SOVIETS REAFFIRM REFUSAL to PAY BRITISH STUDY SHOWS U.S
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
BRUCKEN the Members of the Other
Senate Passes Athletic. Home Guard Bills SOUTHERN INDIANA'S FROM Only THE Colored PEN \ Weekly It might be interesting to note that the general predic Cents tion making its round is that a total of $5,000,000 will be Per Copy §S7| NDI ANA'S (^ MOST ..RfcOQ^stMVSMi^W.E B^Ll cut in the State budget for the next two years. This would 5 mean that about $96,000,000 would be the budget, exclusive (I think) of some revenue from the State Hi-Way Dep't. ******* Evansville's heaviest snow of the winter fell Tuesdav. It measured only three-fourths of an inch by 9 o'clock that VOL. 3 — No. 35 — EVANSVILLE, INDIANA, FRIDAY, MARCH 7, 1941 night. ******* Picked up this little interesting data:—It is estimated that federal expenditures during the 1941-42 fiscal year will reach a total of 17 billion dollars, or $17,000,000,000. (the Vi lie's Lone Sepia Draft Board Member same thing.) To give you an idea of just how much that Festival Council really is, listen to this, "if a printing press had begun turn ing out dollar bills at the rate of one a second when Colum bus first landed in the new world and had continued to pro duce at the same rate ever since, the amount still would be three billion dollars short of the sum required to pay the. Plans '41 Event estimated expenses of the government for the next fiscal year." According to proposed plans sponsoring of a section night at the same place, the Argus of "If 17 billion dollar bills were laid end to end, they drawn up in a meeting, of the during the festival for their re fice, 609 S. -
MP Warns of Deficit, Govt Posts Surplus
SUBSCRIPTION THURSDAY, NOVEMBER 13, 2014 MUHARRAM 20, 1436 AH www.kuwaittimes.net Second grand The Real Fouz: Everybody Raptors beach Lip care loves the rally to cleaning drive tips of adorable beat Magic underway3 the37 week ‘Dadi’39 again20 Mixed signals: MP warns of Min 07º deficit, govt posts surplus Max 27º High Tide 02:27 & 17:07 Stats office says economy grew last year, contradicting IMF Low Tide 10:07 & 22:10 40 PAGES NO: 16341 150 FILS By B Izzak and Agencies conspiracy theories Nod to Gulf security pact KUWAIT: Kuwait could end the current 2014/2015 fiscal Walk carefully and year with a budget deficit due to the sharp fall in oil rev- enues, which will be the first shortfall following a budg- carry a big stick Leaders could meet ahead of summit et surplus in each of the past 15 fiscal years, head of the National Assembly’s budgets committee MP Adnan Abdulsamad warned yesterday. MP Ahmad Al-Qudhaibi meanwhile said that he has collected the necessary 10 signatures to call for holding a special Assembly session to discuss the consequences of the sharp drop in oil prices. By Badrya Darwish Oil income makes up around 94 percent of Kuwait’s public revenues and this explains how sensitive the Kuwaiti budget will be to movements in oil price. The government, which last month ended subsidies on diesel, kerosene and aviation fuel, instructed ministers [email protected] on Monday to rationalize spending and ensure that expenditures go in the right direction. MP Abdulsamad said that based on calculations of itting at the newspaper yesterday afternoon, average oil prices and average daily production, Kuwait we got some exciting news. -
The Many Faces of “Dinah”: a Prewar American Popular Song and the Lineage of Its Recordings in the U.S
View metadata, citation and similar papers at core.ac.uk brought to you by CORE The Many Faces of “Dinah” The Many Faces of “Dinah”: A Prewar American Popular Song and the Lineage of its Recordings in the U.S. and Japan Edgar W. Pope 「ダイナ」の多面性 ──戦前アメリカと日本における一つの流行歌とそのレコード── エドガー・W・ポープ 要 約 1925年にニューヨークで作曲された「ダイナ」は、1920・30年代のアメリ カと日本両国におけるもっとも人気のあるポピュラーソングの一つになり、 数多くのアメリカ人と日本人の演奏家によって録音された。本稿では、1935 年までに両国で録音されたこの曲のレコードのなかで、最も人気があり流 行したもののいくつかを選択して分析し比較する。さらにアメリカの演奏家 たちによって生み出された「ダイナ」の演奏習慣を表示する。そして日本人 の演奏家たちが、自分たちの想像力を通してこの曲の新しい理解を重ねる中 で、レコードを通して日本に伝わった演奏習慣をどのように応用していった かを考察する。 