June Allyson, Actress/Singer
b. New York (The Bronx), USA 
American leading lady whose sweet smile and sunny disposition made her the prototypical girl-next-door of American movies of the 1940s. Raised in semi-poverty in Bronx neighborhoods by her divorced mother, Allyson (nee Ella Geisman) was injured in a fall at age eight and spent four years confined within a steel brace. Swimming therapy slowly gave her mobility again, and she began to study dance as well. She entered dance contests after high school and earned roles in several musical short films. In 1938, she made her Broadway debut in the musical "Sing Out the News." After several roles in the chorus of various musicals, she was hired to understudy Betty Hutton in "Panama Hattie." Hutton's measles gave Allyson a shot at a performance and she impressed director George Abbott so much that he gave her a role in his next musical, "Best Foot Forward." She was subsequently hired by MGM to recreate her role in the screen version. The studio realized what it had in her and offered her a contract. 
Her smoky voice and winning personality made her very popular and she made more than a score of films for MGM, most often in musicals and comedies. She became a box-office attraction, paired with many of the major stars of the day. In 1945, she married actor-director Dick Powell, with whom she occasionally co-starred. Following Powell's death from cancer in 1963, she retreated somewhat from film work, appearing only infrequently on screen and slightly more often in television films. Occasional nightclub appearances and commercials were her only other public performances since, and she died of pulmonary respiratory failure and acute bronchitis on July 8, 2006, after a long illness.

Alfred Drake, Vocals/Actor
b. New York (The Bronx), NY, USA
d. July 25, 1992, New York, NY, USA.
(heart failure).
One of Broadway's most venerable, respected musical leading men, Alfred Drake created the male leads in "Oklahoma!" (1943), "Kiss Me Kate" (1949) and "Kismet" (1953), winning Tonys for the latter two. Sadly, he re-created none of these roles on screen. Very much a man of his beloved live theater, he never did go to Hollywood, except for the staring role in "Tars and Spars" (1946) for Columbia Pictures, a post-war comedy.
And so, apart from a scattered handful of TV appearances, his name and art can only live on in the memories of those who saw him work his particular brand of magic on stage during the golden years of the Broadway musical, his performances on Broadway cast albums giving only a partial idea of just how potent that magic was.
~Biography By: Bob Sorrentino

Jo Jones, Drums
b. Chicago, IL, USA.
d. Sept. 3, 1985, New York, NY, USA.
né: Jonathan Jones.
Jo Jones (October 7, 1911 – September 3, 1985) was an American jazz drummer.
Known as Papa Jo Jones in his later years, he was sometimes confused with another influential jazz drummer, Philly Joe Jones. The two died only a few days apart.
~Wikipedia Biography
Born as "Jonathan David Samuel Jones" in Chicago, Illinois, he moved to Alabama where he learned to play several instruments, including saxophone, piano, and drums. He worked as a drummer and tap-dancer at carnival shows until joining Walter Page's band, the Blue Devils in Oklahoma City in the late 1920s. He recorded with trumpeter Lloyd Hunter's Serenaders in 1931, and later joined pianist Count Basie's band in 1933. Jones, Basie, guitarist Freddie Green and bassist Walter Page were sometimes billed as an 'all-American Rhythm section'. Jones took a brief break for two years when he was in the military, but he remained with Basie until 1948. He participated in the Jazz at the Philharmonic concert series.
He was one of the first drummers to promote the use of brushes on drums and shifting the role of timekeeping from the bass drum to the hi-hat cymbal. Jones had a major influence on later drummers such as Buddy Rich, Kenny Clarke, Roy Haynes, Max Roach, and Louie Bellson. He also starred in several films, most notably the musical short Jammin' the Blues (1944).

Jones performed regularly in later years at the West End jazz club at 116th and Broadway in New York City. These performances were generally very well attended by other drummers such as Max Roach and Roy Haynes. In addition to his artistry on the drums, Jones was known for his irascible, combative temperament.

