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Modern Folk Quartet

The Modern Folk Quartet was an American folk music revival group that formed in the early 1960s. Emphasizing acoustic instruments and group harmonies, they performed extensively and recorded two albums. In 1965, as the Modern Folk Quintet, they ventured into electric folk rock and recorded with producers Phil Spector and Jack Nitzsche. Although MFQ received a fair amount of exposure, their rock-oriented recordings failed to capture their sound or generate enough interest and they disbanded in 1966. Subsequently, MFQ made further recordings. Cyrus Faryar, Henry Diltz, Chip Douglas, Stan White formed the quartet in Honolulu, Hawaii in 1962, after Faryar had returned from the mainland U. S. after a period singing with Dave Guard's Whiskeyhill Singers. They took the name Modern Folk Quartet as a conscious parallel with the Modern Jazz Quartet, who were known for their use of sophisticated counterpoint; the MFQ adopted a similar approach to vocalization. The group moved to Los Angeles. After White became ill, he was replaced by local singer-guitarist Jerry Yester, who had performed with the New Christy Minstrels and Les Baxter's Balladeers.

Herb Cohen became their manager and the quartet recorded their debut album in 1963. Titled The Modern Folk Quartet, it was produced by Jim Dickson for Warner Brothers Records. MFQ performed with an array of popular folk group instruments, including guitar, ukulele and percussion, four-part vocal harmonies. An album review called their material "a superbly chosen selection of concurrently new traditionals and original adaptations of standards from the folk music canon" that benefit from the group's fresh approach. For much of 1963 to 1965, MFQ was based in New York City's Greenwich Village the center of the folk-music movement, they performed at clubs, such as the Bitter End, "hundreds of college concerts". In November 1963, MFQ appeared in Palm Springs Weekend. During the sequence at Jack's Casino, they sing "The Ox Driver's Song" and a second unidentified song; the group released a second album in 1964 for Warner Bros. titled Changes. A review noted "with an ear toward sustaining the fresh sound of their predecessor they blend their arrangements and adaptations to another impressive lineup of modern compositions from the group's contemporaries".

These include early songs written by Bob Dylan, Phil Ochs, John Stewart, Chet Powers. A third album for Warner Bros. was not forthcoming. Yester explained "we were on the road so much that when we were off, we didn't want to work... We performed with those two albums worth of material. I don't think we had enough for another album until we changed into folk-rock". In 1965, MFQ began exploring a rock sound. Faryar saw the progression "as a logical outcome of. We would have had to change our whole mental attitude to stay where we were", he admitted being influenced by other bands: "The Byrds whet our appetites for folk-rock. Whatever sweet music the Byrds came up with, they legitimized this transition from folk to folk-rock... We had developed a rock set when we played with the Lovin' Spoonful at the Cafe Wha? in the Village". Their first attempt to record rock was with producer Charles Calello. A single "Every Minute of Every Day", backed with "That's Alright with Me" was released in April 1965 by Warner Bros.

It was unnoticed and Faryar felt that the material was wrong for them. The group moved back to Los Angeles and debuted their folk rock set at their old haunt, the Troubador. Faryar recalled reactions similar to Dylan's electric debut at the 1965 Newport Folk Festival: People reeled aghast and some fled as I brought out my Rickenbacker and we were all electric and cranking out electric tunes; the folkies were horrified. There were a lot of purists there, into the whole Appalachian thing. So it took a little bit of time, but we won people over; the transition was complete in September 1965 when they added rock drummer Eddie Hoh and were renamed "officially the Modern Folk Quintet, but prefer to be known as the MFQ". Producer Phil Spector became interested in the group. According to Henry Diltz, "we'd heard that Spector was looking for a folk-rock band... The word was that he wanted the Lovin' Spoonful, but he couldn't get them. So he came down to see us instead". Spector went as far as to join MFQ onstage at a local club with a twelve-string guitar and performed "Spanish Harlem" with the group.

Soon he became a fixture in their lives: We started going up to Spector's house every day. We'd spend two hours waiting around before he appeared, there were all these karate-type bodyguards hanging around. He'd appear at the top of the stairs and say,'Hi, guys!' He'd sit there with a twelve-string and we'd sing all kinds of songs. This went on for weeks. Recording sessions at Gold Star Studios followed where they recorded "This Could Be the Night", cowritten by Spector and Harry Nilsson; the song bore Spector's Wall-of-Sound used on Beach Boys recordings, rather than a folk rock sound reminiscent of the Byrds with Terry Melcher. It was slated for release as their first single with the new lineup, but Spector became focused on Tina Turner and "River Deep – Mountain High" and "forgot all about the Modern Folk Quartet ". Instead it was used as the theme to the

Cuba–OAS relations

Despite being a founding member of the Organization of American States, Cuba was suspended from 31 January 1962 to 3 June 2009. Thus, for the entire time that the OAS has been operating, Cuba has been barred from sending representatives to the OAS and had its membership suspended, it was not until 3 June 2009 that foreign ministers of OAS member countries assembled for the OAS's 39th General Assembly in San Pedro Sula, passed a vote to lift Cuba's suspension from the OAS. Cuba was one of the 21 initial members of the OAS upon foundation in Bogotá on 5 May 1948; the Organization, first led by Colombian Alberto Lleras Camargo, was created "to achieve an order of peace and justice, to promote their solidarity, to strengthen their collaboration, to defend their sovereignty, their territorial integrity, their independence." Following the Cuban Revolution of 1959, relations between Cuba and the United States began to deteriorate rapidly. However, the nations that comprised the Organization of American States were reluctant to be drawn on the issue of Cuba's representation at the organization.

