,071
notes in it (which works out to about 14 per second). If that gilds
the lily, Evans certainly impresses with his fleet arpeggios and effective use of hammer-ons. A kinship with the Jansch/Renbourn school
of folk baroque guitar and an evident affinity for Anglo folk tunes
comes as no surprise, since Evans himself is British. But like the
best players of his generation, his ears are open to many influences,
which he hurls back effectively from his fingers; one reviewer heard
hints of Brazil, Morocco, Englands Lake Country, and Mississippis
Delta in Evanss compositions. All of it, wrote Jurgen Gothe, is
imaginative, elegant, and solidly performed. Evans both plays and
makes guitars, and his understanding of the instrument, inside and
out, certainly contributes to what he plays. Dave Evans is a guitarists
guitarist, wrote Ron Brown, and his tunes...are satisfying because
theyre built on the kind of chord progressions, arpeggios, etc. that
are more likely to be found under a guitarists fingers than those of
any other instrumentalist. Duck Baker says of Evans: Hes the kind
of person you could learn stuff from even if you never played the
guitar...I was amazed by the fact that he was completely self-taught.
The Art Of Fingerstyle Guitar (Shanachie)
Irish Jigs, Reels, Hornpipes, and Airs (Shanachie)

John Renbourn
London-born and nurtured on American folk music via skiffle,
Renbourn became deeply entrenched in the vibrant London music
scene of the 60s. Inspired
by Ramblin Jack Elliott, Big
Bill Broonzy, and other
seminal American influences, Renbourn played
Jimmy Reed songs with English R&B bands before absorbing the eclectic music
of Davey Graham and the
jazz-and-blues-tinged traditionalism of Bert Jansch.
Renbourns friendship with
flat-mate Jansch produced
some legendary guitar duets (Bert & John/After The
Dance, Shanachie Records),
and provided the core for
the uniquely adventurous
folk baroque ensemble,
Pentangle. Since the dissolution of Pentangle in 1973,
Renbourn has maintained an active solo career as well as performing and recording duets with Stefan Grossman (Snap A Little Owl,
Shanachie Records). Readers of his writings in Guitar Player and
elsewhere know he is also a passionate scholar of guitar music from
varied genres and eras. Dick Weissman wrote of Renbourn in Acoustic
Guitar: He always has a clear vision of what can and cannot be
done on the steel-string guitar, and he can coax an almost classical
sound out of the instrument, with all the subtle gradations of tone
that the best classical players can create.
Renbourns two performances here illustrate both his classical
facility and his range of influences (hints of Mississippi John Hurt
waft through Rosslyn). I think the most enjoyable approach to the
guitar, Renbourn told Stefan Grossman in a Frets magazine interview, is to regard it, if you can, as something like a keyboard instrument, with the possibility of playing the separate parts, rather than
embracing a style of music which you then have to fit all the music
into...My concern is playing the type of music I like. How it actually
sounds is an accident.
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The Black Balloon (Shanachie)

Sir John Alot... (Shanachie)
The Lady And The Unicorn
The Hermit (Shanachie)
Snap a Little Owl w/Stefan Grossman (Shanachie)
Live In Concert w/Stefan Grossman
John Renbourn In Concert (GW Video 816)
John Renbourn Group In Concert (Ramblin' Video 802)
Folk, Blues & Beyond (Video Lesson GW 907)
Celtic Melodies & Open Tunings (Video Lesson GW 908)
The Jazz Tinge (Video Lesson GW 917)

Stefan Grossman
A remarkable career in teaching and
performing began for
Brooklyn-born Grossman as teenaged pupil
of the legendary Rev.
Gary Davis. I was absolutely enamored by
him, Grossman recalled in a Guitar Player
feature, and he spent as
much time as possible
with Davis, documenting one of the most extraordinary repertoires
in American folk music.
This was the era of
blues rediscoveries, and
soon Grossman was
meeting (and learning
from) the likes of John Hurt, Skip James, and Son House. By 1965,
his knack for transmitting what he had absorbed was manifest in an
instructional album, How to Play Blues Guitar, for the Elektra label.
A few years later, Grossman wrote an influential series of books documenting varied blues and ragtime guitar styles for Oak Publications.
By then he lived in England, where he soaked up the music of everyone from Eric Clapton to John Renbourn, with whom he has performed more recently. With the formation of his Kicking Mule label
in 1973, Grossman became the nexus of an international crop of
fingerstyle guitarists who offered vital and varied music (as well as
instructional material).
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Today Grossman continues to perform, teach, and document

