Start Time Description Number-Cut Length User Defined 00:00:00 TOP
Total Page：16
File Type：pdf, Size：1020Kb
Load more
Recommended publications
-
Digital Storytelling in Writing
DIGITAL STORYTELLING IN WRITING: A CASE STUDY OF STUDENT TEACHER ATTITUDES TOWARD TEACHING WITH TECHNOLOGY ___________________________________________________________________________ A Dissertation presented to the Faculty of the Graduate School University of Missouri ___________________________________________________________________________ In Partial Fulfillment of the Requirements of the Degree Doctor of Philosophy ___________________________________________________________________________ By Barri L. Bumgarner Dr. Roy F. Fox, Dissertation Supervisor July 2012 The undersigned, appointed by the Dean of the Graduate School, have examined the dissertation entitled DIGITAL STORYTELLING IN WRITING: A CASE STUDY OF STUDENT TEACHER ATTITUDES TOWARD TEACHING WITH TECHNOLOGY Presented by Barri L. Bumgarner, a candidate for the degree of Doctor of Philosophy, and hereby certify that, in their opinion, it is worthy of acceptance. ______________________________ Dr. Roy F. Fox, Chair ______________________________ Dr. Amy Lannin ______________________________ Dr. Carol Gilles ______________________________ Dr. Laurie Kinglsey ______________________________ Dr. Jill Ostrow ______________________________ Dr. Martha Townsend DEDICATION For Mom, who inspired a deep love of learning from the first time she read the Rubaiyat of Omar Khayyam to me… For Dad, who would have been so proud. For my support network, Yos and close friends alike – happy hours were more than toasts, the much-needed laughter often the best escape in times of immeasurable stress. And for Marsha, because you believed I could…and should. ACKNOWLEDGEMENTS When I started my PhD, there were so many intangibles, so much I did not know, and a wondrous world of possibilities. My entire research was shaped in Roy Fox’s Media Literacy class, that long ago day in 2006, when I did my first digital composition as a Master’s student. I was awed, I was inspired, and his then grad assistant, Amy Lannin, challenged me to consider writing in new and different ways. -
Purches Collection a to Z List of Principal Artists and Performers
Purches Collection A to Z List of Principal Artists and Performers Organization of this list: The principal performer is listed surname first in bold type with role/s in (parentheses); after the forward slash / any associated performers, or groups are listed; for groups using a pseudonym the 'real name’ / identity of group is shown in [square brackets] ; the original Cutter number (assigned to most performers who were primarily featured on the recordings) is listed on the far right hand side. A Aaronson, Irving (Bandleader) - A111 Abrams, Irwin (Bandleader) - A161 Adler, Larry (Harmonica) - A236 Adrian, Lou (Orchestra) / Eddy Howard (Vocal) Adrian's Ramblers (Danceband) / Adrian Rollini (Bandleader) Alamo, Tony (Vocal) / Sammy Kaye (Bandleader) Alberts, Al (Vocal) / The Four Aces (Vocal) Alexander, Archie (Bandleader) / George Barclay (Vocal) Les Allen (Vocal) Alexander, Jeff (Chorus, Choir)/ Bing Crosby (Vocal), Frank Sinatra (Vocal) Alfredo (Bandleader) - A391 Allen, Bob (Vocal) / Hai Kemp (Bandleader) Allen, Fred (Vocal)/ Bing Crosby (Vocal) Allen, Gracie (Comedienne)/ George Bums (Comedian) Allen, Henry 'Red' (Bandleader) - A425 Allen, Les (Vocal) - A427 Allen, Rosalie (Vocal) / Elton Brett (Vocal) Allen, Terry (Vocal) / Red Norvo (Bandleader) Alley, Ben (Vocal) All Star Band - A4412 All Star Orchestra - A4415 All Star Stompers - A4418 Alper, Rose (Vocal) / Joe Loss (Bandleader) Alston, Ovie (Vocal) / Claude Hopkins (Bandleader) Ambassador Trio, The (Vocal) / Gus Arnheim (Bandleader) Ambassadors, The (Danceband) - A491 Ambrose (Bandleader) -
Brothers Under Fire Canadian Fire Fighters