1. Introduction “Dinah,” published in 1925, was one of the leading hit songs to emerge from New York City’s “Tin Pan Alley” music industry during the interwar period, and was recorded in the U.S. by numerous singers and dance bands during the late 1920s and 1930s. It was also one of the most popular songs of the 1930s in Japan, where Japanese composers, arrangers, lyricists and performers, inspired in part by U.S. records, developed and recorded their own versions. In this paper I examine and compare a selection of the American and Japanese recordings of this song with the aim of tracing lines ─ 155 ─ 愛知県立大学外国語学部紀要第43号(言語・文学編) of influence, focusing on the aural evidence of the recordings themselves in relation to their recording and release dates. The analysis will show how American recordings of the song, which resulted from complex interactions of African American and European American artists and musical styles, established certain loose conventions of performance practices that were conveyed to Japan and to Japanese artists. It will then show how these Japanese artists made flexible use of American precedents, while also drawing influences from other Japanese recordings and adding their own individual creative ideas. -
History of Jazz Tenor Saxophone Black Artists
HISTORY OF JAZZ TENOR SAXOPHONE BLACK ARTISTS 1940 – 1944 SIMPLIFIED EDITION INTRODUCTION UPDATE SIMPLIFIED EDITION I have decided not to put on internet the ‘red’ Volume 3 in my Jazz Solography series on “The History of Jazz Tenor Saxophone – Black Artists 1940 – 1944”. Quite a lot of the main performers already have their own Jazz Archeology files. This volume will only have the remainders, and also auxiliary material like status reports, chronology, summing ups, statistics, etc. are removed, to appear later in another context. This will give better focus on the many good artists who nevertheless not belong to the most important ones. Jan Evensmo June 22, 2015 INTRODUCTION ORIGINAL EDITION What is there to say? That the period 1940 - 1944 is a most exciting one, presenting the tenorsax giants of the swing era in their prime, while at the same time introducing the young, talented modern innovators. That this is the last volume with no doubt about the contents, we know what is jazz and what is not. Later it will not be that easy! That the recording activities grow decade by decade, thus this volume is substantially thicker than the previous ones. Just wait until Vol. 4 appears ... That the existence of the numerous AFRS programs partly compensates for the unfortunate recording ban of 1943. That there must be a lot of material around not yet generally available and thus not listed in this book. Please help building up our jazz knowledge base, and share your treasures with the rest of us. That we should remember and be eternally grateful to the late Jerry Newman, whose recording activities at Minton's and Monroe's have given us valuable insight into the developments of modern jazz. -
The Strutter VOLUME 22 NUMBER 7 Traditional Jazz in the Philadelphia Tri-State Area March 2012
“Best of South Jersey” 2008 - 2011! The Strutter VOLUME 22 NUMBER 7 Traditional Jazz in the Philadelphia Tri-State Area March 2012 OUR NEXT CONCERT TRI-STATE JAZZ SOCIETY On March 18, Emily Asher says, The Garden Party Presents will play a variety of hot jazz and early swing, their instrumentation and concept influenced by EMILY ASHER’S GARDEN PARTY Louis Armstrong's Hot Fives and Sevens, Armstrong's All-Stars, and Eddie Condon's classic recording groups. Their repertoire will also include material from the heart of the West Coast Dixieland revival, Lu Watters' Yerba Buena Jazz Band. Trombonist and vocalist Emily Asher is a rising musical personality in New York, leading the Garden Party and The Emily Asher Quartet and making regular appearances with the Brooklyn- based Baby Soda Jazz Band. She toured North America with the ground-breaking Mighty Aphrodite Jazz Band and Europe with New Orleans’ Tuba Skinny. See Asher on Page 2 CONCERT ADMISSION $20 ADMISSION $10 FIRST TIME ATTENDEES & MEMBERS HIGH SCHOOL/COLLEGE STUDENTS WITH Emily Asher, trombone, leader ID AND CHILDREN WITH PAYING ADULT ADMITTED FREE Bria Skonberg, trumpet Pay At the Door - No Advance Sales Dan Levinson, clarinet Gordon Webster, piano In This Issue… Sean Cronin, bass Kevin Dorn, drums Looking Ahead ............. Page 2 American Rag ............... Page 2 Sunday, March 18, 2012 Barnes Review ............. Page 2 2:00 p.m. – 5:00 p.m. Spirits Of Rhythm ......... Page 3 Community Arts Center Help Wanted ................. Page 4 Upcoming Events ......... Page 5 414 Plush Mill Road Wallingford, PA Directions on Page 7 The Strutter is published by Tri-State Jazz Society, Inc. -