In contrast to drummer Gene Krupa's loud, insistent pounding of the bass drum on each beat, Jones often omitted bass drum playing altogether. Jones also continued a ride rhythm on hi-hat while it was continuously opening and closing instead of the common practice of striking it while it was closed. Jones's style influenced the modern jazz drummer's tendency to play timekeeping rhythms on a suspended cymbal that is now known as the ride cymbal.
In 1979, Jones was inducted into the Alabama Jazz Hall of Fame for his contribution to the Birmingham, Alabama musical heritage. Jones was the 1985 recipient of an American Jazz Masters fellowship awarded by the National Endowment for the Arts.
Jo Jones - Wikipedia
Drummerworld: Papa Jo Jones

The Drums by Jo Jones

Johnny Long, Leader/Violin
b: Newell, NC,USA.
d. Oct. 31, 1972, Parkersburg, WV, USA.
Tag:. The "Old Left Handed Fiddler".
Worked with The Beachcombers; Paul Harman; Bob Houston; Helen Young; Julie 
Johnny Long was an American violinist and bandleader, known as "The Man Who's Long on Music". He was raised on a farm in Newell, North Carolina, currently a subdivision of Charlotte. He started practicing with the violin at the age of six, but injured two fingers on his left hand when he was bitten by a pig. He then learned to use his right hand to play the violin, and continued to do so until his death.
Music career
As a freshman at Duke University, Long joined with ten other freshmen to create a school band named The Duke Collegians. During their sophomore year, they were adopted as the official school band. The band stayed together throughout their school years and, upon graduation, renamed themselves The Johnny Long Orchestra, with Long as the bandleader. For a number of years they toured the country and were eventually signed on to Vocalion Records (owned by ARC) in 1937 for the release of Just Like That. They performed their first national radio broadcast in 1939 on The Fitch Summer Bandwagon Show, which boosted their national popularity. This resulted in the band being signed on by Decca Records.
His Johnny Long Orchestra accompanied Ella Fitzgerald on her Decca recording of "Confessin' That I Love You".
Under management of Decca, Long wrote and released a hit single, "In a Shanty in Old Shanty Town", that resulted in over one million sales. This song quickly became the band's signature tune. This song, and numerous other hits, made the band one of the most successful big bands in the country during the 1940s. Other popular covers included "My Dreams Are Getting Better All the Time" and "Poor Butterfly". One of the high points of his career was playing Franklin D. Roosevelts Birthday Ball in April 1941.
However, as the big band style diminished over the years, so did Long's ensemble. Long continued to lead the band, with various members, up until his death in 1972. He is buried in the cemetery of Newell Baptist church in Charlotte, North Carolina.

