[I'm sending this query to the trad-dance-callers list, to the
SharedWeight callers' and musicians' forums, and to a number of
individuals. Please send responses directly to me *off-list*
(see Note 1 below). I plan to collect responses for about the
next two months and will summarize results to the lists and to
individual respondents some time in July. Thanks. --Jim]
Folks,
As some of you may know, I've worked on and off in fits and starts
for some time at gathering lists of recommended tunes [see Note 2
below] for (traditional-style) patter squares. [In case you're
wondering what I mean by "(traditional-style) patter squares", see
Note 6 below.] My idea is to compile lists from a wide variety of
sources and to look for tunes mentioned independently by many
different recommenders. So far, I've compiled tune lists from a
few dozen books and albums, and I'm currently adding lists from
a bunch more books, articles, record catalogs, etc. I'm sending
this message because I'd like to supplement all these sources with
lists from current informants, possibly including you. So ...
* If you are a musician who has substantial experience
playing for (traditional-stye) patter squares and if
you have a list of recommended tunes that you're
willing to share--either an existing set list or a
list you come up with by sitting down and scratching
your head for a while--please send it to me *off-list*
[see Note 1] at
jim dot saxe at-sign gmail dot com
* If you are a musician who mostly plays for other things
than patter squares (e.g., contras or New-England-style
squares or concert performances) or even if you're not
a musician, but if you nonethelessAå have accumulated a
list of tunes you particularly like *for patter squares*,
I'd also be interested in hearing from you.
* I'd also be interested if anyone can supply lists of
tunes played *for patter squares* by players skilled
in the genre who are no longer living (e.g., Ralph
Blizard, Lyman Enloe, Benton Flippen, Bob Holt, Pete
McMahan, Lee Stripling, Joe Thompson, or Melvin Wine,
to name a few). However, see Note 5.
* If you know other people who might be willing and able
to contribute lists of recommended tunes, please feel
free to pass this request along. (But please try not
to put up my email address in places where spammers
are likely to harvest it. Also, see Note 1. Thanks.)
Below are some notes clarifying what kind of responses I am
and am not interested in. ***Please read at least Notes 1-3
before responding.***
Note 1: If you got this query via a mailing list, please send
tune lists directly to me and *not* to the entire mailing list.
As stated above, I'm trying to see which tunes get mentioned
*independently* by many recommenders, so I don't want the lists
anyone sends me to be influenced one way or another by whatever
suggestions other people have already sent. If you pass my
request along to some of your friends, I'd prefer that you each
send tune lists just to me rather than discussing tunes among
yourselves first and then sending me a combined list (unless
you and your friends are in the same regular band and such
discussions are how you normally create your set lists). Please
look carefully at the "To:" (and "Cc:") line of any reply and
make sure that that it doesn't include the address of any mailing
list. That would include addresses of the form
James Saxe via ... <...>
where <...> is a list address.
I plan to gather recommendations for the next couple months and
to post a summary some time in July.
Note 2: Please *don't* explain to me that the suitability of
a tune for a particular kind of dance can depend very strongly
on how it's played. I'm already quite well aware of that.
However, I also think it would be widely agreed that some tunes
lend themselves to being played well for dancing more than
others. (If you strenuously disagree, I will look forward to
your forthcoming album of rip-roaring square dance arrangements
of tunes from the Child ballads and _The Sacred Harp_. Meanwhile,
please don't respond to my query by attempting to un-ask it.)
After I've settled on a list of frequently-recommended tunes,
a possible follow-on project would be to try to identify one
or more renditions--online and/or on commercial recordings--of
each tune played in a danceable style worthy of study by
musicians learning to play for patter squares. For such a
project, style of playing would of course be a prime concern.
But that's not what I'm working on or asking about right now.
Note 3: Please *don't* give me lists (or references to lists,
albums, tune books, syllabi, etc) where tunes well suited for
patter squares are mixed with other sorts of tunes without
specific indication of which tunes are which.