The 1940s Society For Everyone Interested in Wartime Britain Issue 72 March / April 2012 £3.00 Blitz Kids Sean Longden on the Childrens war against Hitler Brothers Under Fire Canadian Fire Fighters. 2 part article by John Leete Lew Stone Jeff “Two-Tone Boogie” discovers more about this influential musician Diary Events and much more.... The 1940’s Society, 90 Lennard Road, Dunton Green, Sevenoaks, Kent TN13 2UX Tel: 01732 452505 Web: www.1940.co.uk Email: [email protected] 1 Enjoy Life The 1940s Society I don’t really follow football but I’m writing this after hearing that For Everyone Interested in Wartime Britain Fabrice Muamba remains in a critical condition in intensive care after suffering a cardiac arrest during the FA Cup tie at Tottenham. Regular meetings at Otford Memorial Hall near Sevenoaks A shock to all as he is a young fit 23 year old with no previous signs of health issues. Like many people I remember him in my prayers Friday 30th March 2012 - 8pm and wish him a speedy recovery. You may think it’s a rather sombre start to the magazine but I like to Blitz Kids think of it as a reminder of how fragile our lives are. A reminder that Britain’s children in the Second World War both we should make the most of what we have, smile, and take the time at home and on the front line to enjoy our lives. I’ve been reading the proofs of a book being published in June (Parachute Doctor) and you suddenly realise how Sean Longden death was such an everyday occurrence during the Second World War. -
Perceptions of Selected Libyan English As a Foreign
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by University of Missouri: MOspace PERCEPTIONS OF SELECTED LIBYAN ENGLISH AS A FOREIGN LANGUAGE TEACHERS REGARDING TEACHING OF ENGLISH IN LIBYA A Dissertation Presented to the Faculty of the Graduate School at the University of Missouri–Columbia In Partial Fulfillment of the Requirement for the Degree Doctorate of Philosophy By YOUSSIF ZAGHWANI OMAR Dr. Amy A. Lannin, Dissertation Supervisor Dr. Roy F. Fox, Dissertation Co-Supervisor December 2014 The undersigned, appointed by the dean of Graduate School, have examined the dissertation entitled PERCEPTIONS OF SELECTED LIBYAN TEACHERS OF ENGLISH AS A FOREIGN LANGUAGE REGARDING TEACHING OF ENGLISH IN LIBYA Presented by YOUSSIF ZAGHWANI OMAR, a candidate for the degree of Doctor of Philosophy, and hereby certify that, in their opinion, it is worthy of acceptance. ______________________________________ Dr. Amy Lannin, Chair _____________________________________ Dr. Roy Fox, Co-Chair ______________________________________ Dr. Carol Gilles ______________________________________ Dr. Matthew Gordon DEDICATION To my main reason of being in this world, my dear MOM and my late DAD . To my partner in life, my beloved WIFE . To my vision to the future, my KIDS . To the soul of my late nephew, MOHAMED . To my great adviser, Dr. AMY LANNIN . To my helpful co-adviser, Dr. ROY FOX . To my committee, Dr. MATTHEW GORDON and Dr. CAROL GILLES . To the dean of College of Education, Dr. JOHN LANNIN . To my family in Libya . To my close friends in the United States, DAVID, LANCE, DENNIS . To my colleagues in English Education Department. I humbly dedicate this work. -
George Chisholm
1 The TROMBONE of GEORGE CHISHOLM Solographer: Jan Evensmo Last update: March 9, 2020 2 Born: Glasgow, Scotland, March 29, 1915 Died: Milton Keynes, England, Dec. 8, 1997 Introduction: We played again and again the marvellous Benny Carter session from Holland in 1937 with Coleman Hawkins. Then we realized that there was a great trombone player in there of British origin! Glad now to realize we had identified perhaps the best vintage trombone player on this side of the Atlantic! History: He took up trombone as a teenager after hearing Jack Teagarden. In 1936 he went to London with Teddy Joyce and played in clubs, notably the Nest Club, where the following year he took part in a jam session with Fats Waller, Coleman Hawkins and Benny Carter. Carter took him to Holland with a band that recorded eight titles for Decca (1937), and he played and recorded with Bert Ambrose’s orchestra in 1937-39. Chisholm was much in demand for session work; among his recordings was one with Waller for HMV in 1938. After joining the RAF he played in the all-star dance orchestra best known as the Squadronaires (1939-50). He was a member of the BBC Radio Show Band (1950-55) and played in Wally Stott’s orchestra in the “Goon Show” radio series, then performed with Jack Parnell and in musical shows until 1965. He continued to play jazz into the 1980s, both as a soloist – notably with Keith Smith’s Hefty Jazz – and with his own band, the Gentlemen of Jazz, in pubs, clubs and festivals. -