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"Uncle" Dave Macon
Banjo/comic entertainer
b. Smart Station, TN, USA
d. March 22, 1952, Readyville, Tennessee, USA.
né: David Harrison Macon
Member: by James Manheim
Uncle Dave Macon, beginning his professional musical career after the age of 50, brought musical and performance traditions of the 19th-century South to the radio shows and the recording catalogues of the early country music industry. In 1925, he became one of two charter members of the Grand Ole Opry, then called the WSM Barn Dance. A consummate showman on the banjo and a one-man repository of countless old songs and comic routines, Macon remained a well-loved icon of country music until and beyond his death in 1952.
Born David Harrison Macon in Smartt Station in middle Tennessee's Warren County, he was the son of a Confederate officer who owned a large farm. Macon heard the folk music of the area when he was young, but he was also a product of the urban South: after the family moved to Nashville and began operating a hotel, Macon hobnobbed with traveling vaudeville musicians who performed there. After his father was stabbed near the hotel, Macon left Nashville with the rest of his family. He worked on a farm and later operated a wagon freight line, performing music only at local parties and dances.
Macon's turn toward a musical second career was due partly to the advent of motorized trucks, for his wagon line fell on hard times in the early '20s after a competitor invested in the horseless novelties. In 1923, he struck up a few tunes in a Nashville barbershop with fiddler Sid Harkreader, and an agent from the Loew's theater chain happened to stop in. Soon Macon and Harkreader were touring as far a field as New England, and when George D. Hay began bringing together performers two years later for what would become the Opry, Macon was a natural choice. The tour also brought Macon the first of his many recording dates, held in New York for the Vocalion label in 1924. Macon would record prolifically through the 1930s (and occasionally up to 1950) for various labels, accompanied at different times by Harkreader, the brother duo of Sam & Kirk McGee, the Delmore Brothers, the young Roy Acuff, and other string players including a then-unknown Bill Monroe. For secular material, his backing band took the name of the Fruit Jar Drinkers.
Macon's recordings are richly enjoyable in themselves and are priceless historical documents, both for the large variety of banjo styles they preserve and for the window they afford on American song of the late 19th century. Macon performed musical-comic routines such as the "Uncle Dave's Travels" series, topical songs, often of his own composition ("Governor Al Smith"), playful folk songs ("I'll Tickle Nancy"), gospel with his Dixie Sacred Singers, blackface minstrel songs, unique proto-blues pieces that Macon learned from African-American freight workers ("Keep My Skillet Good and Greasy"), and songs of other types. Yet "the Dixie Dewdrop" was loved most of all for his presence as a live musician, captured not only on the weekly Opry broadcasts (which were broadcast nationally for a time in the 1930s) but also in the 1940 film Grand Ole Opry. Macon delivered what an 1880s southern vaudeville audience would have demanded for its hard-earned dollar: showmanship (he handled the banjo with Harlem Globetrotters-like trick dexterity), humor, political commentary (often of the incorrect variety by modern standards), and unflagging energy.
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Macon continued to appear on the Opry almost until his death, gradually taking on the status of a great-hearted living link to country music's origins. He became the tenth member of the Country Music Hall of Fame in 1966, and the revival of old time music that flourished as part of the folk movement focused the attention of younger listeners on his music. Yet Macon remains less well understood, and less present in the musical minds of country listeners, than Jimmie Rodgers or the Carter Family, even though he was nearly as well-known in his own day. Perhaps that's because he represents an older layer of American music-making than almost any other performer known to country audiences: modern hearers can easily connect with Rodgers' blues or the Carters' homespun sentiment, but Macon may require greater effort. Such effort, in any case, is well repaid by an acquaintance with his musical legacy.
Alton Moore, Trombone
b. Selma, AL, USA. 
d. 1978
Actor/Composer/Film Writer
The man who whoops it up on trombone on Fats Waller's classic recording of "The Joint Is Jumpin'" had a long, productive career in music beginning in the days of minstrel shows and medicine shows. His glory days were certainly the '30s and '40s, in which wonderful collaborations took place with Waller, Coleman Hawkins, Dizzy Gillespie, Benny Carter, and other giants of classic jazz. But no dust formed on Alton Moore's trombone case when he decided to drop out of full-time music in the subsequent decades of his life: he was on hand for the Fletcher Henderson reunion bands in 1957 and in the '60s was part of large ensembles in New York City such as the Prince Hall Symphonic Band.
The trombonist actually started out on the baritone horn, a brass instrument that, like the French horn, has had only limited use in jazz. By 17 Moore had switched to trombone and was gigging with the bandleader Georgia Barlowe, followed by a series of touring revues under the guidance of shadowy figures such as Eddie Lemon, Gonzelle White, and Gene Coy. In the early '30s Moore settled in New York City; his rovings prior to that had included a stretch in Dallas, TX, with the Coy band. His associates in the Big Apple at first included Jack Butler, with whom he gigged at the Circle Ballroom, as well as Charlie Skeete and Bobby Neal. Soon he could be said to be much Moore busy than many of his peers, moving from band to band with stays of between one and three months in each. He toured Cuba with the Leon Gross Orchestra in 1938.
In most jazz record collections, the robust presence of Moore -- by now nicknamed "Slim," a moniker that is sometimes used in his official credits -- begins close to the end of the '30s when he moved, again in a fairly rapid succession, through the bands of Waller, Hawkins, Hot Lips Page, and Charlie Johnson. In the early '40s Moore played and recorded with Ella Fitzgerald and Benny Carter, appearing with the latter's band in the Hollywood film Stormy Weather. The trombonist was adept at balancing the demands of old and new genres in jazz, delivering progressive jazz with the Gillespie band before settling back into New Orleans jazz with one of Louis Armstrong's ensembles.
Moore became a part-time player in 1952 following a disappointing year of freelancing and a few somewhat longer affiliations with lesser-known bands; he spent two years, for example, in a group led by Stafford "Pazuza" Simon. While the majority of his recording credits were on trombone, Moore also blew a bit of tuba and trumpet now and then, did some scat singing on Waller records, and in his final years performed on euphonium, a brass instrument similar to the baritone horn he had started out on.
~ Eugene Chadbourne, Rovi