Note 4: I'm not all that interested in recommendations for just
one or a few tunes. If you have substantial experience playing
for patter squares, I'd expect that you can come up with at least
ten tunes that you think are quite suitable, and perhaps you
can come up with many more than that without feeling that you're
starting to scrape the bottom of the barrel. (If you send a long
list, you might want to distinguish which are your favorites and
which are the second-tier or third-tier choices.)
Note 5: If you send me a list of tunes from the repertoire of
some deceased musician, please tell me something about how you
compiled that list. I'm not merely looking for a list of tunes
played or recorded by, say, late great fiddler Bestus Bowslinger,
but for a list of tunes that Bestus actually played *for patter
squares*. And if you happen to have some tapes of Bestus playing
at actual dances, and if they include 30 different patter-square
tunes, and if you send me the names of the 20 tunes you happen
to recognize, then I'd like to be informed that the your sampling
of Bestus's repertoire has been filtered by the limitations of
what tunes you recognize.
Note 6: When I say "(traditional-style) patter squares," I mean
to exclude singing squares and squares that are prompted to the
phrase of the music in the New England style (or in the style of
19th-century quadrilles) and I mean to include the kinds of
squares generally thought of as traditional to the western and/or
southern U.S. I specifically would include visiting couple dances
in this genre, even when the progression is around a big circle
or by a scatter promenade, rather than around a square of four
couples. I'd also include most "transitional" (50's era) western
squares (other than singing calls) as well as more recent
compositions in similar style. I do *not* mean to say that the
dances in question must be called in a style that includes a bunch
of rhyming doggerel ("do-si high, do-si low, chicken in the bread
pan scratchin' out dough") or other extra verbiage.
Much of the "hoedown"/"patter" music produced in recent decades
for the MWSD market is, IMO, very non-traditional in character
and thus not of interest for purposes of my current inquiry.
(Hint: If a tune isn't found in any tune books, played at any
jam sessions, or recorded on any non-MWSD label, it's not what
I'm after.)
I'm happy to get recommendations for recently-composed tunes in
traditional style, as well as for genuinely traditional (old)
tunes. I'm also happy to get recommendations for tunes from
"northern" sources that nonetheless have the right feel to work
well for traditional southern/western dances.
Of course I realize there aren't precisely defined and widely
agreed boundaries between different kinds of square dances or
different styles of calling (prompted vs. patter vs. singing;
phrased vs. unphrased; New-England vs. southern vs. traditional
western vs. ...). Ditto regarding precise definitions of musical
genres. I also realize that a particular choreographic pattern
might be danced to different styles of music and calling, etc.
That said, I still hope that the preceding paragraphs will suffice
to provide an adequate idea of what I'm looking for.
Thanks in advance to any of you who have tune lists to share.
Regards,
--Jim
Hi,
I am doing some research into the Walk Around/Gypsy move.
In “Sets in Order” Vol. 1 No. 3 February 1949, page 14:
“popular Texas filler: All around your left hand lady, (Passing right shoulders so a do-sa-do around your corner) See saw your pretty little taw (passing left shoulder, the men go around their partners and back to place)"
The current CallerLab Modern Western Square Dancing definition is:
“Walk Around the Corner: Dancers face their corners. Walking forward and around each other while keeping right shoulders adjacent, dancers return to their original position, with their backs toward their corner.” Note: this was previously known as “All Around the Corner”.
So does anyone know:
How old is All Around/Walk Around?
When did it change from a do-sa-do into a facing, Gypsy-like move?
Or were the do-sa-do and the facing versions just regional variations?
What did Taw mean and why is it no longer used? (I seem to remember seeing something about it being considered derogatory, or is that just my lousy memory?)
Pointers to source documents showing any of the answers would be most appreciated.
Thanks,
Happy dancing,
John
John Sweeney, Dancer, England john(a)modernjive.com 01233 625 362 http://www.contrafusion.co.uk for Dancing in Kent
Greetings colleagues,
Anyone want to weigh in on their preference on these two terms?