William Frank Newton “Frankie”
1 The TRUMPET of WILLIAM FRANK NEWTON “FRANKIE” Solographer: Jan Evensmo Last updated: Oct. 25, 2020 2 Born: Emory, Virginia, Jan. 4, 1906 Died: NYC. March 11, 1954 Introduction: Frankie Newton, “master of the mutes”, was one of the greatest trumpets of the swing era with extreme personality and originality. The marginal value of an eventual new discovery of a Frankie solo is greater to this author than of any other trumper in jazz history! The solography below is basically the one printed as Vol. 9 (1978) in my Jazz Solography Series with additional material appearing after the publication, and with related comments given as ‘postscripts’. There are a very few missing items, please help! History: Joined Lloyd W. Scott’s band in Huntington, west Virginia, whilst the band were on their way to Pittsburgh and New York (1926). Played in New York with Lloyd Scott, also worked with Elmer Snowden (summer 1927). With Eugene Kennedy’s band (early 1929), the rejoined Scott’s band (then led by Cecil Scott), was occasionally featured as a vocalist. With Cecil Scott (early 1930), then worked with Chick Webb, Charlie Johnson and Elmer Snowden. Worked briefly with Garland Wilson on radio WEVD (1932), left New York for a while, then worked with Sam Wooding. Recorded with Bessie Smith in 1933, with Charlie Johnson from ca. September 1933 until entering hospital in late 1935. Brief return to Charlie Johnson, then with Teddy Hill from spring 1936 until spring 1937. Complications followed a tonsillectomy (May 1937), worked with John Kirby from July until September 1937, recovered from injured back, played in brief -lived Mezz Mezzrow Disciples of Swing (November 1937). -
An Analysis of John Peel's Radio Talk and Career At
University of Tennessee, Knoxville TRACE: Tennessee Research and Creative Exchange Doctoral Dissertations Graduate School 5-2008 The Power of a Paradoxical Persona: An Analysis of John Peel’s Radio Talk and Career at the BBC Richard P. Winham University of Tennessee - Knoxville Follow this and additional works at: https://trace.tennessee.edu/utk_graddiss Part of the Communication Commons Recommended Citation Winham, Richard P., "The Power of a Paradoxical Persona: An Analysis of John Peel’s Radio Talk and Career at the BBC. " PhD diss., University of Tennessee, 2008. https://trace.tennessee.edu/utk_graddiss/440 This Dissertation is brought to you for free and open access by the Graduate School at TRACE: Tennessee Research and Creative Exchange. It has been accepted for inclusion in Doctoral Dissertations by an authorized administrator of TRACE: Tennessee Research and Creative Exchange. For more information, please contact [email protected]. To the Graduate Council: I am submitting herewith a dissertation written by Richard P. Winham entitled "The Power of a Paradoxical Persona: An Analysis of John Peel’s Radio Talk and Career at the BBC." I have examined the final electronic copy of this dissertation for form and content and recommend that it be accepted in partial fulfillment of the equirr ements for the degree of Doctor of Philosophy, with a major in Communication and Information. Paul Ashdown, Major Professor We have read this dissertation and recommend its acceptance: Barbara Moore, Naeemah Clark, Michael Keene Accepted for the Council: -
Chronological Discography
