Tom Jones - It's Been A Long Time Coming 1966 !FULL!
Camilla had also been dating British Army Capt. Andrew Parker Bowles for the better part of five years. They met at the cocktail party Camilla's mother, Rosalind Shand, threw for her daughter's "coming out" in 1965 and, though Camilla had a boyfriend then, too, she was drawn to the dashing officer. When they reunited at a dance in Scotland in 1966, Camilla fell head over heels.
Tom Jones - It's been a long time coming 1966
Andrew, meanwhile, already had multiple inroads with the royal family. His parents were longtime friends of Charles' grandmother Elizabeth, the Queen Mother, and at 13 Andrew was a pageboy at Queen Elizabeth II's coronation. He also had been an officer of the Household Cavalry, the queen's official bodyguard, since 1960.
Greatest Hits, Vol. 3 [Columbia, 1994]He can climax with "Knockin' on Heaven's Door" if he wants--Pat Garrett and Billy the Kid is a piece of crap, the song a work of genius, which is the basic idea on this living testament to random forethought. But shaggy dog story or no shaggy dog story, "Tangled Up in Blue" doesn't belong, and neither does that supernal piece of crap "Forever Young," because both are classic tracks from albums that precede Rolling Thunder and Desire, events that marked his epochal commitment to hackdom even if no one dreamed it at the time. On 14 cuts employing 57 session musicians, four of whom appear twice and none thrice, this collection celebrates that commitment. Its sonic trademark is the soulettes who back "Changing of the Guards" (Street Legal, 1978), "The Groom's Still Waiting at the Altar" (Shot of Love, 1981), "Silvio" (Down in the Groove, 1988), and the magnificent 11-minute Sam Shepard collaboration "Brownsville Girl" (Knocked Out Loaded, 1986)--all obscure, all compelling, all cockeyed flights of prophecy or mythic narrative, and all featuring the backup pipes of Carol (sometimes Carolyn) Dennis, who I bet has been feeding him lines for two lost decades. B+
Live 1966 [Columbia/Legacy, 1998]What no one ever mentions about this legendary Manchester concert is that the folk set stinks. It's arty, mannered, nervous, as if Dylan is sick of these songs, although three of the seven haven't even been released yet. And when they are, on Blonde on Blonde, they'll be band- if not Band-backed like all the others except "Mr. Tambourine Man," and as such relaxed, confident, committed, meaningful. Appallingly ideological though it is that anyone could have preferred this static display to what followed, the rock set is warmly received. This is not to say, however, that it lives up to its myth. You'll hear some of the most freewheeling, locked-in live music of the '60s--far more detailed and responsive than comparable Stones and Who, with Robbie Robertson so cockeyed funky he almost careens off the stage. You'll also hear some folkie fool shouting "Judas" and Dylan calling him a liar and, if you strain, somebody muttering "play fucking loud." But you will not hear the times a-changin' or Robert Zimmerman jousting with destiny. That stuff's for historians. And if we owe the historians for the terrific electric disc, they owe us for the awful acoustic one. B+
Rough and Rowdy Ways [Columbia, 2020]The decisive musical achievement on Dylan's first album of originals since 2012 is establishing the aged voice that flubbed his Sinatra albums as the sonic signature of an elegiac retrospective. All three of the prereleased teaser singles work better as album tracks than as stand-alones: "I Contain Multitudes" provides exactly the right thematic sendoff, "False Prophet" opens his heart so the world can come in, and "Murder Most Foul" proves an apt summum despite its excessive length and portentous isolation on the CD package. This is no "Love and Theft" or Modern Times, neither of which is muffled by anything as indistinct as "I've Made Up My Mind to Give Myself to You" (though I do wonder who "you" is) or "Black Rider" (though "The size of your cock will get you nowhere" gets me every time). But I love how "Goodbye Jimmy Reed" rides the hush-mouthed groove of the most simplistic of the blues giants like it's leading a parade, and how the comic Frankenstein fantasy "My Own Version of You" sums up the musical grave-robbing Dylan has been transmuting into original art for 60 years now. As does "Murder Most Foul" itself, in this context both an elegy for and a celebration of all the dark betrayals, stunted gains, enduring pleasures, and ecstatic releases of an American era Dylan has inflected as undeniably as any artist even if he doesn't understand it any better than you, me, or whoever killed imperfect vessel JFK. A-
