| http://www.w3.org/ns/prov#value | - But where Nietzsche challenged that the theatrical bet placed on the efficacy of such voices, female, or as he pointed out, mostly male (as in the ideal male lover such as Romeo [ibid.]) tended not succeed, McClain reminds us that Cohen's achievement is a real or working one, a practiced one, attuned to musical efficacy, for us, today.
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