October 1916) James Francis Cooke
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Career Astrologer
QUARTERLY JOURNAL OF OPA Career OPA’s Quarterly Magazine Astrologer The ASTROLOGY and DIVINATION plus JUPITER IN PISCES JUNE SOLSTICE The Organization for V30 02 2021 Professional Astrology V28-03 SEPTEMBER EQUINOX 2019 page 1 QUARTERLY JOURNAL OF OPA Career The ASTROLOGY AND DIVINATION Astrologer 22 Why Magic, And Why Now? JUNE SOLSTICE p. 11 Michael Ofek V30 02 2021 28 Palmistry as a Divination Tool REIMAGINING LIFE Anne C. Ortelee WITH THE GIFTS OF ASTROLOGY 32 Astrologers in a World of Omens Alan Annand 36 Will she Come Back to Me? Vasilios Takos ASTROLOGY JUPITER 39 Magic Astrology and a Talisman for Success in PISCES and DIVINATION Laurie Naughtin JUPITER in PISCES JUPITER IN PISCES p. 64 64 Jupiter in Pisces 2021-2022 Editors: Maurice Fernandez, Attunement to Higher William Sebrans Truths and Healing Alexandra Karacostas Peggy Schick Proofing: Nancy Beale, Features Jeremy Kanyo 68 Neptune In Pisces' Scorpio Decan Design: Sara Fisk Amy Shapiro 11 OPA LIVE Introduction Cover Art: Tuba Gök, see p. 50 71 Astrology, the Common 12 OPA LIVE Vocational Astrology Belief of Tomorrow © 2021 OPA All rights reserved. No part of this OMARI Martin Michael Kiyoshi Salvatore publication may be reproduced without the written consent of OPA, unless by the authors of Jupiter and Neptune in Pisces: the articles themselves. 76 17 OPA LIVE Grief Consulting Crystallising Emerging DISCLAIMER: While OPA provides a platform for articles for Astrologers Awareness to appear in this publication, the content and ideas are Magalí Morales not necessarily reflecting OPA’s points of view. Each Robbie Tulip author is responsible for the content of their articles. -
Records of the Immigration and Naturalization Service, 1891-1957, Record Group 85 New Orleans, Louisiana Crew Lists of Vessels Arriving at New Orleans, LA, 1910-1945
Records of the Immigration and Naturalization Service, 1891-1957, Record Group 85 New Orleans, Louisiana Crew Lists of Vessels Arriving at New Orleans, LA, 1910-1945. T939. 311 rolls. (~A complete list of rolls has been added.) Roll Volumes Dates 1 1-3 January-June, 1910 2 4-5 July-October, 1910 3 6-7 November, 1910-February, 1911 4 8-9 March-June, 1911 5 10-11 July-October, 1911 6 12-13 November, 1911-February, 1912 7 14-15 March-June, 1912 8 16-17 July-October, 1912 9 18-19 November, 1912-February, 1913 10 20-21 March-June, 1913 11 22-23 July-October, 1913 12 24-25 November, 1913-February, 1914 13 26 March-April, 1914 14 27 May-June, 1914 15 28-29 July-October, 1914 16 30-31 November, 1914-February, 1915 17 32 March-April, 1915 18 33 May-June, 1915 19 34-35 July-October, 1915 20 36-37 November, 1915-February, 1916 21 38-39 March-June, 1916 22 40-41 July-October, 1916 23 42-43 November, 1916-February, 1917 24 44 March-April, 1917 25 45 May-June, 1917 26 46 July-August, 1917 27 47 September-October, 1917 28 48 November-December, 1917 29 49-50 Jan. 1-Mar. 15, 1918 30 51-53 Mar. 16-Apr. 30, 1918 31 56-59 June 1-Aug. 15, 1918 32 60-64 Aug. 16-0ct. 31, 1918 33 65-69 Nov. 1', 1918-Jan. 15, 1919 34 70-73 Jan. 16-Mar. 31, 1919 35 74-77 April-May, 1919 36 78-79 June-July, 1919 37 80-81 August-September, 1919 38 82-83 October-November, 1919 39 84-85 December, 1919-January, 1920 40 86-87 February-March, 1920 41 88-89 April-May, 1920 42 90 June, 1920 43 91 July, 1920 44 92 August, 1920 45 93 September, 1920 46 94 October, 1920 47 95-96 November, 1920 48 97-98 December, 1920 49 99-100 Jan. -
THE WRITINGS of BRITISH CONSCRIPT SOLDIERS, 1916-1918 Ilana Ruth Bet-El Submitted for the Degree of Ph
