Thomas Alexander Kaulaahi Cleghorn the Watumull
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Typescript List of Images in Album
Inventory of volume 16. Lady Annie Brassey Photograph Collection, The Huntington Library, San Marino, California Sixteen ..... Page One Ve,rl Dyk~ e~ttached la The originEtl :srass shack which \vas the fi!'st \TolcB.-DO Eouse Hotel,rir.:: of Kiluea voltra.y~.o, islaYlc1 of tlS,;,7aii, 1'1..0.• , TI. ~0hotog., o'Tal 21hot.o n H 5 x 7 • Ib A "{Tolaano ''"1f'intin~, pTob2.. bly Kiluee, by Jules Tavernier* n.d., TI. unouog.,.v, . ~ '" 1_, /S"r X?.2- .... " '" 28. Lgva flow he8.din.:p: tovlarc1s Hj.lo, Hawaj.. ~t perh8/~s 1884 cr 1887 .. n. :0hotog",9 1/8n x 6 3/4n .. 2b Rainbow }I'alls to the rear of the ci ty o~ Hilo, Hawaii, n.d .. , n. 1Jhotog.,9 1/8a x 6 5/8n • 3 !!"odel of a double outrigger canoe and in front a single out:rigger canoe.. Gauoes 8.re c2yllec1 ·VAl,.. ::"l .. d.,. n .. p~","·"ho+oC1" Lr ~.:::>. 'J 9 -"-,,4 X 6 '/R"j '--' .. A v-voman i:1. riding hgbi t caJ..led a E'A 'U--a are.wing either by Bur~ess or Enoch "'iood TlerrJl-. nsd .. , n ~hoto~ 7/St! -~ .. .i::-'-- ~.)., 8" x 4' , , . 4b Native type 'weE':,ri'ng a heed lei of -vvhi te ginger blossoms and a neck lei of the same. The leaves are fragrant and I!luch :?rized even tod.ay called HT:TAII.En., n .. d.., ~J.L.. ~"ho~o~\.) ....1. u t:) .. , 6-"-"2 x Qv 3/11"/, • 'Dosed studio -r,ortrF;..i t of nat:Lve t~.'""0es 8-S they would be sitti.ng at 8. -
Cosmos: a Spacetime Odyssey (2014) Episode Scripts Based On
Cosmos: A SpaceTime Odyssey (2014) Episode Scripts Based on Cosmos: A Personal Voyage by Carl Sagan, Ann Druyan & Steven Soter Directed by Brannon Braga, Bill Pope & Ann Druyan Presented by Neil deGrasse Tyson Composer(s) Alan Silvestri Country of origin United States Original language(s) English No. of episodes 13 (List of episodes) 1 - Standing Up in the Milky Way 2 - Some of the Things That Molecules Do 3 - When Knowledge Conquered Fear 4 - A Sky Full of Ghosts 5 - Hiding In The Light 6 - Deeper, Deeper, Deeper Still 7 - The Clean Room 8 - Sisters of the Sun 9 - The Lost Worlds of Planet Earth 10 - The Electric Boy 11 - The Immortals 12 - The World Set Free 13 - Unafraid Of The Dark 1 - Standing Up in the Milky Way The cosmos is all there is, or ever was, or ever will be. Come with me. A generation ago, the astronomer Carl Sagan stood here and launched hundreds of millions of us on a great adventure: the exploration of the universe revealed by science. It's time to get going again. We're about to begin a journey that will take us from the infinitesimal to the infinite, from the dawn of time to the distant future. We'll explore galaxies and suns and worlds, surf the gravity waves of space-time, encounter beings that live in fire and ice, explore the planets of stars that never die, discover atoms as massive as suns and universes smaller than atoms. Cosmos is also a story about us. It's the saga of how wandering bands of hunters and gatherers found their way to the stars, one adventure with many heroes. -
Radio Airplay and the Record Industry: an Economic Analysis
Radio Airplay and the Record Industry: An Economic Analysis By James N. Dertouzos, Ph.D. For the National Association of Broadcasters Released June 2008 Table of Contents About the Author and Acknowledgements ................................................................... 3 Executive Summary....................................................................................................... 4 Introduction and Study Overview ................................................................................ 7 Overview of the Music, Radio and Related Media Industries....................................... 15 Previous Evidence on the Sales Impact of Radio Exposure .......................................... 31 An Econometric Analysis of Radio Airplay and Recording Sales ................................ 38 Summary and Policy Implications................................................................................. 