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Band Details

The Rude

Nashville, TN

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The Band
Local Band Network Member Since: February 6, 2004            Last Update: June 24, 2008
Average rating:   (0 votes)  Vote now!
Music types: Punk, Alternative
Description:
What is THE RUDE ?

Take a modern glitter-punk band with old-school punk influences, add a surreal stage-show, a sound all our own, and add in a streak of satire- what do you get? We are The Rude.

It's hard to pin us down into any specific genre. We're mostly Punk, in the sense that the Punk movement is about the freedom to find your own sound, style, and image, to be completely yourself, and to always bravely speak your own truth at the top of your lungs. We're angry, but funny. We're loud and fast (but not all the time!), but yet we're not heavy metal. We're melodic (when we want to be) and dissonant (when it proves our point.) We're rude but intellectual, blunt, and yet we try to touch on issues that have real meaning for real people. In short, our strength as a band derives from our contradictions. The result is a sound that is good for dancing to, screaming along to, and inciting rebellion.


Band Members:
Cat Fury, Vocals

Cat Fury is our Goth/Punk/Industrial girl, writing content-driven street-poetry-style lyrics, inspired by her experience as a slam poet. Her vocal style is most influenced byConcrete Blond and Janis Joplin, with more than a touch of angry edginess.

Jet Black, Guitar

Jet Black is our own original vintage.New York Punk, with influences including Black Flag, The Cramps, Fugazi, and of course, the Sex Pistols. He combines catchy pop melodies with raunchy punk riffs.His heroes include Johnny Thunders,East Bay Ray. He is the keeper of our vision.

Deadguy, Drums

Dead Guy's speed/thrash metal fills, and his cymbal and double-bass-heavy style really round out our sound. He comes to us from Houston, TX, where he played with several heavy metal bands. His style reminds of Cannibal Corpse, Slayer, and Nile.

Jessica Eris Alexander,Bass

brings us a unique style on her custom-painted monster-face five-string bass. She keeps our sound special with her melodic and complex bass lines. She is played guitar for over ten yearsin Fetish and other Fayetteville-based bands before joining The Rude.

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Latest News:
Hey Guys,

Here is the latest write up on The Rude. It's by CF Roberts and can be found in Fayetteville AR's All About Town, the July 21st Issue.

