Eps—Monoeps -Mono Andand Stereostereo Handel :: Bacchus Everever Fairfair Andand Young (From(From 'Alexander's'alexander's Feast').Feast')
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CBC Times 500507.PDF
Miss Verna E. Weber, BERGEN, Alta. PRAIRIE REGION SCHEDULE May 7·13, 1950 Issued Each Week by the Canadian Broadcasting Corporation VOLUME III No. 19 ISSUED AT WINNIPEG. APRrt 28 !Ie PER COPY SI.OO PER YEAR This Week: Land Of Supposing (Page 2) * Edmund Hockridge (Page 3) * Variety Time (Page 4) * English Composers (Page 5) * Sir Basil Brooke (Page 6) * PEECII anu dr;lmatirs ha"e been BETH S LocIU:l\DII::'!> (."()n~llll1in~ intf.'TE"SlS since her girl. hood days in Regina. and she wa~n't far into her teens when she ht>gan applying her skill to radio work in Calgary and \Vinnipcg. SIlt' went to Toronto in 1946 and h currently heard as "~Iom" in Alan and .\le. and IIdl'n ~Ianning in Bract' \'oljage. * * * Beth Lockerbie. on our ('O\er this wt.'ck, has onf' of tIle wannl'St voit.'t's in Canadian mdio. a thor· ough Unin''TSity training in speech :md dramatics, and a \Va)' with chiJdH'n. So it is not surprising that her current acth·ities should inc,.'luul:' the widely contrasting roles of "Mmll" in thE' wt"t"kly family drama series Alan and Me, and thl' young heroine of the ~10nda)--to-Frid:lY Jaytimf' drama BrULe \ ·oyage. She also appcl.lrs frequently ill the Stage series, Bllckingham 1'1lealre und Forel Theatre, and Toronto theatre-gm'rs have seen her in the sta~{(' productions of various drama grullps. Beth Lockerbie She has been interested in all phases of dramatics sinec her childhood in I\egiua, enrolling Thert~ she clividt'd lll:'r time hctwL"{'n l!ipeech classes, nipeg chool of Radio" Dramatics-~hrough which in the drama :\nd speech COurse at Regina College, stage work with amateur groups, and organizing she produc(.'d student.;' radio features for three and continuing at Emerson College in Boston, n and directing one of the first radio schools in the ye-ars. -
Pakistan Floods: After the Deluge & the Future of Migration?
Winter 2010 Pakistan Floods: After the Deluge & The Future of Migration? Winter 2010 ISSN 1813-2855 Editor-In-Chief 3 Editorial Jean-Philippe Chauzy 4 Editors Jemini Pandya 4 Pakistan – After the Deluge Chris Lom Niurka Piñeiro Jared Bloch 8 Mass Communications 8 Layout Programme Talks and Listens to Valerie Hagger Joseph Rafanan Pakistan’s Flood Victims Cover Photo Asim Hafeez/OnAsia 11 Giving Voice to Haiti’s © IOM 2010 - MPK0304 11 Earthquake Victims Migration is published twice a year in English, French and Spanish. All correspondence 14 In Search of Normal: Thoughts and inquiries concerning this publication should be sent to: about Haiti after the Earthquake 14 International Organization for Migration (IOM) PO Box 71 17 Helping the Lost Youth CH Geneva 19 Switzerland of Tanzania Tel.: +41 22 717 91 11 Fax: +41 22 798 61 50 17 E-mail: [email protected] The Silent Plight of Migrant Migration is available online 23 on the IOM website: Farm Workers in South Africa http://www.iom.int IOM is committed to the 25 Tehnology, Vigilance and Sound 25 principle that humane and Judgement – Managing the Dominican orderly migration benefits migrants and society. As Republic’s Borders an intergovernmental organization, IOM acts 28 with its partners in the 28 Biometric Passport and Indentification international community Card: Armenia Enters the Digital Age to: assist in meeting the operational challenges of migration; advance understanding of migration 30 Shedding Light on South-South issues; encourage social Migration to Aid Development and economic development 30 through migration; and uphold the human dignity and well-being of migrants. -
100 Years: a Century of Song 1950S
100 Years: A Century of Song 1950s Page 86 | 100 Years: A Century of song 1950 A Dream Is a Wish Choo’n Gum I Said my Pajamas Your Heart Makes / Teresa Brewer (and Put On My Pray’rs) Vals fra “Zampa” Tony Martin & Fran Warren Count Every Star Victor Silvester Ray Anthony I Wanna Be Loved Ain’t It Grand to Be Billy Eckstine Daddy’s Little Girl Bloomin’ Well Dead The Mills Brothers I’ll Never Be Free Lesley Sarony Kay Starr & Tennessee Daisy Bell Ernie Ford All My Love Katie Lawrence Percy Faith I’m Henery the Eighth, I Am Dear Hearts & Gentle People Any Old Iron Harry Champion Dinah Shore Harry Champion I’m Movin’ On Dearie Hank Snow Autumn Leaves Guy Lombardo (Les Feuilles Mortes) I’m Thinking