Context is naming the figure in a written document.
Grand Right and Left
vs
Right and Left Grand
thanks,
sue
Sue Hulsether
shulsether(a)mac.com
www.suehulsether.com
608-632-1267 Cell
608-629-6250 Home
P.O. Box 363
Viroqua, WI 54665
I have a set of tapes of single tips from 1950 by Rickey Holden and Cal
Golden. In one of the Golden tapes Cal uses the term Taw referring to
partner. Clearly our use of the term has been around for a long time.
Jim Mayo
In a message dated 7/20/2017 4:47:00 P.M. Eastern Daylight Time,
trad-dance-callers(a)yahoogroups.com writes:
The etymology of the term "taw" to mean a square dance partner is
a topic that I've seen come up before--I think both on the
rec.folk-dancing Usenet newsgroup and on some MWSD list I used to
subscribe to--but never with any definitive resolution.
One explanation sometimes offered is the one alluded to by Phil
Jamison and Richard Hart, namely, that it derives from use of
"taw" to mean a favorite marble. However, I haven't seen any
citations of early sources to support this idea. I've only seen
it offered as a conjecture after the actual origin of the usage
was already obscure.
The word "taw" also occurs in the phrase or "bring [someone] to
taw" (or "come to taw"). The precise nuance of meaning implied
by this phrase isn't clear to me, but it seems related to the
ideas of getting someone under control and making them toe the
line, and perhaps by extension the idea of bringing ("dragging"?)
someone to the altar.
You can find a long discussion of the phrase "come to taw" on
the Mudcat Cafe site here:
http://mudcat.org/thread.cfm?threadid=50284
One of participants quotes the Oxford English Dictionary (1989
edition) as citing this poem from a 19th-century source:
He smiles at all the girls he meets,
And you smile at him on the crowded streets,
Why don't you make him 'come to taw',
I know he wants a mother-in-law.
Did this sort of usage "come/bring to taw" lead to the use of
"taw" to mean a square dance partner? Perhaps. But the idea
would seem more compelling if someone could provide evidence of
any regional usage of "taw" to mean a spouse/sweetheart outside
the context of square dancing.
(By the way, I have no idea whether the expression "bring/come
to taw" is etymologically connected with the phrase "toe the
line" or with the "taw line" in marbles games.)
Another suggestion is that "seesaw your taw" is a mangling via
oral tradition, of the French phrase "chasse autour' (sidestep
around). I think I first read that idea in an article by Stewart
Kramer, which you can find here:
https://www.ceder.net/ArticleCoOp/articles/sashay.php
Personally, I think that this explanation has more of a ring of
plausibility than the others. What keeps me from being fully
sold on it is that I haven't yet seen an example of the phrase
"chasse autour" (or the plural/polite form "chassez autour",
with implied subject "vous" instead of "tu") appearing in an
old French dance manual. I'd be interested if anybody can cite
one.
--Jim
As long as I have danced (since 1947) Taw has been the man's partner and,
to my knowledge, was never derogatory. In my first two years dancing to
Ralph Page and Gene Gowing, I don't believe either used the term. Starting in
1949 I was dancing with Al Brundage who had just returned from Pappy Shaw's
and I believe that was the first that I heard the term Taw.
Jim Mayo
In a message dated 7/20/2017 8:08:13 A.M. Eastern Daylight Time,
trad-dance-callers(a)yahoogroups.com writes:
What did Taw mean and why is it no longer used? (I seem to remember
seeing something about it being considered derogatory, or is that just my lousy
memory?)
So, first a thank you to tony Parkes for sharing info about the Jitterbug
Swing relative to Pistol Packin' Mama. I was fiddling with it and trying
to figure how to make it work for my Beaver Lake dance party.
I decided in the end that the music for Pistol Packin' Mama was pretty
boring. I was already subjecting my band to "The Farmer" same little
16-bar ditty like 17 times. And we ended up doing Deep in the heart of
Texas which is similarly finger-numbing. Anyway, thinking about music --
something about the dance reminded me of a like from a song that went
"sweet mamma, tree-top tall, won't you kindly turn your damper down" I
didn't place my source for it at first. I found a song on youtube -- but
it was crooked. finally I found a country version of it that was square.