THE RUDE AND THE GLITTER PUNK AESTHETIC

    by C.F. Roberts

PART ONE: GREASE PAINT AND ROAD GODS

      The Monkey Wagon is bombing down I-40 towards Little Rock. Fury, seated in the back beside me, suddenly leaps up and grabs Jessica Alexander's head----a precarious move, since Jessica's driving. Screaming and mayhem ensue. And then, with an innate sense that the road ahead curves, Fury lets Jessica go and sits back down, allowing our driver to negotiate the curve. Said activity will occur several times on this sojourn.         This is what it's like to travel with the Rude.        Amanda Kirk, the band's photographer and prop-wrangler, is riding shotgun. She asks if she might take a nap---Fury and Alexander bluntly refuse to let her. As she's riding up front, her obligation is to keep Jessica entertained. She dutifully goes about blowing up balloons and tossing them towards Alexander, who ruthlessly bats them around and breaks them.       There's a Spider-Man coloring book lying around the van; the band at one point has chosen to amuse themselves by defacing the tome with foul captions revolving around pedophilia and sodomy.      "Try it," says Fury, "it's fun!"       Following the Rude's lead proves all too easy. The inanity of the coloring book lends itself too easily to such subversion. It gets old fast, though.        The singer muses, at one point, that the highway is some kind of an abstract God that has overtaken America. It's hard to disagree--for the convenience of mass transit, an indeterminate number of people and animals are made blood sacrifices on this nation-sprawling strip of tar every year.       Fury reasons that, as we've discussed the possibility of such a deity we have inadvertently brought it into existence; as such, sacrifices must be made. Balloons, paper products, candy and chex party mix are all tossed out the van windows in homage to this Highway God.     As we roll into downtown Little Rock, the madness continues----drinking cups, balloons, screams and epithets fly around the van pell mell. A police cruiser coasts by and this does precious little to cool the mayhem in the van.    As of this time the other Rude contingent---guitarist Jet Black, drummer Dead Guy and videographer Leslee Morris, have already arrived at Vino's.     It's my first time at Vino's and I like it immediately; A hole-in-the-wall pizza joint with a club out back. It carries the homey, well-worn vibe of any decent rock club.      The pizza's not bad, either.       The Rude load in at the side of the club and start setting up---it's fresh blood night. Alexander and Fury apply makeup to each others' faces while Black chats affably with the sound man.      Pulaski County is under a tornado watch and reports come in from the TV. Tonight Fury has done Jessica up in kitty-cat face paint while Jessica has adorned Fury's face with spider web designs. This is not Kiss. The makeup designs change from one night to the next---the Random is in control. Fury's chosen number is a striped shirt and necktie that has her looking almost like a junior varsity Siouxsie Sioux----beneath that, Alexander has adorned the singer's breasts with electrical tape. I've got the damned cow suit in tow and Fury has decided tonight that she will paint my face in Holstein Patterns.     Time wears on and despite the weather warnings an audience begins to congeal...eyes gravitate toward the Rude, who are easily the strangest looking lot here. Fury, Jessica and Kirk have all retreated off to corners where the three of them read novels. Jet, whose makeup design is very simple---whiteface with black lipstick and eyeshadow---shares a drink with Dead Guy and Morris. The rare makeup job on Dead Guy is the cryptic "x" on his forehead....tonight he's even opting out of that.       The first band on the bill is Media Kills, another band out of Fayetteville. They're a young band, and solid, although they're stuck in a rather unrewarding warmup slot.       The headliners, a Conway band called Shadow's Edge, have arrived and brought the lion's share of clientele with them. The band hang stagefront and fervently cheer on Media Kills---Shadow's Edge get the Good Sportsmanship award of the night---if every band in Arkansas were like them, the scene would be unstoppable.       I'm told that Media Kills are a Hardcore band. As such they're very different from the hardcore I was weaned on in the '80s, as typified by Black Flag, the Dead Kennedys, Circle Jerks, the Germs, the Exploited and Crass...their songs hit a medium clip and they are given to a lot of '80s thrash metal conventions----regardless, they're a low-key, engaging, smart band and one can't help but like them...the set ends abruptly when the drummer breaks his snare head.       Kirk and I prepare for the Rude's set, second slot on the bill---Fury hands us two baskets of throws and a set list---specific songs tonight are designated for specific throws. Balloons on "Burn", Mardi Gras beads on "Drowning", candy on "Phoenix", streamers on "Train", party string on another song, and during "The One", Kirk is instructed to blast everyone down front with a super soaker.       Most of the time at these shows bands don't seem to suffer much from being made to play shortened sets...most bands have a kind of sameness to their material where the melody or pace of the music doesn't change much. Given their general versatility, the Rude seem to actually suffer when playing a 35-minute set. It's simply that the band have that much good material.       From the moment they take the stage, the Rude have the audience's attention; Fury divides her time between stage and stagefront, getting up in the crowd's faces, teasing, menacing and undulating, the music a setting for her theatre of confrontation. Black and Alexander flank the singer, bobbing and thrashing in time to the music. Dead Guy hammers away in the rear, adding his death metal dexterity and energy to the songs, proprelling numbers like "Burn", "Flag" and "Train" into overdrive.      The ballad, "Love Song for a Freak", is accentuated by an ominous, tolling bass note that is actually Alexander pounding the side of her instrument with her fist. The bassist accidentally hits her wrist on the side of the bass----later it will swell up and become sore.       The audience is bombarded with throws and is receptive to the treatment...they even love being hit with the super soaker.      They save "The Cow Song", one of their sillier numbers, for last---which is my opportunity to dance around onstage in the cow getup...I get lewd and cuddly with Fury and the crowd seems to enjoy it a good deal.      Shadow's Edge follow the Rude with the appreciative disclaimer, "we're not sure how to follow that," but it's their crowd---the six-month old metal band plow through their set and they go over just fine. Their material is strong and they play with a lot of enthusiasm. Jessica and Fury hit the mosh pit and, within two songs, have cleared the stagefront, scaring the hell out of most of the other crowd with their violent antics. It's a good night at Vino's.         PART TWO: THE RUDE AESTHETIC