71 Appendix A: Options in Dealing with Measurement Error........................................... 76 Appendix B: Supplemental Regression Results ............................................................ 84 © 2008 National Association of Broadcasters 2 About the Author and Acknowledgements About the Author Dr. James N. Dertouzos has more than 25 years of economic research and consulting experience. Over the course of his career, Dr. Dertouzos has conducted more than 100 major research projects. His Ph.D. is in economics from Stanford University. Dr. Dertouzos has served as a consultant to a wide variety of private and public -
Fharmacy Opinion on Cross Motions for Summary Judgment
UNITED STATES DISTRICT COURT EASTERN DISTRICT OF MICHIGAN SOUTHERN DIVISION FHARMACY RECORDS a/k/a, FHARMACY RECORDS PRODUCTION CO., FHARM I PUBLISHING COMPANY, SHELTON RIVERS, Plaintiffs, v. Case Number 05-72126 Honorable David M. Lawson SALAAM NASSAR,CURTIS JACKSON, DARRIN DEAN, DEF JAM RECORDING, RUFF RYDERS, JANICE COMBS PUBLISHING, UNIVERSAL MUSIC PUBLISHING, UNIVERSAL MUSIC & VIDEO DISTRIBUTION CORPORATION, EMI APRIL, INC., SOO SOOS SWEET SWISHER MUSIC, JOHN DOE, ET AL., Defendants. ______________________________________ / OPINION AND ORDER GRANTING DEFENDANTS’ MOTION FOR SUMMARY JUDGMENT, GRANTING DEFENDANTS’ MOTION TO DISMISS, DENYING PLAINTIFFS’ MOTIONS FOR SUMMARY JUDGMENT, AND ADJUDICATING OTHER PENDING MOTIONS This is a copyright infringement action in which plaintiff Shelton Rivers claims to be the original author of a rhythm line – or “beat” – that was duplicated – that is, “sampled” – by defendant Salaam Nassar and incorporated into a rap tune, which enjoyed commercial success. Both Rivers and Nassar claim to be the original creator of the beat. However, the plaintiff’s sole remaining theory of liability is based on a claim of unlawful sampling under 17 U.S.C. § 114(b), which has not been established by the evidence before the Court regardless of which of the two is the original author. The parties have filed several motions, some of which raise disturbing allegations of misconduct by the plaintiffs and their attorney, Gregory Reed, Esq. The Court finds that the cross motions for summary judgment must be decided in favor of the defendants because the plaintiffs have not come forward with evidence that establishes that the accused work, a rap tune called “Shot Down,” contains a direct or indirect “recapture [of] the actual sounds fixed in the recording” Rivers said he made or a rearrangement of “the actual sounds fixed in [Rivers’s] sound recording.” Ibid. -
Microsoftxwordx ... Gexversjonenxx20.06.07.Pdf
The Consequences of Eating With Men Hawaiian Women and the Challenges of Cultural Transformation By Paulina Natalia Dudzinska A thesis submitted for the Cand. Philol. Degree in History of Religions Department of Culture Studies and Oriental Languages University of Oslo Spring 2007 2 Summary Before 1819 Hawaiian society was ruled by a system of ritual laws called kapu. One of these, the aikapu (sacred eating), required men and women to eat separately. Because eating was ritual, some food items, symbolically associated with male deities, were forbidden to women. It was believed that women had a “haumia” (traditionally translated as “defiling”) effect on the male manifestations of the divine and were, as a consequence, barred from direct worship of male gods and work tasks such as agriculture and cooking. In Western history writing, Hawaiian women always presented a certain paradox. Although submitted to aikapu ideology, that was considered devaluing by Western historians, women were nevertheless always present in public affairs. They engaged in the same activities as men, often together with men. They practised sports, went to war and assumed public leadership roles competing with men for power. Ruling queens and other powerful chiefesses appear frequently in Hawaiian history, chants and myths. The Hawaiians did not seem to expect different behaviour of men and women, except perhaps in ritual contexts. Rank transcended any potential asymmetry of genders and sometimes the highest-ranking women were considered above the kapu system, even the aikapu. In 1819, after 40 years of contact with the foreigners, powerful Hawaiian queens decided to abolish the kapu system, including the aikapu. -
