This stylistic turn has been interpreted as a kind of relaxation, or even as an outright selling out, but it is better understood as representing the distinct artistic stance of entertainment. They are easy as Haydn was to say of nos. The slow movements exhibit new formal and stylistic options the hymn-like no.
Slow introductions become important about and begin to create tangible links to the allegros nos. Although in many respects nos. The Paris symphonies nos. All these features characterize nos. Not only do they outdo the Paris symphonies stylistically, but he produced them in person for rapturous audiences; this interaction stimulated him to ever bolder and more original conceptions. Those given in nos. These last features are found in nos. The last six symphonies are even more brilliant clarinets are added, except in no. He also composed numerous concertos, both for melody instruments many of them lost and for keyboard.
Later came nos. A distinct subgenre comprises the early concertinos h XIV—13, XVIII:F2 , not easily distinguished from a group of similar, probably soloistic divertimentos h XIV:3, 4, 7—10 ; all are tiny works for harpsichord, violins and bass, mainly in C. Although finely crafted, his keyboard concertos are less original and less popular than his symphonies, perhaps in part because he favours the middle register except in no. The traditional figure of 83 included the spurious op. Each group offers a different solution to the technical and aesthetic aspects of the genre while cumulatively enlarging the resources of quartet style.
They belong to the larger class of ensemble divertimentos, with which they share small outward dimensions, prevailing light tone except in slow movements and a five-movement pattern, usually fast—minuet—slow—minuet—fast. Even on this small scale, high and subtle art abounds: witness the rhythmic vitality, instrumental dialogue and controlled form of the first movement of op. They also — op.
In op. Haydn now prefers homophonic, periodic themes rather than irregularly shaped or contrapuntal ones; as a corollary, the phrase rhythm is infinitely variable. The slow movements and finales favour ABA and rondo forms rather than sonata form. However, these works are anything other than light or innocent: no. The appearance of op. He responded in opp. The minuet now almost invariably appears in third position; the slow movements, in ABA , variation or double variation form are more melodic than those in op.
Without losing his grip on the essentials of quartet style or his sovereign mastery of form, he expands the dimensions still further, incorporating more original themes the octave leaps in the first movement of op. He experimented as well with the organization of the cycle: op. In his earlier years especially, Haydn composed extensively in other chamber genres. His surviving authenticated ensemble divertimentos h II consist of one string quintet no.
Most of them exhibit the same five-movement cyclic pattern as the early string quartets, with the difference that contrasts in instrumentation become a basis of style, for example in reduced scorings in trios and slow movements or extended soloistic passages. Although some of the mixed works nos.
The wind band works seem to date from about —61 ; they are even smaller in scale but unfailingly masterful. All are scored for two violins and presumably cello except no. They are in three movements except no. The baryton trios h XI; c —75 are similar in that they are music for a particular connoisseur and always in three movements with a minuet except no. One last group of baryton works comprises the important octets h X:1—6 mids ; they are richer in scoring and on a larger scale than the trios.
The six violin-viola duets h VI:1—6 are likewise from the mids; the violin dominates and the style seems somewhat old-fashioned. In 18th-century thought and practice these constituted a single, loosely defined genre, destined primarily for private performance and orientated on the topic of sentiment, seen as the natural expressive mode for music performed solely or primarily by an individual at the keyboard; indeed Haydn often adopted a selfconsciously improvisatory style, especially after During the s these keyboard works were apparently composed for the harpsichord.
The first clear albeit indirect evidence of composition for the fortepiano or possibly clavichord is found in the highly expressive Sonata no. Nevertheless, most works from the s may have been conceived for the harpsichord or neutrally for both instruments. Beginning in the early s, and decisively from the late s on, Haydn composed for the fortepiano. Many of his keyboard works were composed for ladies, whether students in his early years, the Auenbrugger sisters around , or intimates such as Mme Genzinger, Mrs Schroeter and Therese Jansen.