The tune reminded me of "Alices's Restaurant and I thought about using that
for music. Then I placed the source -- an early Tom Rush recording --
maybe -- but I can't seem to locate it on his discography but anyway, it
was back to Sweet Mamma. Here's a link. Listen at the :45 second mark --
that's what we ended up using for the dance:
https://www.youtube.com/watch?v=rC2Wq39gXvc
However, we did it with a much more raggy/swingy feeling and slower tempo.
I was still working on paper and didn't really watch the dancers but my
bandmates said the dancers wetting it and having lots of fun with it.
For contra dancers, I'd make it an opposite swing then come back to partner
for the Jitterbug swing I think.
I tend to use the heads to the right and do the figure, heads in the middle
do figure and then go to other side to do figure pattern for visiting
couple figures.
Anyway, this is a work in progress, but I thought it might be worth
sharing. Feel free to comment and suggest, etc.
Oh, and re: the turn, it's nice because the musician have a lot of freedom
and the singer has lots of room to improvise too. I think the combination
has a top of potential.
R.
***************
The Jitterbug Swing
Music: Sweet Mamma Treetop Tall
*Verse*
Heads/sides to the right, circle a half
with your opposite turkey wing
(and with your opposite swing)
That’s a right elbow, about once and half
(swing a little while than find your own)
then catch your partner for a jitterbug swing
Push em away and pull em back in
and give em a big old hug;
Push em away and pull em back in
just like a little jitterbug.
*Opener/Closer*
All join hands and circle a while
go about half a mile
Head two couples, promenade straight home
right down the center aisle
Now the sides take a walk; go back home
everybody do that jitterbug thing
Push em away, pull em back in
and that’s the jitterbug swing
--
Ridge Kennedy [Exit 145]
When you stumble, make it part of the dance. - Anonymous
And we should consider every day lost on which we have not danced at least
once. And we should call every truth false which was not accompanied by at
least one laugh. - Friedrich Nietzsche
Sue asked me about this. this is what I did this weekend at Beaver Lake.
Everything worked pretty well for a dance party crowd (once a year dancers,
mostly elbow swings to I'm seeing some convers to ballroom swings). The
break was new this year and It seemed to work pretty well. The music
available in Dick Kraus book Square Dances and How to Call them and other
places I'm sure but suffice it say Tucker's Waltz is not a waltz. It is
used as music for singing square My Little Girl. I have tried to write it
out in 4-beat phrases, if that helps to fit it to the tune. Sort of works
for me, your mileage may vary.
**************
The Tilt-A-Whirl
Music: Tuckers Waltz
Dance made up by Ridge Kennedy
(Dance party version of verse)
Head (side) couples forward
And you go back now
Promenade half way
Half way around the ring
Meet a couple on the right
and you circle
Get those circles turning
and then ride the tilt-a-whirl
*(bouquet waltz)*
Keep on moving
Keep your circles turning
All around the
world you go
Then go back home
and swing your own
After you ride the
Tilt-AWhirl
Opener/Break/Closer
All four gents in the center
make little ring
Ladies step next to your partner
Make another ring outside
Ladies bow; gents arch over
Make a basket
Let’s get this ride going great
We’re gonna swing all eight
Whirl around
a very merry lee go round
Until the ride stops
back at home
And if you’ve got some zing
give your partner one more swing
After you ride the
Tilt-AWhirl
(contra dancer version of verse)
Head (side) couples forward
And you go back now
Promenade half way
Half way around the ring
Meet a couple on the right
and you circle
And swing your corner
swing that corner girl
Same four circle left now
and ride the tilt-a-whirl
(bouquet waltz)
All around the
world you go
Then go back home
and swing your own
After you ride the
Tilt-A-Whirl
--
Ridge Kennedy [Exit 145]
When you stumble, make it part of the dance. - Anonymous
And we should consider every day lost on which we have not danced at least
once. And we should call every truth false which was not accompanied by at
least one laugh. - Friedrich Nietzsche
Traditional Dance Callers List
Hello Everyone,
A group of dancers/callers/musicians in the Triangle area of North Carolina are in the midst of exciting plans to create a continuing care retirement community centered around music and dance. We have been meeting with groups of interested people, conducted a market study (with an excellent outcome), started working with a group of consultants who design innovative retirement communities, and have begun fundraising to pay for the design process.