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Clarence Muse
b. Baltimore, MD, USA,
d. Oct. 13, 1979, Perris, CA, USA.
(cerebral hemorrhage).
When, in his later years, African-American actor Clarence Muse requested that he be addressed as Dr. Muse, it was no mere hollow affectation; Muse held a law degree from Pennsylvania's Dickerson University. Opting for a show business career, Muse appeared as an opera singer, minstrel show performer, and vaudeville and Broadway actor; he also composed songs and wrote plays and sketches.
An active participant in the burgeoning black theater movement of the 1920s, Muse was a member of the progressive all-black Lincoln Players. His Hollywood film assignments generally confined him to stereotypes, though Muse was usually able to rise above the shuffling "yassuh, boss" characterizations required of him. He was given dignified, erudite roles in films designed for all-black audiences (e.g., 1939's Broken Strings), and on rare occasions was permitted to portray non-submissive characters in mainstream films (it must have come as quite a shock to Southern audiences of 1941 when Muse, playing Bela Lugosi's independent-minded butler in The Invisible Ghost, spoke harshly to a white female servant, addressing her as "you old fool!").
Muse also penned the songs and co-wrote the story for the 1938 Bobby Breen musical Way Down South. In 1955, Muse was a regular on the weekly TV version of Casablanca, playing Sam the pianist (a role he'd very nearly gotten in the 1942 film version).
Though he was an outspoken advocate for better and more equitable treatment for black performers, Muse was a staunch supporter of the controversial TV series Amos 'N' Andy, pointing out that, despite the caricatured leading characters, the series allowed black actors to play doctors, bankers, judges, professors, and other parts generally denied them in "white" shows.
In 1973, Clarence Muse was inducted into the Black Filmmakers Hall of Fame -- then went back to work, remaining active in films until the year of his death, when he was featured in The Black Stallion (1979).
~ Hal Erickson, Rovi
Wilson "Serious" Myers
b. Germantown, PA, USA.
né: Wilson Ernest Myers.
One of the great bassists in New Orleans jazz and other classic jazz styles from the '20s and '30s, Wilson Myers' adoration of classical music earned him a seriously amusing nickname, but they might have just as easily called him "Serious" for becoming something of a one-man church during his later years in Philadelphia. Myers was born in Pennsylvania as well, but his musical story begins much farther down the coast as well as nowhere at all. The latter expression evokes not only the alienated nothingness of being "on the road" but the mystery of '20s revues undocumented by press junkets, biographical memorabilia, and tour diaries. Myers first shows up on the other side of the rhythm section wall, playing drums in the touring band of classic blues singer Bessie Smith. No type of barrier between instrument families intimidated Myers, who like legendary classical music teachers mastered or at least learned his way around a variety of axes: clarinet and trombone, then guitar and banjo professionally from the mid-'20s into the early next decade.
From 1931 he was working with some of the finest New Orleans jazz bands, switching to bass while with King Oliver. Myers was a regular with the Bechet-Ladnier New Orleans Footwarmers, toured Europe with Lucky Millinder, and became part of the expatriate jazz crowd, swinging from one baguette to the next in France with Willie Lewis and others. Arranging and bandleading became part of Myers' expanded activities upon returning to America and the jazz scenes in New York City and Philadelphia. The Nick's venue in the former city became the locale for an ongoing swing fest with bandleaders Sidney Bechet and Mezz Mezzrow. Myers was also back in the Spirits of Rhythm, a group he had worked with in the previous decade. He wrote arrangements for Jimmy Dorsey and in 1944 plopped into the trio Plink, Plank, Plunk with pianist Bob Mosley and drummer Tiger Haynes. Several years later it was as if Myers were immersing himself anew in Ellingtonia, going in and out of the rhythm section in trumpeter Rex Stewart's groups as well as actually becoming Ellington's bassist -- for two months. Myers kept a group of his own working, largely in the Philly area, the demand for this enterprise perhaps dwindling as the leader's religious passions became inflamed. "Serious" was an informal preacher, but was apparently keeping up a steady tirade of his dogma well into the '70s.
~ Eugene Chadbourne
Wilson Myers - Wikipedia