The majority are in three movements: either fast—slow—fast, or a fast movement, slow movement and minuet in various permutations. Two-movement works are also common, often slow—fast; numerous slow movements in penultimate position are run on, attacca , to the finale. Even in the s and 90s many works end with an outwardly modest movement such as a Tempo di menuetto, a set of variations or a simple rondo.
Two sets in mixed style followed, nos. The three modestly scaled sonatas nos. Except for no. In the late s he composed no. From London come two virtuoso sonatas for Jansen: nos. Nevertheless the strings are essential, for integration of the texture, tone colour and rhythmic definition. From London, nos. It begins dissonantly on a dominant 9th and this instability is maintained throughout: there is no tonic cadence until the very last bar of the A section, just before the double bar, and in the reprise even this cadence is deceptive, leading to a substantial coda.
By contrast, nos. Its only major dividing-points that affected both his life circumstances and his compositional orientation were , when he became full Kapellmeister, , when he became responsible for the court opera, and , when he negotiated his independence as composer of instrumental music.
The oldest and most persistent of these interpretations associated Classical style with thematische Arbeit and the string quartets op. Another proposed a double progression: towards a first highpoint with his Sturm und Drang manner around —72 , and a second one with the Paris symphonies and the Seven Last Words of —6.
But even his earliest music was never in any intrinsic sense immature, and he continued to experiment, successfully, throughout his career. Joseph Haydn: Kritische Gesamtausgabe , ed. Larsen, 4 vols. Boston, Leipzig and Vienna, —51 [L]. Joseph Haydn: Werke , ed. Haydn-Insttut, Cologne, dir. Larsen —61 , G. Feder —90 and others — , 78 vols.
Munich, — [HW]. Landon, Philharmonia ser. Vienna, —8 [P]. B Miscellaneous sacred. C Oratorios and similar works. D Secular cantatas, choruses. E Dramatic. F Secular vocal with orchestra. G Solo songs with keyboard. H Miscellaneous vocal works with keyboard. I Canons. K Miscellaneous orchestral. M Concertos for string or wind instruments. N Divertimentos etc. O String quartets. P String trios divertimentos.
Q Baryton trios divertimentos. R Works for 1—2 barytons. T Works for 2 lire organizzate. V Keyboard trios. W Keyboard sonatas. X Miscellaneous keyboard works. Y Works for flute clock. A- autograph, i. Haydn in those years according to C. Items are numbered chronologically as far as possible within each category except in section Z ; these numbers are always shown in italics and are used for cross-references between sections e.
Instrumental parts that are doubtful or are later additions sometimes by Haydn himself are parenthesized or given a question mark. Note : over spurious masses listed in Hoboken; composers of some identified by MacIntyre H Quae admiranda lux; for? Merrick, rev. Tattersall : 17 How oft, instinct with warmth divine, F Ps xxvi.
Heyda Hayda, Haida; c — ; also attrib. Appendix B. Vienna, 2, 4 April ; rev. Friebert, rev. Ramler: Der Tod Jesu ; perf. Vienna, 26, 27 March Weisse and G. Eisenstadt, before 11 Sept? Zeno: Lucio Vero , ; cf Q Acts 1, 2 inc. Coltellini, rev. Florence, 9 June ; ov. Schuster; cf appx Y. Rameau: Pigmalion. Meiningen, Er ist nicht mehr! Leipzig and Nuremberg, , by Carl Franz; vocal part with bc extant; considered authentic by Landon A Sarti: I finti eredi; cf appxs X.
Unpubd secco recits, rev. Recit and aria sung by Calcagni, London, , and Cantata a voce sola con violino composed for the Duke of Bedford, unidentified or lost; see Landon A Note : several anon. Haydn; 22 It. Leon , E; 3 Der erste Kuss J. Weisse , G; 5 Die Verlassene L. Haschka , g; 6 Der Gleichsinn G.