        "And goddammit, we're gonna be the band that gets known for throwing candy to their audience!"      It's been a banner night for Jessica Alexander; her bass playing has garnered comparisons to the late Metallica bassist, Cliff Burton. This pleases her no end.      Alexander, formerly a guitarist, cites her influences on bass as former Fetish/Candyshroud bandmate James Jackson, former Dali Automatic/Breathing Water godhead Bryan Petty and Tori Amos. Figure that last one out for yourself.      On the road back to Fayetteville, we're talking performance art. Alexander wants to stage mock superhero battles and impromptu musical numbers in public places. She and Fury handle the band's stage show---I ask her if the Rude's party bombardment and carnival atmosphere corelate, idealogically, to such schemes. She says the central logic behind all of these things is the extension of peoples' lives.      "A year is not a year long," she explains. "If all you have in your life is your job, your home, sitcoms, bed, food, then the years fly by. But as soon as you throw something weird and chaotic into someone's life, the longer their year becomes."      Waxing idealogical, she says, "the intent is to change the world---to make everyone's life more interesting and more fulfilled." This kind of world-changing art creates a ripple effect, she says. "People---especially performers---will repeat the effect."       Apparently inspired by the Rude's theatrics, performance poet Doug Shields has begun tossing candy to audiences at readings. Alexander's ripple effect would appear to be in motion.        Guitarist and de-facto manager Jet Black, being the notable rock historian of the band, has a number of posters adorning his wall---Bowie. Kiss. Rocky Horror. The Ramones. And Black Flag's "Nervous Breakdown" EP cover art.       It seems an odd mix---one might be tempted to ask where the connection between the proletarian turbocharge and angst of Flag and the Ramones coincides with the image-driven pomp and circumstance of '70's glitter rock.     "I know people try to make it out to where they're two different things," he offers, "but I don't think they are....I see them as part of the same continuum---punk, metal and new wave all came from the glitter rock of the '70's."       So the arena rock gusto of Kiss is, perhaps, not so far from the stripped-down, no-bullshit ethic of the Ramones?      "I think there were bands like Kiss and Alice Cooper, who held a great appeal to the working class," he says. "I see the working class ethic in terms of the themes and the makeup of the music---and (audiences) can go into the show and just escape into this party atmosphere---work hard, play hard...but I think that appeals to anyone who wants to escape from their mundane lives."      That odd-yet-workable mix makes it into Black's music: His godhead of Jimi Hendrix, Jimmy Page, Greg Ginn and Steve Jones weaves its way into the guts of the Rude's music. Blues meets noise meets complete rock'n'roll abandon in one twisted-yet-cohesive heap.      Singer Fury seems to be reasonably in line with Black's showmanship ethic. Onstage she oozes a cool kind of star quality, but doesn't see it as contradictory to the band's basic ethic of subversion and insubordination. It's more than an empty pose.      "There are a lot of unspoken rules and laws in this society," she explains, "it's got nothing to do with any legal code---it's got to do with what's 'not done'. I don't care what is or isn't socially acceptable---I just do whatever I want to do when I want to do it.     "Nobody ever excells or innovates by following the rules. Galileo--Anarchist, as far as what he believed---Einstein, the Wright Brothers---Anarchists in that they just said, 'fuck what everybody else thinks'."      Echoing Alexander's positive chaos theory, she declares, "do the unexpected because it fucks Them up so bad."     "There are so many average, ordinary people I've met," she says, "who, when you really question them or try to elicit ideas, you find out they are innovative, creative, revolutionary people with fascinating ideas--and there are so many things that people just don't do--and there's really nothing holding them back, materially---only their beliefs and their fears. There's a message coming down from the top levels of this society; in order for them to make money, it's important for people to stay ordinary, stay in a box and stay in their assigned roles. They can't function if people don't live small, very controllable lives."      Going with The World According to Fury, the Rude would seem to be a sort of rock and roll deprogramming device---telling people to look past their assigned roles and, as Alexander posits, extending their lives.        It's one hell of an appealing manifesto.     PART THREE: BLOOD, STEEL AND VIDEOTAPE

