Project Gutenberg Etext Now It Can Be Told, by Philip Gibbs***
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World War I Casualty Biographies
St Martins-Milford World War I Casualty Biographies This memorial plaque to WW1 is in St Martin’s Church, Milford. There over a 100 listed names due to the fact that St Martin’s church had one of the largest congregations at that time. The names have been listed as they are on the memorial but some of the dates on the memorial are not correct. Sapper Edward John Ezard B Coy, Signal Corps, Royal Engineers- Son of Mr. and Mrs. J Ezard of Manchester- Husband of Priscilla Ezard, 32, Newton Cottages, The Friary, Salisbury- Father of 1 and 5 year old- Born in Lancashire in 1883- Died in hospital 24th August 1914 after being crushed by a lorry. Buried in Bavay Communal Cemetery, France (12 graves) South Part. Private George Hawkins 1st Battalion Duke of Cornwall Light Infantry- Son of George and Caroline Hawkins, 21 Trinity Street, Salisbury- Born in 1887 in Shrewton- He was part of the famous Mon’s retreat- His body was never found- Died on 21st October 1914. (818 died on that day). Commemorated on Le Touret Memorial, France. Panel 19. Private Reginald William Liversidge 1st Dorsetshire Regiment- Son of George and Ellen Liversidge of 55, Culver Street, Salisbury- Born in 1892 in Salisbury- He was killed during the La Bassee/Armentieres battles- His body was never found- Died on 22nd October 1914 Commemorated on Le Touret Memorial, France. Panel 22. Corporal Thomas James Gascoigne Shoeing Smith, 70th Battery Royal Field Artillery- Husband of Edith Ellen Gascoigne, 54 Barnard Street, Salisbury- Born in Croydon in 1887-Died on wounds on 30th September 1914. -
1 Old, Unhappy, Far-Off Things a Little Learning
1 Old, Unhappy, Far-off Things A Little Learning I have not been in a battle; not near one, nor heard one from afar, nor seen the aftermath. I have questioned people who have been in battle - my father and father-in-law among them; have walked over battlefields, here in England, in Belgium, in France and in America; have often turned up small relics of the fighting - a slab of German 5.9 howitzer shell on the roadside by Polygon Wood at Ypres, a rusted anti-tank projectile in the orchard hedge at Gavrus in Normandy, left there in June 1944 by some highlander of the 2nd Argyll and Sutherlands; and have sometimes brought my more portable finds home with me (a Minie bullet from Shiloh and a shrapnel ball from Hill 60 lie among the cotton-reels in a painted papier-mache box on my drawing-room mantelpiece). I have read about battles, of course, have talked about battles, have been lectured about battles and, in the last four or five years, have watched battles in progress, or apparently in progress, on the television screen. I have seen a good deal of other, earlier battles of this century on newsreel, some of them convincingly authentic, as well as much dramatized feature film and countless static images of battle: photographs and paintings and sculpture of a varying degree of realism. But I have never been in a battle. And I grow increasingly convinced that I have very little idea of what a battle can be like. Neither of these statements and none of this experience is in the least remarkable. -
Section, No-Man's Land Was Everywhere Exceptionally Wide
Extract from ‘Westcountry Regiments on the Somme’ By Major (Retired) Tim Saunders MBE (Late D and D) This book covers the part played by both the Devonshire and Dorset Regiments in the 1916 Battle. It covers the arrival of the battalions on the Somme, preliminary operations and the part they played in the various phases of this grimmest of battles from the disaster of 1 July through to the very final attack in mid November. The extract below is on the attack of 2nd Battalion the Devonshire Regiment on Ovillers la Boissele on 1st July 1916; the blackest day in the long history of the British Army. Introduction Of the five Westcountry battalions in action on the first day of the battle, 2/Devon was one of the two battalions