The United States favored collective action against Cuba with the stated aim, as forwarded by President John F. Kennedy, of isolating Cuba politically and economically. At a meeting of foreign ministers in August 1960, most nations refused to comment on the status of Cuba. Some, like Mexico and Argentina were adamant to remain impartial and stressed that the issue was a private quarrel between Cuba and the United States. In 1961, Venezuela and Colombia broke off diplomatic relations with Cuba and a new meeting was called between the OAS nations. By a vote of 14 to 2, with five nations abstaining, the OAS timetabled a council meeting for January 1962. In the buildup to that meeting Argentinian President Arturo Frondizi outlined his reservations to Washington's plans, stating that the U. S. was "obsessed with Cuba at the expense of the needs of the hemisphere" and that retaliation against the island would only strengthen Fidel Castro. States were concerned about how any anti-Cuban measure would be perceived by the pro-Castro populations of Latin America.

Pressure from the United States continued via U. S. ambassador to the OAS DeLesseps Morrison. On 21 January 1962, the OAS held the Eighth Meeting of Consultation of the Ministers of Foreign Affairs in Punta del Este, Uruguay; the United States had encouraged Central American representatives to advocate a hard line against Cuba, to walk out if sanctions were not tabled. Argentina, Mexico, Chile and Ecuador were opposed to sanctions and Haiti were uncertain. United States Secretary of State Dean Rusk was hopeful that 14 votes, two thirds of the council would suffice to ensure U. S. policy in the region. After initial talks, the foreign minister of Haiti had a series of private discussions with the U. S. party. As a result, the U. S. agreed to resume aid to the nation in return for their support of sanctions against Cuba. Aid to Haiti had been suspended following the rise of the authoritarian autocrat François Duvalier. Argentina proposed a compromise; the proposal would be supplemented by partial economic sanctions and the establishment of a special security committee.

This was accepted by the U. S. who agreed to defend the new scheme. In his key speech to the organization, Dean Rusk stated that Cuba's alignment with the Sino-Soviet block was incompatible with the inter-American system, such measures were imperative. Though only 14 nations voted explicitly to exclude Cuba from the organization, all twenty republics supported the declaration forwarded by the U. S. Seventeen states voted to suspend arms sales to Cuba, 16 voted to follow this with a trade embargo, 19 voted to create a Committee of Experts to combat "Cuba's subversive activities"; the vote was passed by 14 with one against and six abstentions. The operative part of the resolution read as follows: That adherence by any member of the Organization of American States to Marxism–Leninism is incompatible with the inter-American system and the alignment of such a government with the communist bloc breaks the unity and solidarity of the hemisphere; that the present Government of Cuba, which has identified itself as a Marxist–Leninist government, is incompatible with the principles and objectives of the inter-American system.

That this incompatibility excludes the present Government of Cuba from participation in the inter-American system. This means that the Cuban nation was still technically a member state, but that the current government was denied the right of representation and attendance at meetings and of participation in activities; the OAS's position was that although Cuba's participation is suspended, its obligations under the Charter, the American Declaration of the Rights and Duties of Man, etc. still hold: for instance, the Inter-American Commission on Human Rights continued to publish reports on Cuba's human rights situation and to hear individual cases involving Cuban nationals. However, this stance was questioned by other individual member states. Cuba's position was stated in an official note sent to the Organization "merely as a courtesy" by Minister of Foreign Affairs Dr. Raúl Roa on 4 November 1964: "Cuba was arbitrarily excluded... The Organization of American States has no juridical, factual, or moral jurisdiction, nor competence, over a state which it has illegally deprived of its rights."

The reincorporation of Cuba as an active member arose as a topic within the inter-American system but most observers did not see it as a serious possibility while

Boy with the Blues

"Boy with the Blues" is a song by the English rock band Oasis, written by frontman Liam Gallagher. The song was considered for inclusion on the band's sixth album, Don't Believe the Truth, but missed the final cut. In October 2005, Noel Gallagher announced. In an interview with the NME, he said: "I think we’re gonna put out just as a single, that’s not going be on the next album." The sessions for that EP never occurred and the release was cancelled in early 2006. Noel, in a December 2005 interview for the NME, described the track as being driven by a piano and acoustic guitars, he mentioned that the track has got a chant at the end, where the words go "'Come all together / If we come all together / We'll come all together for you'." He was quoted as saying "y' know, when they do that gospel thing. The bulk of the song is only about three minutes long, but the outro could go on forever, really." Noel said the track didn't go on the Don't Believe the Truth album because of a lack of a chorus. He said that the track needed more work done on it and spoke of planned recording session in January 2006 during a break in their Don't Believe the Truth world tour.

However, these sessions didn't take place. In different interviews conducted in February 2006, Noel and Liam both made conflicting statements as to the future of the track. Liam was quoted as saying, "After the tour we'll do some recording we'll put it out," whilst Noel said, "We had a couple of tracks left over from the last record and in our own heads we thought they were good enough to be released as an EP. We went back and listened to the tapes and we reckon we can get it better, so we're having the year off instead."In the February 2007 NME issue, Noel said: "It could be like a gospel track. It could be nine minutes long because there's a great refrain in the chorus that could go on forever."The song was released with the Deluxe version of Oasis' seventh studio album Dig Out Your Soul. This song was released as a part of Oasis' download-only EP Boy with the Blues. In the United States, it was released on NCIS: The Official TV Soundtrack while a brief snippet of the song itself was heard during the NCIS Season 6 episode, Legend Part 1 which served as the backdoor pilot for NCIS: Los Angeles.

"Boy with the Blues" "I Believe in All" " High Horse Lady" - the 29 May Devendra Banhart MixThe first two tracks were only available on the Dig Out Your Soul Deluxe Boxset Bonus Disc, whilst the third track had only been released as a listen only track on Oasisinet's Radio Supernova