Arden & Ohman
Philmore Wellington Ohman, Piano
b. New Brittain, CT.
d. Aug. 8, 1969.
Best recalled as part of the Arden and Ohman Two Piano team. But hey also co-led B'way Pit bands.
Phil Ohman's surname sounds like a reaction to his full name at birth: Philmore Wellington Ohman. This was obviously something that had to be shortened, especially since he was on the music scene more than a few decades too early to cash in on the potential of a "Philmore live at the Fillmore" booking. This talented pianist was one of the two main men behind the Arden-Ohman orchestra, a combination high society dance band and workaholic studio project that scored frequent hit recordings during the '20s and '30s, including classics of Americana such as "I Love a Parade." For a decade beginning in 1925, Ohman and his partner Victor Arden held forth in the "pits" of many long-running Broadway hits, cutting a repertoire of mostly show tunes in a discography that was often available on the cheap, on ten-cent discs sold under the catchy identification as dimestore dance records.
Ohman studied music in high school, where his instructors were so impressed that they advised his parents to pack the lad off to Europe to study, a move the family couldn't possibly afford. The alternative was two years of study with a local pipe organist. In 1915, Ohman went to work as a piano salesman in New York City. Moving to a piano roll company a few years later, which is where he first met Arden. It was a typical New York City music scene story; each man shared a wide range of musical philosophies, perceived directions, and ambitious projects. Ohman began working as an arranger and composer for classical and popular singers, and in 1922 got the piano gig in the Paul Whiteman orchestra. This lasted a year, until Arden and Ohman decided to forsake other collaborations in order to concentrate on their duo partnership. The two started by forming a piano duo gigging in many of the 52nd street clubs. The duo's first recording session under their combined names resulted in complex, showy piano performances such as "Dance of the Demon," "Raga Muffin," and "Canadian Capers"; the latter tune the only musical example of the Mounties getting their Ohman.
1924 would be a big year for the duo: they were hired for a new Broadway musical entitled Lady Be Good, destined to be a grand hit. Other shows such as Tip Toes and Spring Is Here followed. It was radio broadcasts that created national fame for the Arden-Ohman Orchestra, however, beginning with background music selling toothpaste, perfume, and watches or announcing the beginning of a news report; leading, by the end of the '20s, to the band's own radio show.
Frank Luther was among the many vocalists Ohman backed up during this period. While there was a brief split in which each man led his own orchestra, the musical marriage of Arden and Ohman was reconciled for a Brunswick record in 1935. Now relocated to Hollywood, Ohman began working scoring films, writing songs, and coaching actors who were about to portray piano players. Of his original songs, the most easy to find ironically is "Lost," with lyrics written by the wonderfully expressive Johnny Mercer. Ohman kept working in film and radio through the '50s.
~ Eugene Chadbourne, Rovi