outstanding guitar stylists. He has reissued the best material that he
produced for Kicking Mule on the Guitar Artistry Series for Shanachie
Records. His performances here suggest both his blues roots and
his association with English guitarists: Grossmans forceful string
snapping is an emphatic technique shared not only with Delta
bluesmen but also with Bert Jansch.
Shining Shadows (Shanachie)
Love, Devils and the Blues (Shanachie)
Guitar Landscapes (Shanachie)
How To Play Blues Guitar (Shanachie)
Black Melodies On A Clear Afternoon (Shanachie)
Yazoo Basin Boogie (Shanachie)
Fingerpicking Guitar Techniques (Video Lesson GW 901)
Bottleneck Blues Guitar (Video Lesson GW 902)
How To Play Blues Guitar (Video Lesson GW 903)
Country Blues Guitar Parts 1, 2 & 3 ((Video Lesson GW 904, 905 & 906)
Hot Fingerpicking Guitar Solos (Video Lesson GW 912)
More Hot Fingerpicking Guitar Solos (Video Lesson GW 913)

John Knowles
A self-styled serious
pop or light classical guitarist, Texas-born Knowles
began his exploration of the
guitar with a Chet Atkins
album, Fingerstyle Guitar, in
1956. Two decades later, he
was performing with Atkins
in the Nashville Guitar
Quartet. His musical odyssey began with piano and
accordion, which taught
him fundamentals he then
applied to his first stringed
instrument, a plastic ukulele. By high school,
Knowles was playing Hawaiian music in a band
called the Surf Riders, but
yearned for the subtler sounds of the classical guitar. He applied to
the music department of Texas Christian University, but was told
that the guitar was not a legitimate instrument. (In more recent and
enlightened times, Knowles has taught at Nashvilles Blair School of
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Music.) Sidelined by a degree in physics and subsequent research at

Texas Instruments, Knowles continued to play and began teaching
at Dallas Frets and Strings. There he dove into the classical repertoire and wrote a four-guitar arrangement of the last movement of
Bachs third Brandenburg Concerto for the Romeros. Later, Knowles
recorded it with Atkins, Liona Boyd, and John Pell for The First Nashville Guitar Quartet (RCA Records). He also wrote an arrangement of
Scott Joplins The Entertainer for Atkins, and subsequently produced
a book of transcriptions, Chet Atkins/Note-For-Note (Guitar Player
Productions).
Knowless performances on this video evince not only his debt
to Atkins and a firm grasp of classical technique, but also a lilting
knack for chordal jazz. Along the way, Knowles wrote in an Acoustic
Guitar feature on arranging, I have found that composing for the
guitar feels a lot like arranging the music that you hear in your head.
In any event, the more you do it, the better you get. And you cant
hurt yourself trying!
Sittin Back Pickin (Sound Hole)
The First Nashville Guitar Quartet (RCA Records)

Pat Donohue
If Minnesota evokes stereotyped visions of Garrison Keillors
Lake Woebegon rustics, it also seems to have nurtured more than its
share of imaginative fingerstyle guitarists. For example, theres Pat
Donohue,
who
switched from drums
to his sisters guitar at
age 12, and soon
picked out some
Beatles' tunes. Later,
the appearance of such
bluesmen as Lightnin
Hopkins and Big Joe
Williams at the University of Minnesota
fueled his interest in
rootsier music, and
Donohues discovery
of Blind Blakes recorded oeuvre sent
him off exploring jazz
and ragtime. His explorations have faced the challenges of bop
(Charlie Parkers Yardbird Suite and Thelonious Monks Blue Monk),
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but Donohue feels the basics of blues and ragtime were an important grounding in everything hes done since.
Donohue took home the National Fingerpicking Championship
from Winfield, Kansas in 1983, and has to date recorded four albums. What Id like to do, Donohue told Russell Letson for Acoustic
Guitar, is improvise while fingerpicking, to take all those folk influences and improvise like a jazz musician, only on the folk and
crossover repertoire. Donohues performances here illustrate how a
keen mind can overcome the seeming limitations of solo guitar
athwart music intended for a jazz band, such as the Ellington jungle
band classic, The Mooch. With right-hand flutters replicating the
sustain of Ellingtons horns, Donohues realization is a sly tour de
force which ought to inspire anyone tackling a foreboding arranging
chore. (It helps, of course, to have Donohues rich chord vocabulary!)
Two Hand Band (Blue Sky)
Life Stories (Blue Sky)
Pat Donohue (Red House Records)
Rags To Rock/Advanced Fingerpicking Guitar (Video Lesson GW 925)