EXPERIENCE INTO IDENTITY: THE WRITINGS OF BRITISH CONSCRIPT SOLDIERS, 1916-1918 Ilana Ruth Bet-El Submitted for the degree of PhD University College London AB STRACT Between January 1916 and March 1919 2,504,183 men were conscripted into the British army -- representing as such over half the wartime enlistments. Yet to date, the conscripts and their contribution to the Great War have not been acknowledged or studied. This is mainly due to the image of the war in England, which is focused upon the heroic plight of the volunteer soldiers on the Western Front. Historiography, literary studies and popular culture all evoke this image, which is based largely upon the volumes of poems and memoirs written by young volunteer officers, of middle and upper class background, such as Wilfred Owen and Siegfried Sassoon. But the British wartime army was not a society of poets and authors who knew how to distil experience into words; nor, as mentioned, were all the soldiers volunteers. This dissertation therefore attempts to explore the cultural identity of this unknown population through a collection of diaries, letters and unpublished accounts of some conscripts; and to do so with the aid of a novel methodological approach. In Part I the concept of this research is explained, as a qualitative examination of all the chosen writings, with emphasis upon eliciting the attitudes of the writers to the factual events they recount. Each text -- e.g. letter or diary -- was read literally, and also in light of the entire collection, thus allowing for the emergence of personal and collective narratives concurrently. -
Summer 2021 Issue
Summer 2021 July • August September S MONTANA ARTS COUNCIL Providing information to all Montanans through funding by the National Endowment for the Arts and the State of Montana visual arts native arts native literary arts literary performing arts performing page6 page26 page10 page18 VISUAL ARTS VISUAL LITERARY ARTS LITERARY Photo by Wendy Thompson Elwood Art courtesy of Gordon McConnell A Closer Look Imaginary America Russell Rowland’s objective for his book Fifty-Six Counties With one eye on the past and an immediate sense of the was to get a spontaneous view of what is happening in Art News present, artist Gordon McConnell’s latest Western-themed Montana today. Find out the backstory about his approach, exhibition was crafted in response to the isolation of the what worked and the gracious Montanans who showed him pandemic. what didn’t. Read more, page 22 Read more, page 10 SOUTH NORTH NATIVE ARTS NATIVE PERFORMING ARTS PERFORMING Photo courtesy of Haeli Allen Photo courtesy of Shelby Means Photography Haeli Allen Birdie Real Bird Lewistown singer-songwriter Haeli Allen recently released Real Bird is an artist and scholar of traditional Crow Statewide her debut recording, The Gilt Edge Collection, a snug, beadwork who has been perfecting her craft since age 12. enjoyable selection of original country-bluesy numbers you She used the time at home during the pandemic to create a must hear. Brian D’Ambrosio sat down with her to learn more set of award-winning parade regalia. about her music, family and Montana life. Read more, page 26 Read more, page 9 State of the Montana’s ancient pathways and Tatiana Gant Executive Director current county lines help knit us [email protected] together. -
October 1916
MEETING.- 4th OCTOBER 1916. A Meeting of tre County Council was held in the County Council Chamber, Courthouse, Wexford, on 4th October 1916. Present:- Mr John Bolger, (Chairman) presiding. A1so:- Lord Courtown, Messrs James Codd, N. J. Cowman, M. C1oney, L. Barry, Micbael Doyle, R. Scallan, A. Kinsella, Patrick O'Neill, J. S. Hearn, C. H. Peacocke, J. J. Kehoe, J. J. O'Byrne, J. T. MayleI', Joseph Redmond, T. As~l~, P. Keating. The Secretary, County Surveyor, and County Solicit»r, were also in attendo.nce. I _.9onfirmfttion of inutes, The Minutes of last Meeting were read and confirmed. Suspension of Standing Orders. The Ch&irm!:.m moved the suspe!lsion of the Stall in Orders to move some resolutions not on the Agenda. P per, and not directly connected with the business of t~e Counci1o , Pa.ssed. Vote of Condolence. The Ch&irm n moved, Mr Hearn seconded, the following reso1ution::- ttrrh&t we offer our esteemed colleague, lv"r