'Āinahau: the Genealogy of Ka'iulani's Banyan
ralph thomas kam The Legacy of ‘Āinahau: The Genealogy of Ka‘iulani’s Banyan “And I, in her dear banyan shade, Look vainly for my little maid.” —Robert Louis Stevenson ‘Āinahau, the home of Archibald Scott Cleghorn, his wife, Princess Miriam Kapili Likelike and their daughter, Princess Victoria Ka‘iu- lani, no longer stands, the victim of the transformation of Waikīkī from the playground of royalty to a place of package tours, but one storied piece of its history continues to literally spread its roots through time in the form of the ‘Āinahau banyan. The ‘Āinahau ban- yan has inspired poets, generated controversy and influenced leg- islation. Hundreds of individuals have rallied to help preserve the ‘Āinahau banyan and its numerous descendants. It is fitting that Archibald Cleghorn (15 November 1835–1 Novem- ber 1910), brought the banyan to Hawai‘i, for the businessman con- tinued the legacy of the traders from whom the banyan derives it etymology. The word banyan comes from the Sanskrit “vaniyo” and originally applied to a particular tree of this species near which the traders had built a booth. The botanical name for the East Indian fig tree, ficus benghalensis, refers to the northeast Indian province of Ralph Kam holds an M.A. and a Ph.D. in American Sudies from the University of Hawai‘i at Mānoa and an M.A. in Public Relations from the University of Southern California. The Hawaiian Journal of History, vol. 45 (2011) 49 50 the hawaiian journal of history Bengal, now split between India and Bangladesh. That the tree was introduced in Hawai‘i after Western contact is reflected in its Hawai- ian name: “paniana,” a transliteration of the English word. -
2. the Sinclairs of Pigeon Bay, Or ‘The Prehistory of the Robinsons of Ni’Ihau’: an Essay in Historiography, Or ‘Tales Their Mother Told Them’
2. The Sinclairs Of Pigeon Bay, or ‘The Prehistory of the Robinsons of Ni’ihau’: An essay in historiography, or ‘tales their mother told them’ Of the haole (i.e. European) settler dynasties of Hawai’i there is none grander than that of the Robinsons of the island of Ni’ihau and of Makaweli estate on neighbouring Kauai, 24 kilometres away, across the Kaulakahu Channel. The family is pre-eminent in its long occupancy of its lands, in the lofty distance that it maintains from the outside community and in its inventive ennobling of its past. It has owned Ni’ihau since 1864 and, increasingly from the 1880s, when a new generation led by Aubrey Robinson assumed control of the family’s ranching and planting operations, it has stringently discouraged visitors. Elsewhere in Hawai’i there is generally accepted public access to beaches below the high water or vegetation line, but—to the chagrin of some citizens—that is not so on Ni’ihau. There, according to the Robinsons, claiming the traditional rights of konohiki, or chiefly agents, private ownership extends at least as far as the low-water mark.1 Not surprisingly, this intense isolation has attracted considerable curiosity and controversy, not least because the island contains the last community of native-speaking Hawai’ians, which numbered 190 in 1998.2 Philosophical and moral questions have arisen among commentators determined to find profound meanings in the way the Ni’ihauns’ lives are strictly regulated (the use of liquor and tobacco, for instance, are forbidden) and their extra- insular contacts are restricted. -
The Music of Relationality in the Cinema of Claire Denis