Wither, trans. Eschenburg , A; 7 An Iris J. Bader , F? Lessing , a; 23 Minna J. Cardiff, Haydn; for text of no. Dormann: Franz Joseph Aumann Munich, , , ; arr. Lindemayr , C; 51 Kein besseres Leben, G. Mozart k Anh. Note : further songs, mentioned by Griesinger and Dies as composed in England, may be identical with some of those listed above; 7 Ger. Gerber, 23 Sept ; Haydn used 1st bars of no. Boswell , G; 4 Saw ye my father? Mrs Grant;? Burns , C. E nos. Note : Cant. Blumauer, after M. Tscherning , A, 2vv; 19 Grabschrift P. Hensler , g, 4vv? II also used in N 14 ; for bracketed dates of nos.
I and II supposedly composed as ov. London, 31 March ; II uses Romance of lira conc. Note : single movts, see K 1 , 10 ; c spurious syms. Incidental music: Der Zerstreute comedy, 5,? Bergopzoomer, after J. Regnard: Le distrait. J 63 combines altered ov. J 53 doubtful. Stegmann ;? Note : ovs. Eybler in D-HR , orig. Note : concs. Note : 3 concs. Haydn in D. Hellyer Cardiff, Mozart; in Opera incerta Mainz, , ed. Gerlach, as by? Haydn, L. Mozart, or E. Angerer; version by L. Mozart with added movts. Note : for arrs. Musica instrumentale sopra le 7 ultime parole del nostro Redentore in croce … ridotte in quartetti, op.
Note : Haydn apparently wrote? Note : arrs. Werner … herausgegeben von … J. Haydn Vienna, not arr. CZ-Bm 2 vn, vle ; probably not authentic. Appendix P: Selected works for 2 violins and cello or other bass instrument attributed to Haydn early works if authentic.
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Note : other works in h V, probably by other composers, incl. D2, E1, B2: by M. Hofmann; Es12, F2, F6:? Gasparini; Es13 lost :? Bach qt ; A5:? Note : 6 vn duettos mentioned by A. Galuppi in MS copy, D-B. EK; also attrib. Wagenseil in MS copy, A-El. EK; orig. Hofmann in MS copy, D-B.
SC shows slightly different earlier version? Wagenseil see H. Note : Haydn apparently composed no sonatas for pf, vn, except perhaps no. WU 21; 6 sonatas announced in as rediscovered nos. Schwanenberger though authenticated by Haydn c — according to Pohl. Note : sketch for inc. Gabriel and A. Wafflard; pasticcio Die Ochsenmenuett, , see appx E 6. Brodszky of baryton trios Q 56 , 35 , 72 , 70 , 34 , J 69 and the Seven Last Words K 11 not made but rev. Haydn; MS arr. Schmid Kassel, [S]. Wranitzky and J. Kinsky ; orig. Thomson, i—iv London and Edinburgh, —5 ; v London and Edinburgh, ; suppl.
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Subscriber sign in. Forgot password? Don't have an account? Sign in via your Institution. Sign in with your library card. Search within Article contents 1. Background, childhood, choirboy, —c Vienna, c— London, —5. Vienna, — Character and personality. Style, aesthetics, compositional method. Sacred vocal music. Secular vocal music. Orchestral music. Chamber music without keyboard. Keyboard music.
Works 1. Open in new tab. Background, childhood, choirboy, — c James Webster. Vienna, c — Works Georg Feder. Editions Joseph Haydns Werke , ed. Mandyczewski and others, 10 vols. Vienna, —8 [P] Diletto musicale , ed. Landon unless otherwise stated Vienna, — [D] for editions of specific genres, see notes at head of relevant sections. Catalogue A. Vocal A: Masses Open in new tab. EK, HV? Munich, perf. Eisenstadt, 8 Sept B: Miscellaneous sacred Open in new tab. EK Vienna and Munich, also attrib. Eisenstadt, in MS copies always following Dictamina mea appx B.
Stephan and M. C: Oratorios and similar works Open in new tab. Boccherini 2 S, A, T, B, 4vv, 2 fl, 2 ob, 2 eng hn, 2 bn, 4 hn, 2 tpt, 2 trbn, timp, str, bc hpd [—5] A pt ii, u, and no. Brown London, perf. D: Secular cantatas, choruses Open in new tab. S, 4vv, 2 ob, 2 hn, str, bc, hpd obbl [—? S, A, 4vv, fl, 2 ob, bn, 2 hn, str, bc, hpd obbl? The wild uproar of the winds P. Pindar, madrigal S, A, T, B? Die Winde furchtbar heulen? Haschka, Volkslied 1v, fl, 2 ob, 2 bn, 2 hn, 2 tpt, timp, str A London, see Landon, iv, A, p.