       There's a makeshift stage setup in the studio of Fayettevlle's Community Access Television Station; The Rude have it right now---their gig will give way to one by the Church of the Subgenius in a couple of hours. The band and the Church are playing off a unified set design as something of a cooperative measure.      It's been almost two years since The Rude's first public performance went down in this studio, on the fifth anniversary show of CAT's "The Abbey of the Lemur"--the band had been playing together two weeks. It was a ramshackle set---the band's sound was fine in the studio but completely overdriven on the air, and the bass kept shorting out. Still, the band's visceral power was apparent through two songs, and the Rude's return ventures to the Public Access Station are always a joy---the Rude were spawned by the Public Access Media movement---and their triumphs are the medium's.      CAT manager Sky Blaylock is at the directorial helm; She directed their most recent performance on CAT Community News back in December. Blaylock, whose background is music video, is one of the band's most ardent supporters. Her stellar job directing the band's "Quiet Set" was the impetus for their seeking her out for this promotional session.       The band will play their entire set to date---songs from their debut EP, "Blood and Steel", as well as numbers that will make it onto their forthcoming album-length CD, "Mind like Ground Zero".      Friends and fans including CAT volunteer coordinator Emerald Rose, "The Abbey of the Lemur" co-founder/producer Andrew Lucariello, local folk legend Jori Costello and Nachash ha-Rames, director of the underground horror cult hit, "Golgotha, AR", are all onhand to make the shoot happen. Being studio certified, I opt to run cameras or help out in any way I can.      2003 was a desperate year for the Rude; The band's fotunes seemed to solidify with the addition of Dead Guy on drums---his protean talent seemed to be the last ingredient necessary for the band to finally get it together. Upheaval occurred almost immediately when second guitarist Shannon X. Caine was forced to leave the band due to progressive hearing problems. Caine's booming vocals and folk-influenced guitar style was a significant part of the Rude's early sound. Her departure left Fury the sole vocalist and Black sole guitarist---the leaner, meaner, consolidated sound crystallized on the "Blood and Steel" EP.      No sooner had that lineup solidified when disaster struck---Fury and Black were injured in a devastating motorcycle crash that threatened to leave them crippled. Alexander was out of country undergoing long sought-after sexual reassignment surgery at the time. Upon her arrival home there was a band three quarters of whom were convalescing from trauma.      Fury still walks with a pronounced limp and Black still uses a cane. As the Rude's gig agenda kicks into high gear one can only hope they strengthen.       The taping is slightly problematic---there are false starts and uncertain breaks in the music. Dead Guy has trouble hearing the other musicians. The band pull it out nonetheless.     Blaylock is in her element, here---her aesthetic as a music video director grates against my training as a cameraman but I fight to keep up with her demands. It's impossible to hear her directions while the band is playing, so she coaches the crew intensely between songs.     Two thirds of the way through the set the rock video bug has bitten her---she seizes camera and sends me in to direct.     The Rude's set heats up. Fury dons a purple top hat for "Drowning". It's great. She's a natural performer and the camera loves her. The ending volley of "Bastard Messiah", "Flag" and the battering hardcore finale of "Disintegration" roll through and by that final number I'm working the switcher as if it were a strobe light, changing shots with every beat, even if there isn't a clear shot on camera. The pace becomes all-important to the context of the video. As the song crashes to a close the band does likewise---Fury wallows on the soundstage, Black half-stumbles, half-whirls, guitar in hand, a move that looks not unlike Leatherface's final moves at the end of the original "Texas Chainsaw Massacre"--Alexander falls to the floor, pounding violently on her bass.      As former Cryptones guitarist Dan Hickey once said, "it's rock and roll. It's SUPPOSED to bleed." And it does.     Later on, everyone's winding down---Fury sits in the Control Room, watching the replay of the session while blowing up balloons as decorations for the Subgenii who are about to take their places in the studio. Alexander loads her equipment into the van and nurses a swollen wrist.        "I don't have to play again for ten days," she declares, "I figured I may as well just finish my wrst off."       The sun is setting and it's a great rock and roll day in Fayetteville.    