J. A. Doyle, OUD heartfelt syrl1pa.th in the loss sustained by hio in the de th of his brother-Mr Jehn Doyleo" "Passed unanimously"o The Irish Parliamentary party. The Chairman moved the following:- tlrrhAt we the Members of the Wexford County Council desire to renew our confidence in Mr John Redmond, and the Irish Parliamentary Party, in the faco of the many scurrilous and unscrupulous ttacks which a.re made on them for the last five months. Considering all the great reforms that hav~ been granted to Ireland for th last thirty years by Constitutional agitation through the arduous and untiring efforts of the Irish Party, We are confident when the Home Rule Bill will come into operation that Mr Redmond ahd his followers will insist on a full © WEXFORD COUNTY COUNCIL ARCHIVES 2 measure for all ~reland, and not allow any ~artition. -
Book Proposal 3
Rock and Roll has Tender Moments too... ! Photographs by Chalkie Davies 1973-1988 ! For as long as I can remember people have suggested that I write a book, citing both my exploits in Rock and Roll from 1973-1988 and my story telling abilities. After all, with my position as staff photographer on the NME and later The Face and Arena, I collected pop stars like others collected stamps, I was not happy until I had photographed everyone who interested me. However, given that the access I had to my friends and clients was often unlimited and 24/7 I did not feel it was fair to them that I should write it all down. I refused all offers. Then in 2010 I was approached by the National Museum of Wales, they wanted to put on a retrospective of my work, this gave me a special opportunity. In 1988 I gave up Rock and Roll, I no longer enjoyed the music and, quite simply, too many of my friends had died, I feared I might be next. So I put all of my negatives into storage at a friends Studio and decided that maybe 25 years later the images you see here might be of some cultural significance, that they might be seen as more than just pictures of Rock Stars, Pop Bands and Punks. That they even might be worthy of a Museum. So when the Museum approached me three years ago with the idea of a large six month Retrospective in 2015 I agreed, and thought of doing the usual thing and making a Catalogue. -
TELE: Using Vernacular Performance Practices in an Eight-Channel
TELE: USING VERNACULAR PERFORMANCE PRACTICES IN AN EIGHT- CHANNEL ENVIRONMENT Chapman Welch, B.A. Thesis Prepared for the Degree of MASTER OF MUSIC UNIVERSITY OF NORTH TEXAS August 2003 APPROVED: Joseph Rovan, Major Professor Jon Christopher Nelson, Minor Professor Joseph Klein, Committee Member and Head of the Music Composition Department Welch, Chapman, TELE: USING VERNACULAR PERFORMANCE PRACTICES IN AN EIGHT-CHANNEL ENVIRONMENT. Master of Music, August 2003, 46 pp., 32 illustrations, reference, 24 titles. Examines the use of vernacular, country guitar styles in an electro-acoustic environment. Special attention is given to performance practices and explanation of techniques. Electro-acoustic techniques—including sound design and spatialization—are given with sonogram analyses and excerpts from the score. Compositional considerations are contrasted with those of Mario Davidovsky and Jean-Claude Risset with special emphasis on electro-acoustic approaches. Contextualization of the piece in reference to other contemporary, electric guitar music is shown with reference to George Crumb and Chiel Meijering. Copyright 2003 by Chapman Welch TABLE OF CONTENTS Page PART I: The Paper I. INTRODUCTION………………………………………………………... 1 II. BLUEGRASS AND THE BIRTH OF CHICKEN PICKING…………… 3 III. PERFORMANCE PRACTICE OVERVIEW……………………………6 IV. THE ELECTRO-ACOUSTIC APPROACH.…………………………….13 V. COMPOSITIONAL CONSIDERATIONS……….…………………….. 29 BIBLIOGRAPHY………………………………………………………..45 PART II: The Score TELE: for Electric Guitar Eight-Channel Tape and Live Electronics ..................47 CHAPTER I INTRODUCTION TELE was completed from August to October of 2002 at the Center for Experimental Music and Intermedia (CEMI) at the University of North Texas. Preliminary work, gathering of source materials, and sound design were completed from Fall 2001 through October 2002 both at home and in the CEMI studios. -