Graz, for orig. Note : Quis stellae radius, see Group B. Appendix D. E: Dramatic Open in new tab. Eisenstadt, 11 Jan ; ov. Goldoni, rev. Bader 2 S, 2 T, 4vv,? April—Nov ] EK, Sk — music lost where not incl. Badini, N. Durandi, F. Cowmeadow, after A. Bicknell : A incid music; perf. Die reisende Ceres Spl, M. Lindemayr Vienna, music inc. Schellinger from works by Haydn and others, dated [?
Bretzner — music lost perf. Vienna, ; see appx X. Appendix E: Selected doubtful and spurious works Open in new tab. F: Secular vocal with orchestra Open in new tab. S, 2 ob, bn, 2 hn, str? Guglielmi: La Quakera spiritosa: cf appx F. S, baryton and? Occhietti cari del mio tesoro aria? A, 2 ob, 2 hn, str? S, 2 ob, 2 hn, str [aut. Se provasse un pocolino? S, 2 ob, 2 hn, str [July] — aria incl. S, 2 ob, 2 hn, str [Sept ] — aria from Anfossi: Il curioso indiscreto; extensively rev.
Appendix F. G: Solo songs with keyboard Open in new tab. Hunter , i: —3 June OE, Sk nos. Pfeffel , A? Appendix G. H: Miscellaneous vocal works with keyboard Open in new tab. Harington 4—5 2 Duetti of Nisa and Tirsi C. Appendix H: Arrangements Open in new tab. I: Canons Open in new tab. J: Symphonies Open in new tab. Budapest, 8 G fl, 2 ob, bn, 2 hn, str? I and II orig. London, 96 D 2 fl, 2 ob, 2 bn, 2 hn, 2 tpt, timp, str A incl. London ; sketch for II, P xi, ; see note to appx X.
Sk HW ii; P x, perf. Tost nos. K: Miscellaneous orchestral Open in new tab. P vi, finale used for earlier version of sym. P v, 1 movt only; ov. J 73 ; sometimes connected with sym. J 13 — Overtura Conventgarden? Huber, after C. K 1 5 Ia:7bis Overture, D? Appendix K: Doubtful and spurious works or arrangements Open in new tab. HW v, 12 only nos. Kassel, orch arr. Appendix L: Selected doubtful and spurious works or arrangements Open in new tab. M: Concertos for string or wind instruments Open in new tab. Kraft; rev. Gevaert 7 3 C? Haydn by M. Amsterdam, D-HR , orig.
Appendix M: Selected doubtful and spurious works Open in new tab. N: Divertimentos etc. Steppan 4 G1 G — [? Haydn Perger no. Cassation, D 4 hn, vn, va, b? Hellyer Cardiff, 1 18 Divertimento Notturno , D fl, 2 hn, vn, va, b? Mozart with added movts 14 D5  Notturni Quartetto , D 2 fl, 2 hn?
Hofmann 16 D8 Divertimento Quintetto , D fl, 2 vn, va, b —? London, , Munich, supposed autograph not authentic; also attrib. Abel and J. Bach 25 — Quatro, C fl, vn, va, vc? Divertimento, D 2 ob, 2 hn, 2 bn? D 86 considered authentic by Fruehwald H Appendix N: Selected doubtful and spurious works Open in new tab. O: String quartets Open in new tab. HIII Op. Appendix O.
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P: String trios divertimentos baryton trios excepted; for 2 violins and cello or other bass instrument unless otherwise stated Open in new tab. Paris, n. Haydn; for vn, va, vc 33 G2 G Leipzig, 2 vn, pf, vc ad lib by M. Haydn; edn as sonata op. Appendix P: Selected works for 2 violins and cello or other bass instrument attributed to Haydn early works if authentic Open in new tab. Adagio from no. Appendix Q: String probably baryton trios attributed to Haydn Open in new tab. R: Works for 1 or 2 barytons Open in new tab. HV — lost on authenticity see critical commentary to HW xiii, 11;?