Chronological Discography arranger g guitar as alto saxophone 0 pipe organ bb brass bass (sousaphone/tuba) p piano bj banjo ss soprano saxophone bs baritone saxophone t trumpet c comet tb trombone cl clarinet ts tenor saxophone d drums v vocals db double bass vib vibraphone dir director vn violin f flute This chronological list contains most known releases on which Danny Barker plays and sings. Titles are given as they appear on the record labels. Where possible, the first issue number is given, but the complexity of subsequent reissues is such that these are not shown. In preparing the list much use has been made of the works cited in the acknowledgment section as well as Stagg and Crump: New Orleans: the Revival (Dublin, 1973). 1931 Ward Pinkett (t, v); Albert Nicholas (cO; Jack Russin (p); Danny ]une9 NewYork Barker(g);Joe Watts (db); Sam Weiss (d) Dave's Harlem Highlights 95337-1 Everything is okey-dokey (WP:v) Bluebird B-6144 Dave Nelson (1, v); Clarence Brereton (t); Melvin Herbert/Harry 95338-1 I'm on a see-saw (WP:v) Bluebird B-6130 Brown (t); Wilbur de Paris (tb); Buster Bailey (cl, as); Glyn Paque (cl, 95339-1 Red sails in the sunset (WP:v) Bluebird B-6131 as); Charles Frazier (ts); Wtryman Caroer (ts, f); Sam Allen (p); 95340-1 Tender is the night (WP:v) Bluebird B-6131 •Danny Barker (bj); Simon Marrero (bb); Gerald Hobson (iii 95341-1 I'mpaintingthetownred 69905-1 Somebody stole my gal Timely Tunes C-1587 (to hide a heart that's blue) Bluebird B-6130 69906-1 Rockin' Chair Timely Tunes C-1576 95342-1 Tap Room Special (Panama) Bluebird B-6193 69907-2 Loveless Love Timely Tunes C-1577 69908-2 St. -
Charles James Shavers “Charlie”
1 The TRUMPET of CHARLES JAMES SHAVERS “CHARLIE” Solographer: Jan Evensmo Last update: Jan. 10, 2021 2 Born: NYC. Aug. 3, 1917 Died: NYC. July 8, 1971 Introduction: Maybe I should not say this, but Oslo Jazz Circle back then could not stand Charlie Shavers! His peculiar sense of humour and also perceived corny improvisations in many sessions of the middle forties made him a target for ridicule rather than appreciation. We don’t have to discuss this here and now, because in his early period 1937-42 presented here, he plays beautifully, mostly with his mute. Early history: Father was a trumpet player; Charlie was a distant relative of trumpeter Fats Navarro. Began playing piano and banjo, then switched to trumpet. Played occasionally with pianist Willie Gant in New York; first work away from New York was with Frankie Fairfax band in Philadelphia (1935). Returned to New York and joined Tiny Bradshaw, then with Lucky Millinder from early 1937. In November 1937 joined John Kirby at the Onyx Club (replacing Frankie Newton). He soon became the sextet’s principal arranger and composed ‘Undecided’, ‘Pastel Blue’, etc., whilst with the group. He finally left John Kirby in 1944 (ref. John Chilton). 3 CHARLIE SHAVERS SOLOGRAPHY LUCKY MILLINDER / MILLS BLUE RHYTHM BAND NYC. Feb. 11, 1937 Lucky Millinder (dir), Charlie Shavers, Harry Edison, Carl Warwick (tp), Sandy Watson, Wilbur DeParis (tb), Tab Smith (as), Eddie Williams, Ronald Haynes, Harold Arnold (cl, ts), Billy Kyle (p), Danny Barker (g), John Williams (b), Lester Nichols (dm, vib). Four titles were recorded for Variety/Vocalion, two have trumpet soli: M-1-2 Blue Rhythm Fantasy Probably solo 14 bars (open). -
A Feminist Perspective on New Orleans Jazzwomen
A FEMINIST PERSPECTIVE ON NEW ORLEANS JAZZWOMEN Sherrie Tucker Principal Investigator Submitted by Center for Research University of Kansas 2385 Irving Hill Road Lawrence, KS 66045-7563 September 30, 2004 In Partial Fulfillment of #P5705010381 Submitted to New Orleans Jazz National Historical Park National Park Service 419 Rue Decatur New Orleans, LA 70130 This is a study of women in New Orleans jazz, contracted by the National Park Service, completed between 2001 and 2004. Women have participated in numerous ways, and in a variety of complex cultural contexts, throughout the history of jazz in New Orleans. While we do see traces of women’s participation in extant New Orleans jazz histories, we seldom see women presented as central to jazz culture. Therefore, they tend to appear to occupy minor or supporting roles, if they appear at all. This