Recorded Jazz in the 20Th Century
Recorded Jazz in the 20th Century: A (Haphazard and Woefully Incomplete) Consumer Guide by Tom Hull Copyright © 2016 Tom Hull - 2 Table of Contents Introduction................................................................................................................................................1 Individuals..................................................................................................................................................2 Groups....................................................................................................................................................121 Introduction - 1 Introduction write something here Work and Release Notes write some more here Acknowledgments Some of this is already written above: Robert Christgau, Chuck Eddy, Rob Harvilla, Michael Tatum. Add a blanket thanks to all of the many publicists and musicians who sent me CDs. End with Laura Tillem, of course. Individuals - 2 Individuals Ahmed Abdul-Malik Ahmed Abdul-Malik: Jazz Sahara (1958, OJC) Originally Sam Gill, an American but with roots in Sudan, he played bass with Monk but mostly plays oud on this date. Middle-eastern rhythm and tone, topped with the irrepressible Johnny Griffin on tenor sax. An interesting piece of hybrid music. [+] John Abercrombie John Abercrombie: Animato (1989, ECM -90) Mild mannered guitar record, with Vince Mendoza writing most of the pieces and playing synthesizer, while Jon Christensen adds some percussion. [+] John Abercrombie/Jarek Smietana: Speak Easy (1999, PAO) Smietana -
Mires of the Somme: the Actions of the I ANZAC Corps at Flers–Guedecourt November 1916 by Nicholas Jensen
AWM SVSS paper, 2014 Mires of the Somme, Nicholas Jensen Mires of the Somme: The actions of the I ANZAC Corps at Flers–Guedecourt November 1916 by Nicholas Jensen Abstract Considering the vast scope and breadth of the Somme’s historiography, it is surprising that the Ist ANZAC Corps’ role at Flers–Guedecourt has attracted only marginal mention in the Somme’s expanding literature. Aside from C.E.W. Bean’s account in the Official History, in which he vividly describes the Flers–Guedecourt attacks as “undoubtedly the most difficult in which the AIF were ever engaged”, there is no monographic study which examines the role of I ANZAC Corps at Flers–Guedecourt in its final month of combat in the Somme campaign. Historians such as Bill Gammage and Joan Beaumont have suggested that the Flers-Guedecourt attacks should be recognised as a more significant moment in the broader history the AIF in the Somme Campaign. Introduction By the time the I ANZAC Corps reached the Flers-Guedecourt sector in late October 1916, the Somme campaign seemed to be progressing slowly into its final month of combat. The promising successes gained in autumn at Pozières and Mouquet Farm seemed to fade, as the Somme’s milder spring was gradually overtaken by the harsher winter conditions. Nevertheless, for the Somme’s Commander-in-Chief, Field Marshal Sir Douglas Haig and his adjuncts at GHQ, September was seen as the Somme’s long-awaited watershed and, in the mind of its commanders, it was surely a sign of promising things to come. -
October, 1916. Monthly Weather Review