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Kubitschek op. Frankfurt, with added hpd doubtful; arr. Rainer, D , as by M. Haydn 20—23 4 Duos: vn, va Leipzig, , as by M. Hofmann 29—34 6 Sonatas: 2 vn — Mainz, also attrib. NM 52 spurious arr. Appendix S: Works attributed to Haydn Open in new tab. T: Works for 2 lire organizzate Open in new tab.
Haydn ii London version 2 fl, 2 vn, 2 hn, 2 va, vc, db? Haydn 9 II Divertimento , C, i orig. Vogler 6 leichte Clavierconcerte, no. Steffan orig. Schmittbauer; orig. Bach not a Haydn autograph; by J. Appendix U: Selected works attributed to Haydn Open in new tab. V: Keyboard trios Open in new tab. J 25—7 3 Sonatas: pf, vn, vc —20 April [—? Variazioni, D hpd, vn, b? D apparently arr. Appendix V. W: Keyboard sonatas Open in new tab. III lost 5 2a Divertimento, d hpd [? Divertimento, e hpd [? HU i, ; WU 28 frag. HU ii, 22; WU 38 22 24 D? Munich, minuet and trio arr. I doubtful 4 13 Parthia Divertimento , E — [—?
Sonata, C — — 1 movt only;? Appendix W. X: Miscellaneous keyboard works Open in new tab. Eibner and G. Landon and K. Allegro molto, D hpd [—? Redouten Saale or later — first 2 pages of MS copy by J. Strache xxvii Vienna, , 5 from pf trios: appx V. Paris, arr. Haydn, also attrib. HW v, arr. Note : for further works see pf trio V 20 WU, 70 and pf sonata W Appendix X. Y: Works for flute clock Open in new tab. Arzt 4 1 F III:? Appendix Y. Folksong arrangements Z: Arrangements of British folksongs Open in new tab. Whyte, i—ii Edinburgh, —7 [W]. Joseph Haydns Werke , ed.
Leipzig, —33 [M]. Diletto musicale , ed. Landon unless otherwise stated Vienna, — [D]. OE - original edition, published by Haydn or authorized by him. S, A, T, B, 4vv,? S, A, T, B, 4vv, 2 ob, 2 cl, 2 bn, 2 hn, 2 tpt, timp, str, bc, org obbl in Et incarnatus. S, A, T, B, 4vv, fl, 2 ob, 2 cl, 2 bn, 2 hn, 2 tpt, timp, str, bc org. S, A, T, B, 4vv, 2 fl, 2 ob, 2 cl, 2 bn, dbn, 2 hn, 2 tpt, 2 trbn, timp, str. S, T, B, 4vv, 3 fl, 2 ob, 2 cl, 2 bn, dbn, 2 hn, 2 tpt, 3 trbn, timp, str, bc hpd.
Vienna, 29, 30 April ; several sketches in Landon, iv A , S, T, B, 4vv, 2 fl, 2 ob, 2 cl, 2 bn, dbn, 4 hn, 3 tpt, 3 trbn, timp, perc, str, bc hpd. S, A, T, B, 4vv, 2 fl, 2 ob, 2 cl, 2 bn, 2 hn, 2 tpt, 2 trbn, timp, str. Acide festa teatrale, 1, G. Metastasio: Galatea. Act 3 inc. Pleyel; cf K 8 , appx K 1. Orlando paladino Der Ritter Roland dramma eroicomico, 3, C.
Bicknell :. Pisk Vienna, His statistics were: eight games played; 35 catches; yards; On May 29, , Owens was released. The Wranglers' co-owners stated Owens was released for showing a lack of effort both on and off the field. On August 26, , Owens announced on his Twitter account that the Seahawks had released him. On January 13, , in an interview with Sports Illustrated Now , Owens stated that he had not retired and that, after a hiatus, he had trained with numerous NFL players during the NFL season and the offseason.