Extract from Chapter Four: When You Grow Up, Little Lady
Extract From Chapter Four: When You Grow Up, Little Lady In the summer of 1934, Lew took the band on the road again, and they played to sell-out audiences in Manchester, Edinburgh, Glasgow, Portsmouth and Nottingham, where Tiny Winters recalled that „people were scrambling for autographs in the interval, it was a near-riot. It really did bring home to us how people felt about the band.‟ When Al Bowlly sang, the dancers stopped dancing, and clustered ten-deep in front of the band-stand. In Bradford, he left the stage during an instrumental number, and was besieged by girls. He couldn‟t fight his way back to the microphone in time for his next vocal, and the band had to fill in for 32 bars. In that same year, Bowlly went to the USA, with Bill Harty, to sing with a new Ray Noble band. Alan Kane became the band‟s regular vocalist, while Jock Jacobson took over the drummer‟s stool. Albert Harris joined as guitarist, and Stanley Black was now on piano. In February 1935 the new band opened at the Hollywood Restaurant in Piccadilly. In March, trumpeter Nat Gonella left, to launch his career as a band-leader, with a smaller jazzier ensemble - The Georgians. Tommy McQuater took his place. At the Holborn Empire, Lew Stone made his debut as a comedian, with a languidly elegant rendering of the comedy song „Algernon Whifflesnoop John‟, complete with monocle, and supported by trumpeter Alfie Noakes as his obsequious butler. His deadpan vocal delivery also enhanced „The Gentleman Obviously Doesn‟t Believe‟, „Knock Knock‟, and most memorably „I‟ll be-BBCing You‟. -
100 Years: a Century of Song 1930S
100 Years: A Century of Song 1930s Page 42 | 100 Years: A Century of song 1930 A Little of What You Fancy Don’t Be Cruel Here Comes Emily Brown / (Does You Good) to a Vegetabuel Cheer Up and Smile Marie Lloyd Lesley Sarony Jack Payne A Mother’s Lament Don’t Dilly Dally on Here we are again!? Various the Way (My Old Man) Fred Wheeler Marie Lloyd After Your Kiss / I’d Like Hey Diddle Diddle to Find the Guy That Don’t Have Any More, Harry Champion Wrote the Stein Song Missus Moore I am Yours Jack Payne Lily Morris Bert Lown Orchestra Alexander’s Ragtime Band Down at the Old I Lift Up My Finger Irving Berlin Bull and Bush Lesley Sarony Florrie Ford Amy / Oh! What a Silly I’m In The Market For You Place to Kiss a Girl Everybody knows me Van Phillips Jack Hylton in my old brown hat Harry Champion I’m Learning a Lot From Another Little Drink You / Singing a Song George Robey Exactly Like You / to the Stars Blue Is the Night Any Old Iron Roy Fox Jack Payne Harry Champion I’m Twenty-one today Fancy You Falling for Me / Jack Pleasants Beside the Seaside, Body and Soul Beside the Sea Jack Hylton I’m William the Conqueror Mark Sheridan Harry Champion Forty-Seven Ginger- Beware of Love / Headed Sailors If You were the Only Give Me Back My Heart Lesley Sarony Girl in the World Jack Payne George Robey Georgia On My Mind Body & Soul Hoagy Carmichael It’s a Long Way Paul Whiteman to Tipperary Get Happy Florrie Ford Boiled Beef and Carrots Nat Shilkret Harry Champion Jack o’ Lanterns / Great Day / Without a Song Wind in the Willows Broadway Baby Dolls -
War: How Britain, Germany and the USA Used Jazz As Propaganda in World War II