Marcel Dadi
Paris is an unlikely environ to spawn an exceptional exponent
of Travis picking, but thats where Marcel Dadi honed his country
craft. (Like fellow French fingerstylist extraordinaire, Pierre Bensusan,
Dadi was born in North Africa.) A friend played a Chet Atkins record,
for Dadi and effectively
changed his life. The
guitar had already entered it at age 10, when
Dadi, like much of Europe, was in the thrall
of Hank Marvin and the
Shadows, often likened
to the English equivalent of the Ventures.
Soon he was neglecting
his studies to twang
along with Hank, and
the alarmed pere et mere
Dadi sent Marcels Telecaster packing. No matter. An old Gibson and a Chet Atkins record
awaited him. Later, Chet would pen words of praise in the liner of
Dadis Guitar (Guitar World 3), thanking the young Frenchman for
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reviving his reputation Over There: I had just about decided that
no one in France had ever heard of me or my style of picking, wrote
Chet. Marcel Dadi completely debunks that idea.
Dadis performance of the Travis classic, Saturday Night Shuffle,
has all the bright bounce characteristic of the Kentucky-born style,
while his original Je Te Veux projects the mature warmth of Atkinss
electric style, proving Dadi both an adroit disciple and a creative
stylist in his own right. I think its important to play the tune and
try to bring something personal to it, he once told Stefan Grossman
in a Guitar Player feature. It shouldnt always have to be played
exactly like whats on the album.
The Guitar of Dadi (Guitar World)
Dadis Guitar (Guitar World)
Country Show! Dadi and Friends (Guitar World)
Nashville Rendez-vous (EPM Musique)
Fingers Crossing (EPM Musique)
Guitar Legend (EPM Musique)
The Guitar Of Merle Travis (Video Lesson GW 918)

Duck Baker

The first musical experience I can recall was when I was in

kindergarten, Duck Baker recalled in a 1980 Frets feature, and
one of the kids parents came in dressed up like a gypsy and played
the fiddle. I thought it was the greatest thing in the world. Though
violin lessons bored him, Baker later managed to become something
of a gypsy, living variously in Vancouver and London before recently
returning to his native Virginia. In Gitano tradition, Duck even took
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up the flamenco guitar, though the music hes played on it has been
swing rather than soleares, along with a potpourri of folk and jazz
from Appalachia to Manhattan (and a few foreign ports besides).
Baker was 15 when the guitar, as it had for John Knowles, replaced
the ukulele in his life. This was the mid-60s, and he was among the
legion of aspiring fingerstylists attempting to master Doc Watsons
arrangement of the Delmore Brothers Deep River Blues. But the influence of Richmond ragtime pianist Buck Evans soon plunged Baker
into a lifetime of arranging keyboard music, principally jazz, for
guitar. The way you learn to compose, Baker told Michael Crane
in an Acoustic Guitar feature, is to learn to arrange...The instrument will teach you what you can and cant do when it comes to
arranging. Go out there and try it. Here Baker presents arrangements of a Pentecostal hymn, Blood of the Lamb, and the introspective Monk masterpiece, Round Midnight. The former features Bakers
imaginative application of gospel-funk chords to a foursquare hymn,
further enlivened by fleet supported stroke arpeggios. The latter is a
faithful rendition of a deceptively simple jazz standard. I play some
Monk tunes, Baker told Crane, and they are very difficult. I approach them with a lot of respect, with apprehension really...I get
that feeling, Can I really bring this off? because its very heavy, deep
stuff.
Opening the Eyes of Love (Shanachie)
The Art of Fingerstyle Jazz Guitar (Shanachie)
Fingerpicking Guitar Delights (Shanachie)
The Music Of O'Carolan (Shanachie)
Irish Reels, Jigs, Airs & Hornpipes (Shanachie)
A Thousand Words (Acoustic Music)
Celtic Airs, Jigs, Reels & Hornpipes (Video Lesson GW 909)
Guitar Aerobics (Video Lesson GW 910)
Classic American Folk Blues Themes (Video Lesson GW 919)
Fingerstyle Jazz Guitar/Swing To Bop (Video Lesson GW 920)
Fingerstyle Jazz Guitar/Bop To Modern (Video Lesson GW 921)
Fingerstyle Jazz Guitar/Improvisation (Video Lesson GW 922)
The Music Of Turlough O'Carolan (Video Lesson GW 926)