Hey Guys, Just writing to say "Hi", and say the Little Rock show rocked.  We met alot of cool people.  Here is a write up Crash did on the show in Little Rock: "Fresh Blood 03-04-04 « Thread started on: Mar 5th, 2004, 04:59am »     ------------------------------------------------------------------------ Holy Fuckin Shit what a good Fresh Blood show tonight! I know I say this in every review but you just never know what you'r gonna get at these shows. Tonight was one of the best shows i've been too all year, i cant say enough about how kool everybody was and what a great show of support these bands and their crowds gave each other. THAT'S FUCKIN AWSOME!!!!!!!!...... Next was The Rude http://www.asylumanarchist.com/index.html This is another 4 peice Band from Fayettville. Oh Man i just Fucking loved this band! What else can I say? I highly suggest that all the Janus Faced fans check this band out. What a great fuckin' performance. It would take me all night to explain all the things I liked about this band. All i can say is when they come back you all should go see these Krazy fuckers live. They are kinda hard to explain so i'll let them explain theirselves: Take a modern glitter-punk band with old-school punk influences, add a surreal stage-show, a sound all our own, and add in a streak of satire- what do you get? We are The Rude. It's hard to pin us down into any specific genre. We're mostly Punk, in the sense that the Punk movement is about the freedom to find your own sound, style, and image, to be completely yourself, and to always bravely speak your own truth at the top of your lungs. We're angry, but funny. We're loud and fast (but not all the time!), but yet we're not heavy metal. We're melodic (when we want to be) and dissonant (when it proves our point.) We're rude but intellectual, blunt, and yet we try to touch on issues that have real meaning for real people. In short, our strength as a band derives from our contradictions. The result is a sound that is good for dancing to, screaming along to, and inciting rebellion."

The original form can be found at : http://crashcymbel6.proboards19.com

More praise on the Vino's show in Little Rock.  This one comes from Josh who photograph the show and does reviews at:                    http://www.followmearound.net/home/id42.html

Vino's 3-4-04 Media Kills, The Rude, & Shadows Edge......

The Rude- WOW! This was a four piece band also from Fayetteville. When I say they put on a show I'm not kidding. They add a shock value to their live sets. They had alittle of everything in their show. There was always something going on either on the stage or off. They had a really good stage presence. The lead singer gave a very good performance. She would get down in the crowd and get in people faces and mess with them. The crowd was loving this band. They have a sound thats hard to describe. They have a punk sound but are heavy at times. Really there's no way for me to really explain this band. You will just have to see for yourself.

Also check out the very  cool photos on the website and the review for Shadows Edge, and Media Kills, who we will be playing with again with in April.

   

Incase you missed it C F Roberts did a very cool write up in All About Town this week on the JKB and The Rude show at JR's back on Feb 10th which I have included here. The Rude with Jesus Kills Butterflies J.R.’s Lightbulb club, 2/10/04 C.F. Roberts

   It’s rare that I get a Tuesday night off...Tuesday night is not prime partying time but there are things to do in Fayetteville...a good question to ask in this situation is, what’s happening at J.R.’s, tonight? Combating a dull night with a three-dollar cover charge is mighty tempting, and dammit, the Rude are playing.      As I hit the Lightbulb Club, Jesus Kills Butterflies, the openers, who hail from Missoula, Montana (didn’t Laura Palmer, or her doppleganger cousin, come from Missoula?), were doing their soundcheck, which eventually gave way to their brief-but-eventful set...the stage was cordoned off to all concerned with caution tape (my kind of decor) and the night was ripe with promise....

   I can best compare JKB to Joke-core legends Anal C**t; it ain’t Irving Berlin, but do you care? Seven guys in Unabomber-style masks (and one, quirkily named Mike Myers, in a Michael [Halloween] Myers rubber pull-over job) with names like Nipsey Russell, Black-Ass Jones and Late for Dinner churning through a flurry of jokey grindcore numbers....between songs they harangue the audience, yelling, you suck, Fayetteville---we can’t wait to get back to Missoula! The audience plays along happily with the gag, screaming for Free Bird and New Order songs.

   The band, behind their caution tape cage, rage through a series of thrashing flurries, most of which could barely qualify as songs, pretend to beat each other up, take spur-of-the-moment dual drum solos, and at points stop to dance and lip-sync to tacky Boy Band music. They may or may not have beat a hasty retreat to Missoula, but they were an entertaining lot and I wouldn’t mind seeing them again.

   As JKB broke down the view from the bar got interesting; it was a Rude kinda night, and the Rude crowd were slowly filtering in. The going style was goth augmented with ’70’s glam, and the crowd was wearing it well. One girl wore a sparkly high hat, somewhat slightly reminiscent of that worn by Noddy Holder, lead singer of ’70’s glitter icons, Slade. Once again, I reiterate, the night was ripe with promise.