ORBIT-OnlineRepository ofBirkbeckInstitutionalTheses Enabling Open Access to Birkbeck’s Research Degree output Concert and disconcertion: the music of relationality in the cinema of Claire Denis https://eprints.bbk.ac.uk/id/eprint/40453/ Version: Full Version Citation: Brown, Geoffrey (2019) Concert and disconcertion: the music of relationality in the cinema of Claire Denis. [Thesis] (Unpublished) c 2020 The Author(s) All material available through ORBIT is protected by intellectual property law, including copy- right law. Any use made of the contents should comply with the relevant law. Deposit Guide Contact: email 1 Concert and Disconcertion : the music of relationality in the cinema of Claire Denis Geoffrey Brown Thesis submitted for the degree of PhD in French 2019 Department of European Cultures and Languages Birkbeck, University of London 2 Declaration I declare that the work presented in this thesis is my own, and that this thesis is the one on which I expect to be examined. Geoffrey Brown 3 This thesis is dedicated to Agnès Calatayud, an inspirational teacher, who reconnected me to French cinema after a long carence, and who, crucially, first introduced me to the films of Claire Denis. 4 Abstract This thesis argues that the interest which the films of Claire Denis display in the ever-shifting modes of relations between people is illustrated through analysis of how music is used throughout her corpus of feature films. Denis draws on an extremely eclectic palette of musical styles, and the thesis proposes that these varying musical modalities are central to her treatment of relational issues, as are the ways in which she deploys her chosen musical selections. -
Minari-Screenplay.Pdf
MINARI Written by Lee Isaac Chung **All dialogue in [brackets] indicates Korean language. “MINARI” by Lee Isaac Chung FADE IN: INT. STATION WAGON - DAY (TRAVELING)(YEAR 1983 - SPRING) An Arkansas dirt road. In the car is the Yi family, Korean American. DAVID (age 7-8) is in the back. He watches his mother, MONICA (age 35) at the wheel; she follows a 1980s U-HAUL up ahead. MONICA [Where is daddy taking us?] David looks to his older sister, ANNE (age 10-11), for an answer, but she’s busy reading a book. EXT. THE FARM - MEADOW - DAY The U-Haul and the station wagon turn into a vast meadow. On the land is a SINGLE-WIDE TRAILER HOME. The vehicles park. From the U-Haul emerges the dad, JACOB YI (age 37-40). MONICA [What is this place?] JACOB [What is this? This is home.] David runs to the house and looks underneath. There, he sees: DAVID Wheels? Wheels? Whoa. Mobile homes don’t come with stairs. There’s a three foot climb to the front door. Jacob reaches up to open the door. MONICA [Really, what is this?] Jacob laughs as he hoists Anne and David to climb: INT. MOBILE HOME - DAY It’s decked out in early-80’s brown and yellow. 2. DAVID WHOA. WHOA. MONICA (O.S.) [You said you’d find a house in a big town.] David and Anne explore the empty house. EXT. THE FARM - MEADOW - DAY (LATER) Cicadas sing. David walks, staring in wonder at the meadow. Jacob and Anne follow. -
253537449.Pdf
CD 105402 HAWAII ISLES OF ENCHANTMENT By CLIFFORD GESSLER Illustrated by E. H. SUYDAM D. APPLETON- CENTURY COMPANY INCORPORATED NEW YORK LONDON 1938 COPYRIGHT, 1937, BY JD. APPLETON-CENTURY COMPANY, INC. rights reserved. This book, or part** thereof, must not be reproduced in any form without permission of the publisher. Illustrations copyright, 937, by JE. HL Suydam Printed in the United States of America INTRODUCTION write of it or must RO away from Hawaii to is bewildered by KO away and return. A newcomer dazed the sharp impact of ONEits contradictions, by resident of long standing, on the thronging impressions. A so for that he other hand, tends to take the islands granted them to the stranger. may he handicapped in interpreting to be in a sense both One is fortunate, therefore, perhaps with the zeal kamaaina and malihini, neither exaggerating V Introduction *$: new convert the charm of those bright islands nor al~ dulled lotting it to be obscured with sensitivity by prolonged and not too daily