So far, we have focused on reaching out to local folks; now we are spreading the word more widely.
If you are curious, please visit our website. http://dancingintoretirementnc.org/
Right now, the website is the way we communicate with people out of town, but I'll soon create a Facebook page and then an electronic newsletter. If you are close enough to Durham, NC to attend a 1/2 day informational session, let me know if you would like to be invited. We offer one every few months--the next is August 26.
You can write to me directly or leave a message at the website if you want more information or have comments/reactions.
Bree Kalb
Carrboro, NC
Rich's dance inspired this:
A1. Heads forward and back. Dosido opp.
A2. Swing opposit, face sides, circle left
B1. Same 4 star right, heads star left
B2. Bal. C, box, dosido, pull by
C1. Do paso (partner left, corner right, partner left)
C2. 4 ladies chain ........
The one thing I don't like is the dosido in the B2. It's there for timing. It could be taken out is you wanted a more patter square feel.
The timing is easy in the first half and a bit tighter in the second. There isn't much partner interaction so if I ever try this I'll use a break that includes a P swing.
>
>
>> __________________________________________________________
>> 1a. Question about a square
>> Posted by: "Rich Sbardella" richsbardella(a)gmail.com
>> Date: Wed Jun 28, 2017 10:55 am ((PDT))
>>
>> Here is a square with MWSD roots. I am wondering if is too much for an
>> experienced contra crowd? Is there a similar square in the trad circles?
>>
>> Hds DSD and face sides (8)
>> Star R with the sides (8)
>> Hds to Center Star L (8)
>> With same outside two R&L Thru (6)
>> Rollaway with Half Sashay (4)
>> Box Gnat (4)
>> Pull By (2)
>> Allemande Left (4)
>> New Partner Swg (4)
>> Promenade (16)
>>
>> Any thoughts?
>>
>> Rich Sbardella
>> Stafford, CT
>>
>
>
Hello Mo,
It's probably right that progression was not there originally. Here, a 1P2P line formation (facing couples) or a line of three formationwith a single or lonesome dancer at the open sides, would not change partners.
Example is Hurry Hurry with a "chain the route" from Square Dance History - still an active dance.
https://squaredancehistory.org/items/show/990
Bob Livingston
| | Virus-free. www.avg.com |
From: "'Mo Waddington' mjw(a)mowaddington.plus.com [trad-dance-callers]" <trad-dance-callers(a)yahoogroups.com>
To: trad-dance-callers(a)yahoogroups.com
Sent: Tuesday, July 4, 2017 4:45 AM
Subject: Re: [trad-dance-callers] Re: Other Old-Time Singers? - changing partners
I don't like dancing Yellow Rose of Texas http://www.contrafusion.co.uk/Dances/EFDS6312-TheYellowRoseofTexas.html from 2nd position because 2nd lady is always next to the active couple.Used to think "that dance must have been written by a man", but am told that the progression was added later.Never thought to 'fix' it by each man leading twice - hmm - that would give you your partner back.Mo Waddington
----- Original Message ----- From: Robert Livingston rlivngstn(a)yahoo.com [trad-dance-callers]
Regarding single active dances such as Uptown/Downtown or Golden Slippers each position is active twice before relinquishing.
So it's "same ole gent with a brand new girl" down the center etc. All lady positions active equally at the end of the dance.