He did not state when he planned to return to the NFL. Some observers especially then- Indianapolis Colts coach Tony Dungy condemned the skit as being sexually suggestive because of Sheridan removing a towel see video  , and ABC later apologized for airing it. However, on March 14, , the Federal Communications Commission ruled that the skit did not violate decency standards, because it contained no outright nudity or foul language. Some media outlets in Dallas reported on the morning of September 27, that Owens had tried to kill himself by intentionally ingesting an overdose of hydrocodone , a pain medication.
According to the police report, Owens and Etheredge both said he was depressed , and Owens answered "yes" when asked whether he had intended to harm himself. Owens' publicist, however, refuted the report, stating that Owens had suffered an allergic reaction to the medication combined with a dietary supplement. ESPN reported that about half the police report was blacked out, including the phrases "attempting suicide by prescription pain medication" and "a drug overdose".
Owens left the hospital later on September At a news conference after his release, Owens denied having made a suicide attempt , stating that he expected to join the team for practice the next morning. He stated that he was "not depressed" and was "very happy to be here", and denied that doctors had pumped his stomach , calling speculation to that effect "definitely untrue". Afterwards, Owens' publicist stated that she felt the police had taken advantage of Owens.
The president of the union representing Dallas police officers subsequently demanded an apology from Owens and his publicist for her comments, which he said damaged the reputations of three patrolmen. Bill Parcells had noted in a press conference a few days before the incident that the medication Owens had been taking had made him sick, and he had been prescribed a milder pain killer. After the December 16, game against the Atlanta Falcons , Falcons cornerback DeAngelo Hall stated that Owens spat in his face after a play early in the game.
Game officials and reporters were unaware of the incident and Owens was not asked about it until his post-game interview with the NFL Network , when he confirmed it. It was a situation where he kept hugging me and getting in my face. He had a lot of words, I didn't. Owens was not voted into the Pro Football Hall of Fame in his first two years of eligibility, despite being statistically ranked near the top of every receiving category in the history of the NFL. In , Owens was voted into the Hall of Fame. During his playing career, Owens attracted attention for his flamboyant celebrations after scoring touchdowns, some of which resulted in fines from the NFL front office.
The work was featured in "Frequency", the Studio Museum in Harlem 's exhibition of emerging artists. Owens rapped in a single titled "I'm Back", available for download on his website. Outside of his football career, Owens also appeared in various commercials, television shows, and films. Owens played himself, as a wide receiver wearing 82 for the fictional Miami Sharks, in the film Any Given Sunday. He and Three 6 Mafia interview each other in the episode. He starred in a summer reality show on VH1 , dubbed The T. Show ; the show followed Owens and his "best friends and publicists" as they re-evaluated Owens' personal life.
Owens appeared in the NBA All-Star celebrity game again in scoring 17 points including two alley-oops , to secure his second consecutive MVP award. In June , Owens starred in ABC's reincarnation of Superstars , a sports competition show from the 70s where celebrities are paired with professional athletes. The first episode is rumored to have ended in controversy, as evidenced by a leaked clip of partner supermodel Joanna Krupa calling Owens a "prima donna". On May 8, , Owens appeared on Dr. Phil with the mothers of three of his children to discuss relationships.
On September 5, , Owens was announced as one of the celebrities set to compete on season 25 of Dancing with the Stars. He was partnered with professional dancer Cheryl Burke and was the eighth contestant eliminated. In the summer of , VH1 premiered The T. Show , which followed Owens in his personal life off the football field.
The show was renewed for two additional seasons. In September , Owens launched a podcast on the Sideshow Network with co-hosts comedian Alonzo Bodden and former- Survivor contestant and podcast host, Rob Cesternino. Shows are released each Wednesday and the discussion centers on the week's NFL games and news. Comedian Roy Wood, Jr. Guests have been from both the sports and the entertainment worlds. From Wikipedia, the free encyclopedia. American football wide receiver. Pro Football Hall of Fame. This section possibly contains original research. Please improve it by verifying the claims made and adding inline citations.
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