that attacked or ‘went over the top’ in the first wave at Zero Hour. They had arrived on the Somme, to join the Fourth Army, at the end of March with 8th Division joining III Corps. Along with the remainder of the Army, the Devons worked hard training and preparing for the great offensive. Meanwhile, the Germans, with only the questions of time, date and boundaries of the British attack to determine, continued to strengthen their position. The German Positions Opposite III Corps, the Germans 26th Reserve Division occupied positions on three spurs that ran down from the Pozieres Ridge. The two fingers of high ground of significance to 8th Division and the Devons were the Ovillers Spur and the la Boisselle Spur. Both were crowned with German held villages that had been developed into fortresses within the front line trench systems. -
The Birth of Airpower, 1916 the Character of the German Offensive
The Birth of Airpower, 1916 359 the character of the German offensive became clear, and losses reached staggering levels, Joffre urgently demanded as early a start as possible to the allied offensive. In May he and Haig agreed to mount an assault on I July 'athwart the Somme.' Long before the starting date of the offensive had been fixed the British had been preparing for it by building up, behind their lines, the communications and logistical support the 'big push' demanded. Masses of materiel were accumulated close to the trenches, including nearly three million rounds of artillery ammuni tion. War on this scale was a major industrial undertaking.• Military aviation, of necessity, made a proportionate leap as well. The RFC had to expand to meet the demands of the new mass armies, and during the first six months of 1916 Trenchard, with Haig's strong support, strove to create an air weapon that could meet the challenge of the offensive. Beginning in January the RFC had been reorganized into brigades, one to each army, a process completed on 1 April when IV Brigade was formed to support the Fourth Army. Each brigade consisted of a headquarters, an aircraft park, a balloon wing, an army wing of two to four squadrons, and a corps wing of three to five squadrons (one squadron for each corps). At RFC Headquarters there was an additional wing to provide reconnais sance for GHQ, and, as time went on, to carry out additional fighting and bombing duties.3 Artillery observation was now the chief function of the RFC , with subsidiary efforts concentrated on close reconnaissance and photography. -
“To Be an American”: How Irving Berlin Assimilated Jewishness and Blackness in His Early Songs
“To Be an American”: How Irving Berlin Assimilated Jewishness and Blackness in his Early Songs A document submitted to The Graduate School of the University of Cincinnati in partial fulfillment of the requirements for the degree of DOCTOR OF MUSICAL ARTS in the Performance Studies Division of the College-Conservatory of Music 2011 by Kimberly Gelbwasser B.M., Northwestern University, 2004 M.M., University of Cincinnati, 2006 Committee Chair: Steven Cahn, Ph.D. Abstract During the late nineteenth and early twentieth centuries, millions of immigrants from Central and Eastern Europe as well as the Mediterranean countries arrived in the United States. New York City, in particular, became a hub where various nationalities coexisted and intermingled. Adding to the immigrant population were massive waves of former slaves migrating from the South. In this radically multicultural environment, Irving Berlin, a Jewish- Russian immigrant, became a songwriter. The cultural interaction that had the most profound effect upon Berlin’s early songwriting from 1907 to 1914 was that between his own Jewish population and the African-American population in New York City. In his early songs, Berlin highlights both Jewish and African- American stereotypical identities. Examining stereotypical ethnic markers in Berlin’s early songs reveals how he first revised and then traded his old Jewish identity for a new American identity as the “King of Ragtime.” This document presents two case studies that explore how Berlin not only incorporated stereotypical musical and textual markers of “blackness” within two of his individual Jewish novelty songs, but also converted them later to genres termed “coon” and “ragtime,” which were associated with African Americans. -