Bob Livingston Middletown, CT
From: "Tony Parkes tony(a)hands4.com [trad-dance-callers]" <trad-dance-callers(a)yahoogroups.com>
To: "trad-dance-callers(a)yahoogroups.com" <trad-dance-callers(a)yahoogroups.com>
Sent: Monday, July 3, 2017 4:09 PM
Subject: [trad-dance-callers] Re: Other Old-Time Singers?
Normally it’s not good practice to combine a partner change with a one-couple-active figure. Uptown, Downtown is a prime example: If each couple is called out once, the same lady is active four times and no other lady is active at all. But in the Jitterbug figure, the “active” and “passive” couples do basically the same thing, so it doesn’t matter as much who is officially active. The “push her away” action is the same as the patter figure “Step right back and watch her smile, step right up and swing her awhile.” >From a swing Tony Parkes Billerica, Mass.
#yiv7294321741 -- #yiv7294321741ygrp-mkp {border:1px solid #d8d8d8;font-family:Arial;margin:10px 0;padding:0 10px;}#yiv7294321741 #yiv7294321741ygrp-mkp hr {border:1px solid #d8d8d8;}#yiv7294321741 #yiv7294321741ygrp-mkp #yiv7294321741hd {color:#628c2a;font-size:85%;font-weight:700;line-height:122%;margin:10px 0;}#yiv7294321741 #yiv7294321741ygrp-mkp #yiv7294321741ads {margin-bottom:10px;}#yiv7294321741 #yiv7294321741ygrp-mkp .yiv7294321741ad {padding:0 0;}#yiv7294321741 #yiv7294321741ygrp-mkp .yiv7294321741ad p {margin:0;}#yiv7294321741 #yiv7294321741ygrp-mkp .yiv7294321741ad a {color:#0000ff;text-decoration:none;}#yiv7294321741 #yiv7294321741ygrp-sponsor #yiv7294321741ygrp-lc {font-family:Arial;}#yiv7294321741 #yiv7294321741ygrp-sponsor #yiv7294321741ygrp-lc #yiv7294321741hd {margin:10px 0px;font-weight:700;font-size:78%;line-height:122%;}#yiv7294321741 #yiv7294321741ygrp-sponsor #yiv7294321741ygrp-lc .yiv7294321741ad {margin-bottom:10px;padding:0 0;}#yiv7294321741 #yiv7294321741actions {font-family:Verdana;font-size:11px;padding:10px 0;}#yiv7294321741 #yiv7294321741activity {background-color:#e0ecee;float:left;font-family:Verdana;font-size:10px;padding:10px;}#yiv7294321741 #yiv7294321741activity span {font-weight:700;}#yiv7294321741 #yiv7294321741activity span:first-child {text-transform:uppercase;}#yiv7294321741 #yiv7294321741activity span a {color:#5085b6;text-decoration:none;}#yiv7294321741 #yiv7294321741activity span span {color:#ff7900;}#yiv7294321741 #yiv7294321741activity span .yiv7294321741underline {text-decoration:underline;}#yiv7294321741 .yiv7294321741attach {clear:both;display:table;font-family:Arial;font-size:12px;padding:10px 0;width:400px;}#yiv7294321741 .yiv7294321741attach div a {text-decoration:none;}#yiv7294321741 .yiv7294321741attach img {border:none;padding-right:5px;}#yiv7294321741 .yiv7294321741attach label {display:block;margin-bottom:5px;}#yiv7294321741 .yiv7294321741attach label a {text-decoration:none;}#yiv7294321741 blockquote {margin:0 0 0 4px;}#yiv7294321741 .yiv7294321741bold {font-family:Arial;font-size:13px;font-weight:700;}#yiv7294321741 .yiv7294321741bold a {text-decoration:none;}#yiv7294321741 dd.yiv7294321741last p a {font-family:Verdana;font-weight:700;}#yiv7294321741 