Tonight Yves Montand Doing the Lambeth Walk of My Blue Eyes / Noel Gay Baldhead Chattanoogie John Byrd & His Don’t Dilly Dally on Shoe-Shine Boy Blues Jumpers the Way (My Old Man) Joe Loss (Professor Longhair) Marie Lloyd If I Knew You Were Comin’ Beloved, Be Faithful Down at the Old I’d Have Baked a Cake Russ Morgan Bull and Bush Eileen Barton Florrie Ford Beside the Seaside, If You were the Only Beside the Sea Enjoy Yourself (It’s Girl in the World Mark Sheridan Later Than You Think) George Robey Guy Lombardo Bewitched (bothered If You’ve Got the Money & bewildered) Foggy Mountain Breakdown (I’ve Got the Time) Doris Day Lester Flatt & Earl Scruggs Lefty Frizzell Bibbidi-Bobbidi-Boo Frosty the Snowman It Isn’t Fair Jo Stafford & Gene Autry Sammy Kaye Gordon MacRae Goodnight, Irene It’s a Long Way Boiled Beef and Carrots Frank Sinatra to Tipperary -
100 Years: a Century of Song 1970S
100 Years: A Century of Song 1970s Page 130 | 100 Years: A Century of song 1970 25 Or 6 To 4 Everything Is Beautiful Lady D’Arbanville Chicago Ray Stevens Cat Stevens Abraham, Martin And John Farewell Is A Lonely Sound Leavin’ On A Jet Plane Marvin Gaye Jimmy Ruffin Peter Paul & Mary Ain’t No Mountain Gimme Dat Ding Let It Be High Enough The Pipkins The Beatles Diana Ross Give Me Just A Let’s Work Together All I Have To Do Is Dream Little More Time Canned Heat Bobbie Gentry Chairmen Of The Board Lola & Glen Campbell Goodbye Sam Hello The Kinks All Kinds Of Everything Samantha Love Grows (Where Dana Cliff Richard My Rosemary Grows) All Right Now Groovin’ With Mr Bloe Edison Lighthouse Free Mr Bloe Love Is Life Back Home Honey Come Back Hot Chocolate England World Cup Squad Glen Campbell Love Like A Man Ball Of Confusion House Of The Rising Sun Ten Years After (That’s What The Frijid Pink Love Of The World Is Today) I Don’t Believe In If Anymore Common People The Temptations Roger Whittaker Nicky Thomas Band Of Gold I Hear You Knocking Make It With You Freda Payne Dave Edmunds Bread Big Yellow Taxi I Want You Back Mama Told Me Joni Mitchell The Jackson Five (Not To Come) Black Night Three Dog Night I’ll Say Forever My Love Deep Purple Jimmy Ruffin Me And My Life Bridge Over Troubled Water The Tremeloes In The Summertime Simon & Garfunkel Mungo Jerry Melting Pot Can’t Help Falling In Love Blue Mink Indian Reservation Andy Williams Don Fardon Montego Bay Close To You Bobby Bloom Instant Karma The Carpenters John Lennon & Yoko Ono With My -
Shadows in the Field Second Edition This Page Intentionally Left Blank Shadows in the Field
Shadows in the Field Second Edition This page intentionally left blank Shadows in the Field New Perspectives for Fieldwork in Ethnomusicology Second Edition Edited by Gregory Barz & Timothy J. Cooley 1 2008 1 Oxford University Press, Inc., publishes works that further Oxford University’s objective of excellence in research, scholarship, and education. Oxford New York Auckland Cape Town Dar es Salaam Hong Kong Karachi Kuala Lumpur Madrid Melbourne Mexico City Nairobi New Delhi Shanghai Taipei Toronto With offices in Argentina Austria Brazil Chile Czech Republic France Greece Guatemala Hungary Italy Japan Poland Portugal Singapore South Korea Switzerland Thailand Turkey Ukraine Vietnam Copyright # 2008 by Oxford University Press Published by Oxford University Press, Inc. 198 Madison Avenue, New York, New York 10016 www.oup.com Oxford is a registered trademark of Oxford University Press All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without the prior permission of Oxford University Press. Library of Congress Cataloging-in-Publication Data Shadows in the field : new perspectives for fieldwork in ethnomusicology / edited by Gregory Barz & Timothy J. Cooley. — 2nd ed. p. cm. Includes bibliographical references and index. ISBN 978-0-19-532495-2; 978-0-19-532496-9 (pbk.) 1. Ethnomusicology—Fieldwork. I. Barz, Gregory F., 1960– II. Cooley, Timothy J., 1962– ML3799.S5 2008 780.89—dc22 2008023530 135798642 Printed in the United States of America on acid-free paper bruno nettl Foreword Fieldworker’s Progress Shadows in the Field, in its first edition a varied collection of interesting, insightful essays about fieldwork, has now been significantly expanded and revised, becoming the first comprehensive book about fieldwork in ethnomusicology. -
El Grito Del Bronx 1