Beverly Peer, Bass
b. New York, NY, USA.
d. Jan. 16, 1997, New York, NY, USA.
Beverly Peer (October 7, 1912 – January 16, 1997) was an American jazz double-bassist.
Peer played piano professionally early in his career before switching to bass. He worked with Chick Webb from 1936 to 1939 and continued to play in the orchestra under the direction of Ella Fitzgerald. In 1942 he joined Sabby Lewis's orchestra. He also worked extensively as an accompanist for vocalists such as Sarah Vaughan, Lena Horne, Johnny Mathis, and Barbra Streisand. In the 1950s and 1960s he worked with pianists Barbara Carroll and Ellis Larkins, and worked with Bobby Short from the 1970s into the 1990s, often performing at the Cafe Carlyle in New York City.
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Ralph Rainger, composer
b. New York, NY
d. Oct., 23, 1942, Palm Springs, CA, USA.
Ralph Rainger (October 7, 1901 – October 23, 1942) was an American composer of popular music principally for films.
Born Ralph Reichenthal in New York City, Rainger embarked on a legal career before escaping to Broadway where he became Clifton Webb's accompanist.
His first hit "Moanin' Low," with lyrics by Howard Dietz, was written for Webb's co-star Libby Holman in the 1929 revue The Little Show. Moving to Hollywood, Rainger teamed up with lyricist Leo Robin to produce a string of successful film songs.
In the years that followed, Rainger wrote or collaborated on such hit songs as "I Wished on the Moon", "Love in Bloom" (comedian Jack Benny’s theme song), "Faithful Forever", "Easy Living", "June in January", "Blue Hawaii", and with Leo Robin on the 1938 Oscar-winning song "Thanks for the Memory", sung by Bob Hope in the film The Big Broadcast of 1938.
Rainger paid one year's tuition fees to the Austrian composer Arnold Schönberg in advance so that Schönberg could pay for the transportation of his belongings to Los Angeles from Paris in 1933.
Rainger's career was tragically cut short by a fatal plane crash near Palm Springs, California, in 1942. He was a passenger aboard American Airlines Flight 28, a DC-3 airliner that was involved in a midair collision with a U.S. Army Air Corps bomber. Rainger was 41 years old when he died; he was survived by a wife, Elizabeth ("Betty"), an 8-year-old son, and two daughters, ages 5 and 1.
Mike Riley 
B: Brooklyn, NY, USA.
Composed: "The Music Goes 'Round And 'Round"; "Laughing Through Tears"; work with: Bill Crow: as told in his book "From Birdland To Broadway". With bands: Irving Aaronson; Ben Bernie; Rudy Vallee; Vincent Lopez; Will Osborne. & others.


Jimmy Shirl, C&W songwriter
b. New York, NY, USA.
He might have been "Country", but he also worked with Louis Jordan and Jimmy Dorsey. 

Martha Stewart, vocals/actress.
b. Bardwell, KY, USA.
(née: Martha Haworth.) 


Alvin Stoller, Drums 
b. New York, NY, USA
d. Oct. 19, 1992.
Strangely, Alvin is little recalled today, but he played with such stars as Bing Crosby, Georgie Auld, Ella Fitzgerald, guitarist George Van Eps, Mel Torme, Joe Mondragon (Sax): Ben Webster, pianist Paul Smith, Guitarist Barney Kessel, violinist Stuff Smith, bandleader Paul Weston, leader/trumpeter Billy May, Barney Kessel, Sammy Davis, Jr., flutist Shelly Manne, and just too many others to name.
Alvin Stoller - Wikipedia

Notable Events Occurring
On This Date Include:

"Scrapper" Blackwell, guitar
died in Indianapolis, IN, USA.
Age: 59 (some sources show him d. Oct. 8.)

Smiley Lewis, guitar died
in New Orleans, LA, USA.
Age: 53.
Smiley Lewis: Information from

Will Mercer Cook, songwriter 
died in Washington, DC, USA.
Age: 84.

Billy Daniels, vocals 
died in Los Angeles, CA, USA.
Age: 73.

Jazz guitarist Dennis Sandole died at 87. He was a mentor to John Coltrane, and others.

Songs Recorded/Released
On This Date Include:


LEE MORSE Bring Back Those Rock-A-Bye Baby Days”

The Wolverine Orchestra “Big Boy”

The Texas Blue Destroyers - “Lenox Avenue Shuffle”
  • Down In The Mouth Blues”

Fletcher Henderson Orchestra - “Go 'Long, Mule”

Ted Lewis and his Band - “Too Tired"

Clara Smith


Jack Hylton's Kit-Cat Band - “Riverboat Shuffle”


Margaret Johnson - “Everything That Happens Just Pleases Me”


Walter Anderson and his Golden Pheasant Hoodlums
  • “Mokus”

California Ramblers - “Make My Cot Where The Cot-Cot-Cotton Grows”


June in January

A clouded moon creeps
across the clouded sky
Winds of January sigh and moan
And yet it's June.
I can see a sky of blue
Dear the miracle is due to you.
Just you.
It's June in January
Because I'm in love
It always is spring in my heart
with you in my arms.
The snow is just white blossoms
that fall from above.

And here is the reason, my dear,
Your magical charms.
The night is cold
The trees are bare
But I can feel the scent of
roses in the air.
It's June in January
Because I'm in love.
But only because I'm in love with you.
Oh the night is cold!
Won't it be to bear?
But I can feel the scent of
roses in the air.
It's June in January
Because Im' in love
But only because I'm in love with you.

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