How to wear a ‘jester’ hat in Newfoundland and Labrador

For more than a century, the phrase “jester” has been used to describe a Newfoundland-based hat manufacturer, but its origins have long been disputed.

Now, a new documentary, The Jesters, will examine the history of the hat.

In a time when Newfoundland has been hit hard by the opioid epidemic, its traditional style is one of the many symbols of mourning, according to the filmmakers.

And it’s the story of the history behind one of Newfoundland’s most beloved hats, as well as the challenges faced by those who want to wear it.

The documentary, produced by the University of Newfoundland, follows the history and production of The Jumpsuit, a hat that’s made famous by the popular Canadian folk song “I’ve Got a New York.”

The film also chronicles the process of creating the Jesters hat, which was designed by the late John O’Neill and the legendary actor Donny Osmond.

The story of The New York is told in a documentary film that will be shown on CBC-TV this weekend.

It is set to air this Sunday at 9 p.m.

Newfoundland and St. John’s, and will be available for purchase at the CBC store in St. Thomas.

The hat itself was designed to reflect the spirit of the song, and is made of jute, a traditional fibre that’s typically woven into the fabric of a hat.

It’s the same fibre that is used in the construction of the original Jumpsuits, and the makers of The Jetsuit were inspired by the tradition of knitting the hat together.

The original Jocksuit, produced in 1921, was created by a group of artists and designers who created a hat in the style of the “jesters” who dressed as sailors and pirates.

It was designed for a New Yorker who went on a cruise to New York.

The Jacksuit was sold by a company called J.F. Mascarenhas, but after the company was sold to another company in the mid-1960s, the J.M.M.-owned company that had originally designed the Jumpsuits, The Johnsons, sold the hat to a new company in New York, The New Jersey Company.

The New Jerseys logo was designed in 1968 and the original design of the Jugsuit was made in 1969.

The first time the hat was worn, the crew of the ship, which had been cruising for four days and 13 hours, were told to remove their hats and wear the new Jumpsutas.

It wasn’t until years later, when the crew was on their way back to New Jersey, that the hat began to look like a pirate hat.

The current owner of The Johns and The Johns, the late actor Donnie Osmonds, died in 2014.

The new production focuses on the process that went into creating The Jucksuit.

It focuses on how the original idea of wearing a hat made its way to the stage of production, where it became a symbol of mourning.

In the film, producers speak to former crew members who worked on the first production of the new hat, and look at how the hat became a national symbol.

It looks at how it was worn by members of the Canadian Folk Dance troupe, which played in the New York Folk Dance Festival in the late 1970s and early 1980s.

The production also examines how The Jukesuit, which featured two members of The Jonks, came to be known as the “Jumpsuit Jumpset.”

The original version of the name of the jester hat was made up of two letters, which were written on a single piece of paper with the first letter being written with a little ballpoint pen.

The letter ‘J’ stood for the first two letters of the word “jest.”

But by 1980, when The Jumblesuit was first made, the name had become the word of the season.

People would put their name on the back of the package.

The producer of The John and The Johns also spoke with people who worked in the production of one of Osmoints favorite songs, “The New York Song.”

In the song “Jules and Jules,” the main character, played by Donnie, sings, “I want a jester.

You should know, Jules and jules.”

The producer spoke to the producer of the New Jersey company who made the Jikesuit.

He said the original jester was made from jute.

The producers then spoke to two members who were on the crew that made the hat and found out the name was based on the jute fibre.

They also spoke to people who were in the early days of the production.

The film’s director, Paul Fussell, said he was inspired by a conversation that happened on an island in Newfoundland in 1989, when he was talking to a friend of the crew.

He was asked if he could wear a hat with a white ribbon on it