TORRANCE HERALD, Torrance, California THURSDAY, OCTOBER G, 1938
PAGE 4 TORRANCE HERALD, Torrance, California THURSDAY, OCTOBER G, 1938 Ann Harding In TORRANCE HIGH Alice Faye Said ORRANCE IHEATRE Shaw Play at LIGHTS ... by Top Song-PIugger ADULTS 25o Phone Torrance 132 CHILDREN 10c Harvey Abramson Irving Berlin was the man who Thurs., Frt, Sat. 3 Big Days October 6, 7, 8 . Biltmore Oct. 10 Boe» Lome Game . .. Last Thurs voted Alloc Faye Hollywood'*, best song-plugger. He should MARGARET Ann Harding as "Candida" day the football season official!} SULLAVAN JAMES STEWART in opened for Torrance high. Thi know whereof he speaks; for that sounds like Important pro three "SHOPWORN ANGEL" poets In the realm of make-b Tartar Bees met the Leuzlngc decades ago the master of Bees In a practice game. Alth( American melody himself was a also JANE WITHERS in lleve. The lovely stage and scree craftsman star will appear In person atth the Torrancc boyi fought hard in that modern ver "KEEP SMILING" the visitors showed great power sion of the minnesingers, it v/af Biltmore theatre, Los Angeles, Berlin's early career at the be $$$ PLAY FRIDAY $$$ the famed George Bernard Sha and consistently drove through the center of the line. The Lcuz- ginning of the century that start Frl. and Sat. Chapter 1 "ZORRO RIDES AGAIN" comedy for two weeks only, bi ginning Monday evening, Oct. 1 ingcr eleven made a score In ed him on the path to writing every quarter, converting his own tunes. Sun., Mon., Tues., October 9, 10, 11 ... "Candida" h.rs remained fo three over 40 years the most success times, for a final tally of 27 It was Irving Berlin who, thru CHARLIE MCCARTHY EDGAR BERGEN 'ul of all of Shaw's comedies, to 0. -
Bousfield Family Tragedy
The Bousfield Family Tragedy Pictured are the men of Sunnyside Pontoon, Ellesmere Port, all neighbours, who joined the Cheshire Regiment together as part of the town’s ‘old pals’ – the ‘Glorious 514’ – the first of the volunteers. Standing are the Bousfield brothers; Robert, Percy and Anthony. by Mike Royden When John Bousfield left his home in Westmoreland in 1886 and travelled south, he was hoping for a better life for his family. He was born in 1848 in Oxton, and by the age of twelve he had moved out of the family home and was living at a nearby farm not far from Appelby, where he was working as a farm labourer. For the next two decades, he moved from one local farm to another, securing labouring work wherever he could in this sparsely populated rural landscape. At the age of thirty-two he married Margaret Nelson, a girl from the next village ten years his junior. Their first son, John, was born shortly afterwards, followed by William in 1882, and Emily in 1884. But it was clear that working as an indoor farm servant on the local farms in the tiny hamlets surrounding Appleby was never going to improve his station, and providing for his growing family was proving a serious challenge. And so, in 1886 he decided to move to the industrial north west hoping for something better. The family settled in Primrose Hill in the Wirral, an area soon to be absorbed by William Lever’s model village of Port Sunlight. He was still working as an agricultural labourer two years later, when their twins Richard and Thomas were born, who were followed by Robert in 1890 and Anthony in 1892. -
The Rita Williams Popular Song Collection a Handlist