familiarity. Time, not too long, distance, great, help to attain balance. The aim of this book is to write a national biography a character illumi- and to paint, in broad strokes, portrait, nated here and there by anecdote, of a country and a people that I have loved. Nor shall I tell here all I know about any one aspect of the islands. Not now, at any rate; this is not that kind of book. Scandal seldom reveals the true spirit of a community. The exception is not a reliable index, and controversies are like the shattered window which caused the policeman, after inspecting it without and within, to exclaim: "It's worse than I thought; it's broke on both sides!" Here again the long view is the clearest. -
Hawaiian Royalty and the Craft
Hawaiian Royalty and the Craft No history of Freemasonry in Hawaii would be complete without some reference to the "Craft and the Royal Connection." In the days of the Hawaiian Kingdom, a special relationship was enjoyed between Freemasonry and the Monarchy, including some men closely associated with the Monarchy. This favorable situation was due to several members of the Hawaiian Royalty being members of the Craft, and some Caucasian Freemasons who had settled in the islands and married into one of the Royal familes. PRINCE LODGE KAMEHAMEHA V, fifth ruler of the Hawaiian kingdom, was the first native Hawaiian to become a Freemason. On February 27, 1853, he was raised to the Sublime Degree of Master Mason in Hawaiian Lodge No. 21. PRINCE WILLIAM PITT LELEIOHOKU, younger brother of King David Kalakaua was a member of Hawaiian Lodge No. 21. The young Prince was appointed heir to the throne by David Kalakaua four days after Kalakaua became King. Prince Leleiohoku died at the early age of 23. As a result of his death, his older sister Lydia became the heir apparent to the throne. So when King David Kalakaua died, the reign of Lydia Lili'uokalani began. She was the last Monarch of the Hawaiian Kingdom; Lili'uokalani was deposed in January 1893. ALEXANDER LIHOLIHO, KAMEHAMEHA IV, fourth ruler of the Hawaiian Kingdom was raised to the Sublime Degree of Master Mason on February 8, 1857 in Lodge Le Progres de l'Oceanie No. 124, and served as Master of the Lodge in 1859, 1861, and 1862. He was the King of Hawaii from January 11, 1855 until his death on November 30, 1863. -
Voyages to Hawaii Before 1860
Voyages to Hawaii before 1860 Voyages to Hawaii before 1860 A Record, Based on Historical Narratives in the Libraries of the Hawaiian Mission Children’s Society and The Hawaiian Historical Society, Extended to March 1860 BERNICE JUDD enlarged and edited by HELEN YONGE LIND THE UNIVERSITY PRESS OF HAWAII for HAWAIIAN MISSION CHILDREN’S SOCIETY Honolulu Open Access edition funded by the National En- dowment for the Humanities / Andrew W. Mellon Foundation Humanities Open Book Program. Licensed under the terms of Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 In- ternational (CC BY-NC-ND 4.0), which permits readers to freely download and share the work in print or electronic format for non-commercial purposes, so long as credit is given to the au- thor. Derivative works and commercial uses require permission from the publisher. For details, see https://creativecommons.org/licenses/by-nc-nd/4.0/. The Cre- ative Commons license described above does not apply to any material that is separately copyrighted. Open Access ISBNs: 9780824883928 (PDF) 9780824883935 (EPUB) This version created: 5 September, 2019 Please visit www.hawaiiopen.org for more Open Access works from University of Hawai‘i Press. This edition is a revision of that originally published in 1929 by the Hawaiian Mission Children’s Society. Copyright © 1974 by The University Press of Hawaii All rights reserved IN MEMORY OF BERNICE JUDD The earlier edition of this book, published in 1929, was written by Bernice Judd. She kept two interleaved copies in which she noted further entries during her thirty-three years’ work in the Hawaiian Mission Children’s Society library.