Chris Proctor
Salt Lake Tribune critic John Paul Brophy characterizes Proctor
as a gifted storyteller whose voice is his guitar. As such things go,
Proctor found his voice late: he was already 20 when the guitar bug
bit. It was one of those quasi-religious experiences that I read about
all the time, Proctor told Jon Sievert in a Guitar Player feature. You
just hear something, and it sounds like the thing you want to do.
The thing, surprisingly, was fingerstyle blues and ragtime. One
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day in 1970, Proctor recalled

in a Los Angeles Times feature,
I stumbled into a little basement coffeehouse, and this guy
was playing Arlo Guthries song,
Alices Restaurant. Then he played some old blues by guys like
the Rev. Gary Davis and Blind
Lemon Jefferson. Now, Id heard
all that stuff before, but Id
never seen anyone play it, so Id
always figured that the fingerpicking was being done by two
players. When I realized that
one person could play what
sounded like two or three parts,
it really got to me. A dozen
years later, Proctor won the
National Fingerpicking Championship in Winfield, Kansas (a year
before Pat Donohue), and subsequently recorded the first of five
albums to date, Runoff, for Kicking Mule. How did Proctor sprint
from late bloomer to front runner? My big opportunity came after
college, he recalls, when I joined VISTA. They sent me to Indiana
to work on this hopeless project. I was totally depressed, and all I
did was play guitar. I was a government-sponsored fingerpicker.
Proctors performances here prove that, for once, your tax dollars
were wisely spent. The use of the E-bow at the opening of Interstate
is as unexpected, in an acoustic guitar performance, as Proctors
pentatonic-scaled discourse is delightful. His use of open tunings
and non-standard voicings has led Proctor to unusual means to his
ends: note the half capo used in Morning Thunder, covering the A,
D, and G strings. Its all a far cry from Alices Restaurant, but Proctor,
who subsequently studied theory and composition at the University
of Utah, says, I want each year and each record to exhibit a step
forward...Id like my listeners to perceive growth in terms of the
quality of my composing and playing.
Steel String Stories (Flying Fish)
His Journey Home (Flying Fish)
The Delicate Dance (Flying Fish)

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El McMeen
For an attorney whose repertoire is based largely on sacred songs
and Irish airs, McMeen points to a surprising early inspiration: Sixties protest singer-songwriter Phil Ochs. To McMeen, however, it
was Ochss medium as much as his message that rang true: The
alternating bass really appealed to me, he told
Patrick S. Grant in an
Acoustic Guitar feature,
because although you are
playing by yourself, you
have a complete sound
you can play melody and
have a little bass backup.
McMeen picked and sang
informally while pursuing
an A.B. at Harvard and a
law degree at the University of Pennsylvania. It was
not until the mid-80s that
McMeen, a partner in the New York City law firm of LeBoeuf, Lamb,
Leiby & McRae, began a deeper involvement with the guitar. The
impetus in part came from a surge of self-education: I must have
bought 40 or 50 cassette lessons, recalls McMeen, who found in
them new worlds of music (specifically, British and Irish folk tunes)
and approaches to guitar, such as open tunings (McMeens favorite
is CGDGAD). McMeens performances here are far more than carefully-copied cassette lessons. His arrangements of an Irish air, My
Mary of the Curling Hair, and Christmas standard, Angels We have
Heard on High, evince a rich contrapuntal sense and exceptionally
clean articulation. My phrasing, McMeen told Grant, is very much
like the phrasing of an a capella choir. I discovered the power of a
cappella singing at secondary school. Theres a certain flow and expansion and contraction of crescendo, diminuendo, accelerating, and
decelerating, just a breathing and organic quality to the music that I
think seeped into my being and comes out in my guitar playing.
Of Soul and Spirit (Shanachie)
Irish Guitar Encores (Shanachie)
Sacred Music For Fingerstyle Guitar (Video Lesson GW 911)
Irish Guitar Encores (Video Lesson GW 916)
Christmas Carols & Songs For Fingerstyle Guitar (Video Lesson GW 923)