The Rita Williams Popular Song Collection A Handlist A wide-ranging collection of c. 4000 individual popular songs, dating from the 1920s to the 1970s and including songs from films and musicals. Originally the personal collection of the singer Rita Williams, with later additions, it includes songs in various European languages and some in Afrikaans. Rita Williams sang with the Billy Cotton Club, among other groups, and made numerous recordings in the 1940s and 1950s. The songs are arranged alphabetically by title. The Rita Williams Popular Song Collection is a closed access collection. Please ask at the enquiry desk if you would like to use it. Please note that all items are reference only and in most cases it is necessary to obtain permission from the relevant copyright holder before they can be photocopied. Box Title Artist/ Singer/ Popularized by... Lyricist Composer/ Artist Language Publisher Date No. of copies Afrikaans, Czech, French, Italian, Swedish Songs Dans met my Various Afrikaans Carstens- De Waal 1954-57 1 Afrikaans, Czech, French, Italian, Swedish Songs Careless Love Hart Van Steen Afrikaans Dee Jay 1963 1 Afrikaans, Czech, French, Italian, Swedish Songs Ruiter In Die Nag Anton De Waal Afrikaans Impala 1963 1 Afrikaans, Czech, French, Italian, Swedish Songs Van Geluk Tot Verdriet Gideon Alberts/ Anton De Waal Afrikaans Impala 1970 1 Afrikaans, Czech, French, Italian, Swedish Songs Wye, Wye Vlaktes Martin Vorster/ Anton De Waal Afrikaans Impala 1970 1 Afrikaans, Czech, French, Italian, Swedish Songs My Skemer Rapsodie Duffy -
Carl Dengler Scrapbooks
CARL DENGLER COLLECTION RUTH T. WATANABE SPECIAL COLLECTIONS SIBLEY MUSIC LIBRARY EASTMAN SCHOOL OF MUSIC UNIVERSITY OF ROCHESTER Processed by Mary J. Counts, spring 2006 and Mathew T. Colbert, fall 2007; Finding aid revised by David Peter Coppen, summer 2021 Carl Dengler and his band, at a performance at The Barn (1950): Tony Cataldo (trumpet), Carl Dengler (drums), Fred Schubert (saxophone), Ray Shiner (clarinet), Ed Gordon (bass), Gene Small (piano). Photograph from the Carl Dengler Collection, Scrapbook 3 (1950-1959). Carl Dengler and His Band, at unidentified performance (ca. 1960s). Photograph from the Carl Dengler Collection, Box 34/15. 2 TABLE OF CONTENTS Description of Collection . 4 Description of Series . 8 INVENTORY SUB-GROUP I: MUSIC LIBRARY Series 1: Manuscript Music . 13 Series 2: Published Sheet Music . 74 Series 3: Original Songs by Carl Dengler . 134 SUB-GROUP II: PAPERS Series 4: Photographs . 139 Series 5: Scrapbooks . 158 Series 6: Correspondence . 160 Series 7: Programs . 161 Series 8: Press Material . 161 Series 9: Association with Alec Wilder . 162 Series 10: Books . 163 Series 11: Awards . 165 Series 12: Ephemera . 165 SUB-GROUP III: SOUND RECORDINGS Series 13: Commercial Recordings . 168 Series 14: Instantaneous Discs . 170 Series 15: Magnetic Reels . 170 Series 16: Audio-cassettes . 176 3 DESCRIPTION OF COLLECTION Shelf location: M4A 1,1-7 and 2,1-8 Extent: 45 linear feet Biographical Sketch (L) Carl Dengler, 1934; (Center) Carl Dengler with Sigmund Romberg, ca. 1942; (Right) Carl Dengler, undated (ca. 1960s). Photographs from the Carl Dengler Collection, Box 34/30, 34/39, 34/11. Musician Carl Dengler—dance band leader*, teacher, composer. -
Beyond the Western Front FOX-GODDON Accepted 1Oct2016 GREEN
King’s Research Portal DOI: 10.1177/0968344514559873 Document Version Peer reviewed version Link to publication record in King's Research Portal Citation for published version (APA): Fox-Godden, A. E. (2016). Beyond the Western Front: The Practice of Inter-Theatre Learning in the British Army during the First World War. War in History, 23(2), 190-209. https://doi.org/10.1177/0968344514559873 Citing this paper Please note that where the full-text provided on King's Research Portal is the Author Accepted Manuscript or Post-Print version this may differ from the final Published version. If citing, it is advised that you check and use the publisher's definitive version for pagination, volume/issue, and date of publication details. And where the final published version is provided on the Research Portal, if citing you are again advised to check the publisher's website for any subsequent corrections. General rights Copyright and moral rights for the publications made accessible in the Research Portal are retained by the authors and/or other copyright owners and it is a condition of accessing publications that users recognize and abide by the legal requirements associated with these rights. •Users may download and print one copy of any publication from the Research Portal for the purpose of private study or research. •You may not further distribute the material or use it for any profit-making activity or commercial gain •You may freely distribute the URL identifying the publication in the Research Portal Take down policy If you believe that this document breaches copyright please contact [email protected] providing details, and we will remove access to the work immediately and investigate your claim. -