Research Study uses a feminist perspective to increase our knowledge of women and gender in New Orleans jazz history, roughly between 1880 and 1980, with an emphasis on the earlier years. A Feminist Perspective on New Orleans Jazzwomen: A NOJNHP Research Study by Sherrie Tucker, University of Kansas New Orleans Jazz National Historical Park Research Study A Feminist Perspective on New Orleans Jazz Women Sherrie Tucker, University of Kansas September 30, 2004 Table of Contents Acknowledgments ................................................................................................ iii Introduction ...........................................................................................................1 -
MEDIA TRANSLATION in BBCMUNDO INTERNET TEXTS 105 06 Valdeón.Pmd
MEDIA TRANSLATION IN BBCMUNDO INTERNET TEXTS Roberto A. Valdeón Universidad de Oviedo ABSTRACT In recent years, several authors have underlined the need to enforce a critical approach to translation studies in order to explore ideologies in both source and target languages and cultures (Hermans; Olk). In this article we shall study BBCMundo’s news web texts and their source English BBCWorld reports from a critical approach. The paper is divided into two sections. Firstly, we analyse two series of news texts. We shall discuss the use of head- lines in the STs and TTs, and proceed to study the strategies used in the main bodies of the reports, notably omissions, additions and permutations. In a final section, we shall carry out the discussion about the ideological implications of the translational strategies identi- fied in the previous sections. KEY WORDS: Editorial routines, translation strategies, critical approach, news discourse. RESUMEN En los últimos años, diversos estudiosos han señalado la necesidad de aplicar un enfoque crítico a los estudios de traducción con el fin de analizar la ideología subyacente en los textos origen y meta (Hermans; Olk). Este artículo estudia, en dos secciones, textos meta 105 publicados por en BBCMundo y los correspondientes textos origen en inglés procedentes de BBCWorld. En la primera se analizarán dos grupos de textos. Se estudiará el uso de los titulares en los textos origen y textos meta, así como las estrategias utilizadas por sus autores en los artículos, especialmente las omisiones, adiciones y transformaciones, que son tam- bién objeto de estudio en el análisis del discurso de este género. -
Trade Marks Inter Partes Decision O/540/14
O-540-14 TRADE MARKS ACT 1994 IN THE MATTER OF APPLICATION NO 2652922 BY TOURISM WORLD LIMITED TO REGISTER THE TRADE MARK IN CLASS 41 AND IN THE MATTER OF OPPOSITION THERETO UNDER NO 400459 BY MISS WORLD LIMITED Background and pleadings 1) On 14 February 2013, Tourism World Limited (“the applicant”) applied to register the mark shown on the front page of this decision. It was accepted and published in the Trade Marks Journal on 22 March 2013 for the following list of services: Class 41: Organisation of Beauty Pageants and Competitions 2) Miss World Limited (“the opponent”) opposes all of the services listed on the basis of Section 5(2)(b) of the Trade Marks Act 1994 (“the Act”). The opponent relies on four earlier marks. Earlier mark 1278551 MISS WORLD puts the opponent in no better position than when it relies upon its Community Trade Mark (CTM) 151282 and therefore, I will make no further mention of it. The remaining three earlier marks are detailed below: Mark & other relevant details Services relied upon CTM 4984928 Class 41: Organisation and running of MISS BIKINI WORLD contests; beauty contests; .... Filing date: 29 March 2006 Date of entry in register: 01 October 2010 CTM 0151282 Class 41: ...; organisation, sponsorship, MISS WORLD running of contests; beauty contests; ... Filing date: 01 April 1996 Date of entry in register: 21 January 1999 1278549 Class 41: Organisation of contests; ... Filing date: 01 October 1986 Date of entry in register: 22 March 1991 Page 2 of 23 3) The opponent argues that the marks are highly similar and that the respective services share a high level of similarity.