Elizabeth: With a rich history tracing back over 200 years, JPMorgan Chase has preserved a unique collection of artifacts and records that help tell the story of our firm. In our collection are two legendary pistols that changed the course of history. How did these artifacts impact a young nation and forever change the lives of two famous statesmen and how did they come to be part of our collection? These pistols, made in 1797 are linked to Alexander Hamilton and Aaron Burr. Hamilton and Burr were highly accomplished men who contributed much to the early growth of the United States. Hamilton was a Founding Father and Secretary of the Treasury. Burr was a Revolutionary War hero and Vice President of the United States. They were both lawyers, traveled in the same circles and were both instrumental in founding JPMorgan Chase's earliest predecessor, the Manhattan Company in 1799. But working together was the exception. Hamilton and Burr's personal and political differences fueled an animosity that played out in public as early as the 1790s. Aaron Burr ran for president in 1800. He tied with Thomas Jefferson but lost the re-vote, thanks in part to Hamilton, who had been campaigning heavily against him. Hamilton: "As for Burr, there was nothing in his favor. He is bankrupt beyond redemption except by the plunder of his country. His public principles have no other spring or aim than his own aggrandizement." Elizabeth: As was the law back then, Burr was instead appointed vice president, a concession he wasn't happy about. Four years later, he ran for New York governor, but lost. He learned afterward that Hamilton had again been slandering him. A scorned Burr did what men of distinction often did back then; he challenged Hamilton to a duel. Burr: "You have invited the course I am about to pursue and now by your silence impose it upon me. Elizabeth: Hard to imagine now, but in early America, the practice of a duel, or prearranged fight, was a respected means of settling a score. There were even rules and guidelines about what could and could not transpire. The goal was to defend what the law would not defend, a man's honor. On July 11, 1804, Hamilton and Burr met in Weehawken, New Jersey. Hamilton carried with him a set of pistols owned by his brother-in-law John Church. As the challenged man, it was his right to select the guns. Hamilton fired his shot in the air. Burr aimed directly at Hamilton and mortally wounded him. The two men returned by boat to New York City where Hamilton died the following morning. Burr, the Vice President was indicted for murder in both states. The charges were dropped, but his political career was destroyed. The pistols survived and in 1930, the Bank of the Manhattan Company, JPMorgan Chase's earliest predecessor, purchased them from the Church family. Years later, in the 1970s, long hidden details were revealed. Both pistols were equipped with a hidden mechanism called a hair trigger, which, if engaged, would allow its user to fire faster than normal. Hamilton, who procured the pistols, would have likely known about this feature and it could have given him an advantage. So, how did he lose? We'll never know for sure, but we're proud to preserve these two pieces of American history and explore their role in a pivotal moment in time.
Nancy: Did you know that the core values and business principles of JPMorgan Chase today were established over 150 years ago by three generations of Morgan men? The story begins with Junius Morgan, a New England businessman who established the Morgan name in the world's financial markets while working as a merchant banker in London in the 1800s. With Junius' guidance, his son, J. Pierpont Morgan, entered the banking business. In 1871, Pierpont joined forces with Anthony Drexel, a prominent Philadelphia-based banker, and established a new merchant bank in New York City. The Drexel-Morgan partnership initially operated as an American agent for Junius' European firm. It didn't take long, though, for it to become the preeminent private bank in the US. Under Pierpont's leadership the firm, later renamed J.P. Morgan and Company, was largely responsible for financing and organizing the railroads, steel, and utility companies that established the United States as a modern industrial power. Pierpont also played a critical role in times of financial crises, stemming international panics in both 1893 and 1907. He became known for his integrity and judgment, the same standards by which he measured his colleagues and clients. In a statement to the Senate Banking Committee in 1912, Pierpont noted that, 'the first thing is character,' before money or anything else'. After Pierpont's death in 1913, his son, J.P. Morgan Jr, better known as Jack, took over as senior partner of the firm. Jack left his own mark on J.P.Morgan through a series of landmark deals, leading the firm for three decades. Like his father, Jack embodied the same values of honesty and integrity, stating that, 'the idea of doing only first class business, and that in a first class way, has been before our minds.' And this concept is the way we do business today. In 1940, J.P.Morgan reorganized from a private partnership to a public company, with Jack as its first chairman. Over the next 60 years, the firm remained an innovative leader in the financial industry, and in 2000, merged with Chase Manhattan to form JPMorgan Chase. 041b061a72