  It wasn’t long before the Rude, amid lurid colored lights and fog, hit J.R.’s like a tornado with the explosive doubleshot opener of Burn and Phoenix. Singer Fury was the riveting focal point of the show in stage makeup and tiger stripe prints, and does she know how to work a crowd.

   Her demeanor is instantly intimate and likeable...alright, Fayetteville! How’s it goin’ tonight in Fayetteville, Fayetteville??? A boon to those of us who got tired of arena rockers referring to us as Cities. The sense of humor is infectious.

   The audience is with the band from the first moment to the final crashing chords of the encore, and it’s hard to fault them for it---the Rude have a unique kind of magnetism, and no other band, locally, is doing what they do. The crowd down front mosh in some instances and flail in time with the music in others---even the ballads instill a primal gut reaction.

  All the while, band and various entourage types bombard the crowd with everything from Mardi Gras beads to black balloons, inflatable guitars, silly string and plastic toy dinosaurs while a variety of stage-crashers grab the limelight and perform along with the band. Dominatrixes. Men in drag. Men in cow getups. They come and go, making the proceedings increasingly chaotic. All the while, Fury is at the center of it all, the cool ringmistress directing your attention to the two-fisted circus of rock and roll depravity. A Rude show is Mardi Gras, Carnivale, Halloween and your best damned birthday party, all rolled up into one event.

   The above scenario would play itself out in five minutes, of course, if the band didn’t have the substance to back up the visceral mayhem. Comments that follow the Rude at their shows tend to go, we’ve been waiting for years for someone to come around with some good music! One wonders why it’s so hard to come by---but there’ s little question---the Rude deliver.

  The repertoire might, in instances, bring anyone to mind from the Ramones to Joan Jett to Black Flag, and the band has been favorably compared to everyone from Concrete Blonde to Jack Off Jill---but the Rude are their own animal. Fury is complimented by the molten, five-string bass theatrics of Jessica Alexander and the abrasive-yet-accessible guitar hooks of Jet Black. Drummer Adam Dead Guy Jardine fills out the quartet, not only with power and energy, but with that rare gift afforded drummers---the ability to think his way around a song for maximum impact.

   The lyrics, from a slam poetry diva, are sublime--Fury deals out political rage that would make Jello Biafra proud (Flag, Train, Burn), takes the listener from sad introspection (Love song for a Freak, Last Summer) to obsession (Crush) to inconsolable loss (the hypnotic Drowning) to brooding, baleful bad-girl torch songs (the Danzig-like The One).

  From crushing slow songs to special jams (former second guitarist Shannon X. Caine was invited to duet with Fury on BAGDAD(dad), which she had contributed to the band during her tenure) to the final, frenetic rave-ups of Bastard Messiah, Flag and Disintegration, the singer had the audience eating out of her hand and prompting the question, What Would Fury Do?

   What she would do, of course, is bring down the house---which is exactly what she did.

   Do not miss this band. found at:  http://www.aatonline.com/articles.asp?name=Music

The Rude will be going in the studio again this month to record at 13 song CD called Mind Like Ground Zero.  The songs on this CD will be one we perform live at show but are not on our 5 song EP Blood and Steel, which is currently available at Hasting, Sound Warehouse, and Clunk Music in Fayetteville or they can be ordered from the band here.  We taped a one hour live in the studio show for Catv Channel 8 which will air next month.  Directed by kick ass directors Sky Blaylock and CF Roberts - the set contains all songs featured in The Rude full hour set.  We would like to thank everyone who worked on it.

Also check our New Rude Fan Site at: http://www.geocities.com/miamimystic23/tvfriends.html

Thank you to everyone comes out and supports us.

-Jet  

Their Music
Original Music? Yes
CD Recorded?  Yes
Record Label: N/A
Discography:
Blood and Steel    
Their Contact Information
Alternate web site:  
Contact Name:  Jet barucs
E-mail address:   (NOTE: Email addresses are hidden to prevent spam. You must have JavaScript enabled.)

Localities: Arkansas-Fayetteville
Arkansas-Ft. Smith
Arkansas-Little Rock
Missouri-Kansas City


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