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Joe Miller
The Smothers Brothers arent often cited as seminal influences
by virtuoso guitarists, but as a kid Miller enjoyed the fun he saw
them having and followed Toms example. But the guitar wasnt the
only instrument he explored: Growing up in
Toronto, which has a
large Indian community,
Miller studied sitar with
Shambhu Das, a student
of Ravi Shankars. It had
a big effect on me,
Miller recalls of his sitar
lessons, learning about
rhythms and the way I
think about scales.
Mandolin, classical guitar, electric bass, and
even viola da gamba
were among the succession of stringed instruments Miller explored
before devoting himself
to the acoustic steel-string guitar. His move to Berkeley in 1978 put
him in the midst of what locals regard as the music capital of the
West, and opportunities to play with the likes of mandolin virtuoso
David Grisman and to teach Country Joe McDonald. Miller has also
performed duets with two other artists featured on this collection,
Duck Baker and Pat Donohue. Following Donohues example, he
took home the gold from the Olympics of fingerpicking at Winfield,
Kansas in 1987. Active on the American folk festival circuit, Miller
has made two albums on his Rising Sleeves label, which inspired
Englands Folk Roots to marvel at his rare combination of technique, humor, and panache. With its animated bass line theme,
Millers performance here, Ivory Coast, is the sort of articulate and
energetic playing that prompted Guitar Player to call his work an
avalanche of awesome solo acoustic.
West Coast Music for Guitar (Rising Sleeves)
Semi-Traditional Guitar Solos (Rising Sleeves)

15

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to see a man pick. I go to see a man think.

Running Time: 92 minutes Color

Nationally distributed by Rounder Records,
One Camp Street, Cambridge, MA 02140
Representation to Music Stores by
Mel Bay Publications
2003 Vestapol Productions
A division of Stefan Grossman's
Guitar Workshop, Inc.

ISBN: 1-57940-970-9

1 1 6 7 1 30079

El McMeen

Vestapol 13007

Duck Baker

Dave Evans
1. Stagefright
John Renbourn
2. Rosslyn
Stefan Grossman
3. Tightrope
John Knowles
4. Coastin
Pat Donohue
5. The Mooch
Marcel Dadi
6. Saturday Night Shuffle
Duck Baker
7. Blood Of The Lamb
Chris Proctor
8. Interstate
John Renbourn
9. Little Niles
Stefan Grossman
10. Bermuda Triangle Exit
El McMeen
11. My Mary Of The
Curling Hair
Joe Miller
12. Ivory Coast
John Knowles
13. Waltz Forever
The performances in this DVD series present two
Pat Donohue
generations of artists who have advanced the
acoustic guitars cause with formidable boldness.
14. High Society
We clearly hear their folk, blues and country roots
Duck Baker
15. Round Midnight even as they develop other distinctly personal harmonic and melodic pathways. Thinking, coupled
Chris Proctor
with the 90% perspiration, 10% inspiration for16. Morning Thunder mula, is evident in the performances here, no less
El McMeen
than in the artful arrangements in the original
17. Angels We Have compositions.There are English guitarists playing
original music tinged by American blues, and AmeriHeard On High
can guitarists picking with English accents. There
Marcel Dadi
are guitarists from everywhere bringing music from
18. Je Te Veux
the keyboard and other sources to the guitar. There
Bonus Instructional is an apparent user-friendly adaptability happening around the instrument: the example of these
Tracks:
players encourages the rest of us to tinker with arStefan Grossman
19. Diddie Wa Diddie rangements, explore open tunings, try varied techniques of picking. The means, they demonstrate,
Pat Donohue
are flexible. And the ends? Endless. As the redoubt20. High Society
able Claw, Jerry Reed, once remarked, I dont go