dd.yiv7294321741last p span {margin-right:10px;font-family:Verdana;font-weight:700;}#yiv7294321741 dd.yiv7294321741last p span.yiv7294321741yshortcuts {margin-right:0;}#yiv7294321741 div.yiv7294321741attach-table div div a {text-decoration:none;}#yiv7294321741 div.yiv7294321741attach-table {width:400px;}#yiv7294321741 div.yiv7294321741file-title a, #yiv7294321741 div.yiv7294321741file-title a:active, #yiv7294321741 div.yiv7294321741file-title a:hover, #yiv7294321741 div.yiv7294321741file-title a:visited {text-decoration:none;}#yiv7294321741 div.yiv7294321741photo-title a, #yiv7294321741 div.yiv7294321741photo-title a:active, #yiv7294321741 div.yiv7294321741photo-title a:hover, #yiv7294321741 div.yiv7294321741photo-title a:visited {text-decoration:none;}#yiv7294321741 div#yiv7294321741ygrp-mlmsg #yiv7294321741ygrp-msg p a span.yiv7294321741yshortcuts {font-family:Verdana;font-size:10px;font-weight:normal;}#yiv7294321741 .yiv7294321741green {color:#628c2a;}#yiv7294321741 .yiv7294321741MsoNormal {margin:0 0 0 0;}#yiv7294321741 o {font-size:0;}#yiv7294321741 #yiv7294321741photos div {float:left;width:72px;}#yiv7294321741 #yiv7294321741photos div div {border:1px solid #666666;min-height:62px;overflow:hidden;width:62px;}#yiv7294321741 #yiv7294321741photos div label {color:#666666;font-size:10px;overflow:hidden;text-align:center;white-space:nowrap;width:64px;}#yiv7294321741 #yiv7294321741reco-category {font-size:77%;}#yiv7294321741 #yiv7294321741reco-desc {font-size:77%;}#yiv7294321741 .yiv7294321741replbq {margin:4px;}#yiv7294321741 #yiv7294321741ygrp-actbar div a:first-child {margin-right:2px;padding-right:5px;}#yiv7294321741 #yiv7294321741ygrp-mlmsg {font-size:13px;font-family:Arial, helvetica, clean, sans-serif;}#yiv7294321741 #yiv7294321741ygrp-mlmsg table {font-size:inherit;font:100%;}#yiv7294321741 #yiv7294321741ygrp-mlmsg select, #yiv7294321741 input, #yiv7294321741 textarea {font:99% Arial, Helvetica, clean, sans-serif;}#yiv7294321741 #yiv7294321741ygrp-mlmsg pre, #yiv7294321741 code {font:115% monospace;}#yiv7294321741 #yiv7294321741ygrp-mlmsg * {line-height:1.22em;}#yiv7294321741 #yiv7294321741ygrp-mlmsg #yiv7294321741logo {padding-bottom:10px;}#yiv7294321741 #yiv7294321741ygrp-msg p a {font-family:Verdana;}#yiv7294321741 #yiv7294321741ygrp-msg p#yiv7294321741attach-count span {color:#1E66AE;font-weight:700;}#yiv7294321741 #yiv7294321741ygrp-reco #yiv7294321741reco-head {color:#ff7900;font-weight:700;}#yiv7294321741 #yiv7294321741ygrp-reco {margin-bottom:20px;padding:0px;}#yiv7294321741 #yiv7294321741ygrp-sponsor #yiv7294321741ov li a {font-size:130%;text-decoration:none;}#yiv7294321741 #yiv7294321741ygrp-sponsor #yiv7294321741ov li {font-size:77%;list-style-type:square;padding:6px 0;}#yiv7294321741 #yiv7294321741ygrp-sponsor #yiv7294321741ov ul {margin:0;padding:0 0 0 8px;}#yiv7294321741 #yiv7294321741ygrp-text {font-family:Georgia;}#yiv7294321741 #yiv7294321741ygrp-text p {margin:0 0 1em 0;}#yiv7294321741 #yiv7294321741ygrp-text tt {font-size:120%;}#yiv7294321741 #yiv7294321741ygrp-vital ul li:last-child {border-right:none !important;}#yiv7294321741