Kent Academic Repository Full text document (pdf) Citation for published version Studdert, Will (2014) Music Goes to War: How Britain, Germany and the USA used Jazz as Propaganda in World War II. Doctor of Philosophy (PhD) thesis, University of Kent. DOI Link to record in KAR http://kar.kent.ac.uk/44008/ Document Version Publisher pdf Copyright & reuse Content in the Kent Academic Repository is made available for research purposes. Unless otherwise stated all content is protected by copyright and in the absence of an open licence (eg Creative Commons), permissions for further reuse of content should be sought from the publisher, author or other copyright holder. Versions of research The version in the Kent Academic Repository may differ from the final published version. Users are advised to check http://kar.kent.ac.uk for the status of the paper. Users should always cite the published version of record. Enquiries For any further enquiries regarding the licence status of this document, please contact: [email protected] If you believe this document infringes copyright then please contact the KAR admin team with the take-down information provided at http://kar.kent.ac.uk/contact.html Music Goes to War How Britain, Germany and the USA used Jazz as Propaganda in World War II Will Studdert Thesis submitted for the degree of Doctor of Philosophy in History University of Kent 2014 Word count (including footnotes): 96,707 255 pages Abstract The thesis will demonstrate that the various uses of jazz music as propaganda in World War II were determined by an evolving relationship between Axis and Allied policies and projects. -
Roy D. Fox Bridge According to Hicks: Civility Returning to the Game
Sunday, July 20, 2014 Volume 86, Number 3 Daily Bulletin 86th North American Bridge Championships [email protected] Editors: Brent Manley, Paul Linxwiler and Rob Clark Bridge according to Hicks: GNT finals today The Grand National Teams contests conclude today in all four flights. civility returning to the game Championship Flight: Richard Coren’s By Michael Cobden District 9 crew takes on the District 21 team led Chief Tournament Director Karl Hicks has just “If only we could by Richard Spitalnick. Both squads advanced sat down for an interview when he is interrupted video them and show by narrowly defeating their respective semifinal by one of the other directors. There’s been an them what they look opponents. Coren beat Josh Donn’s D17 team incident at one of the tables. A player, a member like, they would smarten 146-121, while Spitalnick took out the D23 team of the Canadian Bridge Federation’s Hall of Fame, up,” Hicks says. “I’d captained by Mitch Dunitz 122-109. has been abusive to another player at the Can-At hope they would.” Flight A: The D11 squad of John Hinton and Regional in Halifax NS that concluded earlier this Hicks’s fellow Co. will square off against the D21 team led by month. director decided not Crispin Barrere. Hinton won a squeaker against Should he be ejected? to take action against their D12 opponents captained by Cono Emanuele, Hicks, 70, has been a director for 43 years. For yesterday morning’s 148-146, after trailing by 40 IMPs at the end of him, nothing is more stressful than dealing with “difficult customer.” the third quarter. -
Philip De László in the Great War by Giles Macdonogh
Philip de László in the Great War By Giles MacDonogh Hungarian-born Philip de László (1869-1937) was a truly international artist who travelled widely in Europe and America and painted many of those who were the major political players in the First World War. He moved from Vienna to London in 1907 with his wife Lucy, née Guinness, and family, and quickly established his reputation there, counting the royal family, aristocracy and members of government amongst his many patrons. This essay examines de László’s situation as a naturalised alien and an artist in the context of the spy furore in Britain during the First World War. Philip Alexius de László in his Vienna studio 1903 Self-portrait with his wife Lucy and their son Henry painted while under house arrest at Ladbroke Gardens Nursing Home 1918 I The Great War was not only the ‘first’ war designated as global, it was the first to have roused an ubiquitous spy fever which placed whole sections of immigrant communities under suspicion of working for the