OCTOBER,1916. MONTHLY WEATHER REVIEW. 575 INDIAN SUMMER AND PLIMSOLL’S MABK. Maximum load-line in Indian summer.-The iipper edge of thie line is feet inches above the horizontal line pdng through the center of the disc. By WILLCAMGARDNER REED. * * * * * [Dated: \Vsshhgton, D. C., Nov. 22,1916.1 The freebonrd for Aidinn summer applies to voyages in the fine aemn the Indian fiem between the lirmts of Suez and Singapore. Prof. C. Fitzhugh Tulman has directed attention to tlie in Tho hotograph (fig. 2) shows the load-line inark on use of the term “ Indian sunimer” in coiuiection with the load line nitwked on British ships (“Pliiiiwll’s Mnrk ‘’1 the star% ottril of the British stcanwhip Drumtist, of Liv- The following is uotd from tlie rqpllations of the Brit- erpool, at Snii Pedro, Cal., October 14, 1916. is11 Board of Trnc e regarding load The Imperial Gernian Insurance Office in Hamburg Y a qwovod similar rogulntions for German shi s in 1908. 3. Maximum load lines shall be as follows, and tlie upper edge ‘1 he load-line iiiarkiiig does not iiic,lude n line For “ Indian of such lines shall respectively indicate: Suniiner ”, but the cortificntos contain the following For freah water.-The maximum depth to whicli the vessel can be loaded in fresh miter. stntoineiit : For Indian summer.-The maximum cleptli to wliicli the vesael can duf Grund clieaer Vorsrhriften ist die Berechnung des Preihords be loaded for voyages during t.he fine wason in the Indian WM, oliigen Dnmpfers voni Germniiischeii Lloyd ausgefiihrt, und aind between the 1imit.sof Suez adSingapore. -
Mandolin, Guitar and Banjo OFFICIAL ORGAN
1935 -1 7 DEVOTED TO TH E INTEIlESTS OF THE Mandolin, Guitar and Banjo OFFICIAL ORGAN OF THE AMERICAN GUILD OF Banjoists, Mandolinists and Guitarists VOL. II. 1l0 STO N, OCTOBE R, 1909. NO·4· ( DET~OIT CONSER.VATOR.Y MANDOLIN OR.CHESTRA. Thl. oreh •• tr. wa. orlllanl •• d In Oclob.", 1908, aQd h •• a l"•• dy mad •• v.r ,. f.vorable Impre.alon In De troll mu.leal elrele •. Durlnlll ih. pa.' •••• on Ih . oreh •• I". wa. In 111" ••1 d.m.nd ' or eone.rt work .nd the r.cepllon. lendered II wer e proo' con c lual •• thai tb. mo.' erlllo.1 .udl.neea .1wa,. ••njoy the eh."mtnlll e ff.e t. orr.".d b,.. w.Ulr.ln.d m .ndolln orehe.lr •. An allraell.e reperlolre of 1II00d •• Ieellon. I. b.lnlll .equlr.d and un de" the e . pable le.dershlp of Ale.ander O. '011. who. b .,. the way. I. an ••eellenl m.ndolln· I••• Ihe lulu". welfa". 0' th. oroheatr. I. mo.t c.rtalnly •• au".d. Th. m.mb.rs .r.1 MondoUn •• /Iot.adame. H . B . Hili. Way Mltehell. MI•••• LIIII. n Squlr •• H lrrle t D.vy. 5,.h'la M. lhlld. M.d• • E. POlla • Nlnnl. Soeall. /Iot ••• r • • Alexande" G. Polt. Har r,.Olb.on. Ev.r.1I N. Shahan. O,orllla L everen ll. Auslln C . D. le. 1\. 8. J ohn.on. William Sunl.YI Mandola, H . B . Hilil Gultare. F"onk Wrllht. Arlhur Wrllht; nule. N. Dond. ro: p lano. 1141 .. Glad,.. D.ndell. -
Lyrics by Benj Pasek and Justin Paul
begins not with music, have a single person to whom we can actually speak. We but with noise. As the house lights fade, the audience envisioned two families, each broken in its own way, and is immersed momentarily in the roar of the internet: a two sons, both of them lost, both of them desperate to cacophony of car insurance ads, cat videos, scattered be found. And at the heart of our story, in a world starving shards of emails and text messages and status updates. for connection, we began to imagine a character utterly And then, all at once: silence. On stage, in the white glow incapable of connecting. of a laptop, a boy sits in his bedroom, alone. Though many of the rudiments of the character were Like so many of us, Evan is a citizen of two different already in place by the end of 2011, Evan didn’t fully come worlds, two distinct realities separated by the thin veil of a to life for me until almost two years into the process, when laptop screen. On one side of the screen, the promise of Benj and Justin emailed me a homemade demo of a song instant connection. On the other, a lonely kid, staring at a they were tentatively calling “Waving Back At Me.” blinking cursor, as desperate to be noticed as he is to stay This was to become “Waving Through a Window,” hidden. Evan’s first sung moment in the musical, when we see, Benj Pasek, Justin Paul, and I first began to create with incredible vividness, how the world looks through the the character of Evan over several months in 2011.