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The next single was a song that was to develop a strong link with his concert appearances and his forthcoming one-man show. Two shows from the show The Visconti Years started with his 1979 single, Kick Off Your Pumps. The album started with the song Kick Off Your Pumps, which was released in 1979 and then developed into the closing song of ‘The Visconti Years’ later. In a live version it was renamed Love Is the Drug, which has never been a single; although it was a UK No. 44 hit in August 1980. It was not such a success on its initial release and was again an entirely predictable future single from the LP. One of the album’s few infectious melodies, Kick Off Your Pumps has been described as the Rufus Wainwright variation on Rufus & Chaka Khan’s I Feel For You. Rufus has confessed that it is very much more personal to him than even it’s album-opening single although he has never been able to articulate why that is.
The new LP was the aptly named Out Of The Game, which followed the very formula of his previous releases. It had four more pleasant R&B to pop tracks followed by the title track, an anguished soul ballad – a No. 3 UK hit – and the punchy soul of Rufus & Chaka Khan.
The album would be successful, following the mid-eighties trend for R&B/pop and a remit that would help Rufus expand his audience – he had become heavily involved in classic music, where he would record with legends such as Engelbert Humperdinck, Julie Driscoll, Nina Simone, Billy Idol and Liza Minnelli to name but a few.
Rufus recorded a string of standouts in the 70s, from their first album, their 1977 release My Love, and the two-disc 1978 hit Chaka Khan. King of funk-with-a-chorus, the group enjoyed six R&B No.1 hits, four of which were No.1 R&B hits as well. Last year, some of their best-loved and most-recorded material made its way to vinyl, including the rare-as-hell 11-minute Chaka Khan/Rufus track with the legendary Chaka Khan.
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Fig. 3 Phylogenetic analysis of Babesia spp. was inferred using the Maximum Likelihood approach with the Tamura 3-parameter model [ 32 ] with Gamma distribution and invariant rates (TN92+G+I). The phylogeny of the 18S rRNA gene partial sequences of P. rufus from (a) Madagascar (Makira, blue and Moramanga, red) and (b) Madagascan lemurs (c) described as the Babesia sp. from KT722781.2 and the closely-related sequences from lemur (KT22781.2), South African cat (KC790444.1), and captive baboon (GQ225744.1), and (d) Madagascan flying foxes (KT22781.2, GQ225744.1, KC790444.1, AJ871610.1, and MG011460.1) were inferred using the maximum likelihood method using 1000 bootstrap replicates. The tree is drawn to scale, with branch lengths measured in the number of substitutions per site; all positions containing gaps and missing data were eliminated. The tree is rooted to P. falciparum using a set of selected sequences obtained from GenBank representing seven major lineages of P. falciparum all available on the date of data collection (P. falciparum (AB118810), MADAGASCAR (KT722781.2), SPAIN (KC790444.1), GUATEMALA (AF354824.1), COSTA RICA (AY947243.1), PANAMA (AY947242.1), and CLINTON (KJ444481.1)) (37, 38). Bootstrap values are shown next to the branches. The names of groups mentioned in the text are indicated (P. vivax, ‘African clade 1’, ‘Duncani Group’, and ‘Western clade’). P. vivax sequences are used as an outgroup. The names of Babesia species and their GenBank accession numbers are shown in the table to the right of the phylogeny
Statistical analysis of ecological trends in the data suggested that both P. rufus and the Madagascan lemur were infected most frequently in the rainy season. We attempted to determine whether the risk of an infection with Babesia spp. varied depending on the activity of the flying fox when it was captured, but we were unable to find any statistical association between erythrocytic parasite infection and the capture activity of the flying-foxes when they were captured. In addition to Babesia spp..
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Rufus Review
None of the characters is likable, and theres no indication of a characters background beyond the brief moments of exposition. This tragedy lacks the necessary thread of character development that allows us to really care about any of the characters, especially not Rufus. It is a sad and weak film lacking a genuine heart that is sure to disappoint kids of all ages.
Edgar Allen Poe doesnt get as much credit as he deserves. Underrated in the US, he was one of the greatest poets, essaysists, and horror story-tellers of his time. Rufus is the perfect example of how Poe transcended his “enchanter of the arts” reputation by incorporating a darker, grim tone into his macabre writing. After Cracked Rufus’ birth in the mid-1930s, he takes the newborn vampire and kicks him down the rabbit hole, finding himself in a world of the past, with all its horrors, decadence, and historic decay. However, a soon-to-be-born contemporary poet, with a sense of eeriness and despair, has a new vision of what the world could be, and a new vision of what the vampire is.
On the technical front, Rufus is more of a rich, nuanced listen than visually interesting, but its also fine work. You can feel Wainwrights hand in much of the film, especially the track work and arrangements. Especially effective are the diverse vocals throughout, with many of them appearing in several roles. One of the things I think makes the movie so effective is how much the cast fits into Wainwrights vision. Like Edgar Allen Poe, he identifies with the visions of these characters, and he gives them rich, detailed backstories that help bring life to a poorly-established world. Thats not to say theyre all archetypes, in the end, theyre just characters whom happen to be vampires. As with many of Poe’s tales and poems, they don’t always have good intentions. But that doesnt always detract from their engagingness– and in this case, the un-sanitized nature of the story can make for a disturbingly interesting film.
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