enemy.1 Britain was not unique. In Berlin, those opening days of August were marked by lawless demonstrations against foreigners: the British Embassy was attacked, diplomats were struck, British subjects were locked up in the fortress in Spandau and a great ‘spy excitement’ resulted in rumours about poisoning wells and lakes.2 Germany had a tenth the number of aliens as Britain where most Germans, Austrians, Hungarians and Turks were modest shopkeepers or tradesmen. The grandees attached to embassies left along with the more prominent Germans and Austrians, although many of those indicted for spying for the Axis Powers were Americans of German descent. -
NJA British Jazz Timeline with Pics(Rev3) 11.06.19
British Jazz Timeline Pre-1900 – In the beginning The music to become known as ‘jazz’ is generally thought to have been conceived in America during the second half of the nineteenth century by African-Americans who combined their work songs, melodies, spirituals and rhythms with European music and instruments – a process that accelerated after the abolition of slavery in 1865. Black entertainment was already a reality, however, before this evolution had taken place and in 1873 the Fisk Jubilee Singers, an Afro- American a cappella ensemble, came to the UK on a fundraising tour during which they were asked to sing for Queen Victoria. The Fisk Singers were followed into Britain by a wide variety of Afro-American presentations such as minstrel shows and full-scale revues, a pattern that continued into the early twentieth century. [The Fisk Jubilee Singers c1890s © Fisk University] 1900s – The ragtime era Ragtime, a new style of syncopated popular music, was published as sheet music from the late 1890s for dance and theatre orchestras in the USA, and the availability of printed music for the piano (as well as player-piano rolls) encouraged American – and later British – enthusiasts to explore the style for themselves. Early rags like Charles Johnson’s ‘Dill Pickles’ and George Botsford’s ‘Black and White Rag’ were widely performed by parlour-pianists. Ragtime became a principal musical force in American and British popular culture (notably after the publication of Irving Berlin’s popular song ‘Alexander’s Ragtime Band’ in 1911 and the show Hullo, Ragtime! staged at the London Hippodrome the following year) and it was a central influence on the development of jazz. -
11 NEW MEMBERS a Total of Nine New Members Have Joined the Group Since the Issue of the Last Journal. No. 247 Ron Ellis Selby, N
Roots and Branches, series 1, issue 32 (Aug 2006) The official journal of the Plant Family History Group NEW MEMBERS A total of nine new members have joined the Group since the issue of the last Journal. No. 247 Ron Ellis Selby, North Yorkshire Ron learnt of the Plant Family History Group through the Guild of One Name Studies (GOONS) website, his connection with the Plant family being through his wife’s 5th G.Grandfather, Thomas Plant bn., c1714, living in Eyke, Suffolk in 1739 when John King was born to Martha King and Thomas Plant and christened in Eyke 23 September 1739. The next step is to find the birth/baptism of Thomas Plant c1714. There is no record in the IGI and it will probably be necessary to check the P.R., starting initially with Eyke followed by adjoining parishes. No. 248 Mrs KS Cosgrove Lach Dennis, Cheshire Mrs Cosgrove’s forebears on her father’s side originally came from Walsall, Wood, Staffordshire with a possible Wolverhampton connection. Her grandfather, Thomas Plant, moved to New Brighton, Cheshire, where some of his children remained, although some were also living in Staffordshire. Thomas Plant born c1888, was the son of Thomas/James Plant and Ann Wells. He married Ann Addis, 23 December 1908 and their eldest son, also named Thomas was born 14 November 1910 in Wallasey, Cheshire. There was a total of eight children, Thomas, Emily, Benjamin, Irene, Francis, Rhoda, Edith and Eric. The only other known information is that Thomas Plant (born c1888) had at least three siblings, James, George and Annie.