"A" - You're Adorable (The Alphabet Song) 1948 Buddy Kaye Fred Wise Sidney Lippman 1 Piano Solo | Twelfth 12Th Street Rag 1914 Euday L
Box Title Year Lyricist if known Composer if known Creator3 Notes # "A" - You're Adorable (The Alphabet Song) 1948 Buddy Kaye Fred Wise Sidney Lippman 1 piano solo | Twelfth 12th Street Rag 1914 Euday L. Bowman Street Rag 1 3rd Man Theme, The (The Harry Lime piano solo | The Theme) 1949 Anton Karas Third Man 1 A, E, I, O, U: The Dance Step Language Song 1937 Louis Vecchio 1 Aba Daba Honeymoon, The 1914 Arthur Fields Walter Donovan 1 Abide With Me 1901 John Wiegand 1 Abilene 1963 John D. Loudermilk Lester Brown 1 About a Quarter to Nine 1935 Al Dubin Harry Warren 1 About Face 1948 Sam Lerner Gerald Marks 1 Abraham 1931 Bob MacGimsey 1 Abraham 1942 Irving Berlin 1 Abraham, Martin and John 1968 Dick Holler 1 Absence Makes the Heart Grow Fonder (For Somebody Else) 1929 Lewis Harry Warren Young 1 Absent 1927 John W. Metcalf 1 Acabaste! (Bolero-Son) 1944 Al Stewart Anselmo Sacasas Castro Valencia Jose Pafumy 1 Ac-cent-tchu-ate the Positive 1944 Johnny Mercer Harold Arlen 1 Ac-cent-tchu-ate the Positive 1944 Johnny Mercer Harold Arlen 1 Accidents Will Happen 1950 Johnny Burke James Van Huesen 1 According to the Moonlight 1935 Jack Yellen Joseph Meyer Herb Magidson 1 Ace In the Hole, The 1909 James Dempsey George Mitchell 1 Acquaint Now Thyself With Him 1960 Michael Head 1 Acres of Diamonds 1959 Arthur Smith 1 Across the Alley From the Alamo 1947 Joe Greene 1 Across the Blue Aegean Sea 1935 Anna Moody Gena Branscombe 1 Across the Bridge of Dreams 1927 Gus Kahn Joe Burke 1 Across the Wide Missouri (A-Roll A-Roll A-Ree) 1951 Ervin Drake Jimmy Shirl 1 Adele 1913 Paul Herve Jean Briquet Edward Paulton Adolph Philipp 1 Adeste Fideles (Portuguese Hymn) 1901 Jas. -
The Operational Role of British Corps Command on the Western Front, 1914-18
The Operational Role of British Corps Command on the Western Front, 1914-18 Andrew Simpson University College, London Submitted for the Degree of Doctor of Philosophy © Abstract British corps command having been neglected in the literature, this thesis sets out to assess what British corps did, and how they did it, on the Western Front during the Great War. It attempts to avoid anecdotal sources as much as possible, drawing its evidence instead as much as possible from contemporary official documents. It is a central argument here that Field Service Regulations, Part 1 (1909), was found by commanders in the BEF to be applicable throughout the war, because it was designed to be as flexible as possible, its broad principles being supplemented by training and manuals. Corps began the war in a minor role, as an extra level of command to help the C-in-C control the divisions of the BEF. With the growth in numbers and importance of artilleiy in 1915, divisions could not cope with the quantity of artilleiy allotted theni, and by early 1916, the corps BGRA became the corps artilleiy commander (GOCRA). In addition to its crucial role in artillery control, corps was important as the highest level of operational command, discussing attack plans with Armies and divisions and being responsible for putting Army schemes into practice. Though corps tended to be prescnptive towards divisions in 1916, and Armies towards corps, a more hands-off style of command was generally practised in 1917, within the framework of FSR and the pamphlet SS13S (and others - to be used with FSR).