EL GRITO DEL BRONX 1 EL GRITO DEL BRONX (formerly known as CRY OF THE BRONX) Cast Of Characters 1977: JESÚS COLÓN—14, a boy nurtured by rage MAGDALENA COLÓN—12, his sister, tense & nervous. She walks with a cast on her right leg. MARIA COLÓN—40, their mother, very tired. JOSÉ COLÓN—45, their father, very hungry. Voice of a MALE TV NEWSCASTER Voice of a FEMALE TV NEWSCASTER Voice of a PUERTO RICAN MAN on TV 1991: PAPO—28, an inmate on death row. He is gaunt and pale. The adult JESÚS. LULU—26, a poet; the adult MAGDALENA. She has a slight limp when she walks. The GUY NEXT DOOR—PAPO’s neighbor on death row; a shadowy figure. All we see of him is his hands which change from scene to scene, sometimes black sometimes white, sometimes old, etc. MARIA— PAPO & LULU's MOTHER—54, in mourning. *FIRST GAS STATION ATTENDANT—a white man in his 20s. *LAST GAS STATION ATTENDANT—a white man in his 20s. *AND ALL OTHER GAS STATION ATTENDANTS—white men in their 20s. *All played by the same actor, his voice sometimes amplified and altered. ELIZABETH the LAST GAS STATION ATTENDANT’S MOTHER—a white woman from rural Kentucky, in her 40s in mourning. ED—28, a journalist. Jewish-american. SARAH, ELECTROCUTED BOY's MOTHER—a woman in mourning, African-american, 30s. TIME: On LULU's October wedding day in 1991, with some moments from the past also revisted between the years 1977 & 1991. PLACE: The Bronx, New York—in a 1st floor apartment in a five-story walk-up, and in a rubble-filled alley behind the building; Death Row in an Ohio Federal Prison—PAPO’s cell; Darien, CT—in ED & LULU’s studio apartment, and a park; and Lorain, Ohio—in a SOHIO gas station store, and a hospital room. -
CBC Program Schedule 470928.PDF
NEWS BROADCASTS CBK DAILY WATROUS Trans·Canada Network: (Trans·Canlda Network) 8:00,9:00 a.m. 1:00,6:30, 9:00 p.m. 12:00 p.m. 540 KC8. CBC Dominion Network: Prairie Region 10:00 p.m. Transmitter .r':: :;Times given in this Schedule are Central Standard DATE OF IsSUE, OCTOBER 10, 1947 PRAIRIE REGION W..k 01 Octobor 19th, 1947 612 Telephone Bldg., Winnipeg, Canada The Winnipeg Symphony More than 8,000 music lovers gathered in Winnipeg's million-dollar Civic Auditorium on October 2nd, when two 'Preliminary concerts designed to sttmulate interest in the proposed Winnipeg Symphony Orchestra joundatton were given by an orchestra of 65 pieces CQnductect by ERIC WTLn oj Winnipeg and HENRY DENECKE 01 MinneapOlis. An afternoon concert tOT children brought out lour thousand happy youngsters from the Winnipeg schools, and in the evening the great Auditorium was again packed when a mare elaborate program for adult listeners was performed, and a hall. hour of the concert, conducted by Mr. Wild, with Mr. Denecke as guest conductor for one number, was broculcast by the CSC. Left, above, Mr. Wild is seen conducting the charming "Man FrOm The Sea," from Eric Coates' Three Men Suite. On the right is a portion of the vast evening audience, and Mr. Denecke conducting. The CBe Emblem is seen above the stage. from 1941 to 1943, and since 1943 has "One of the holiest and purest out The play will be produced on CBC Beethoven's inth held the same position with the pourings of exultation in the whole by Archie MacCorkindale with a cast Montreal Orchestra Opens Season Chicago Symphony, though retain domain of mystical music," is the of Winnipeg actors. -
Shining Light on the Response to Child Sexual Abuse and Exploitation
A report from The Economist Intelligence Unit OUT OF THE SHADOWS: SHINING LIGHT ON THE RESPONSE TO CHILD SEXUAL ABUSE AND EXPLOITATION A 40-country benchmarking index Supported by: With additional support from: OUT OF THE SHADOWS: SHINING LIGHT ON THE RESPONSE TO CHILD SEXUAL ABUSE AND EXPLOITATION Contents About the research 3 Acknowledgements 4 Executive summary 5 Introduction 7 A global agenda priority 8 Socioeconomic impact 8 Defining sexual violence against children 9 Emerging from the shadows 10 Exploring the index 11 1. Environment 12 Risk factors 13 Protective factors 14 Societal norms and attitudes 14 2. Legal framework 15 Subnational law 16 Child marriage 16 Box 1: Overlooking boys 18 3. Government commitment and capacity 19 Box 2: Bridging knowledge gaps 20 Cross-border challenges, technology and innovation 21 Box 3: Innovative prevention strategies 22 4. Engaging industry, civil society and media 22 The private sector 23 The media 23 Conclusion 26 Appendix 28 Appendix 1: Definitions of CSA and CSE 28 Appendix 2: Index methodology 29 An Economist Intelligence Unit research programme supported by World Childhood Foundation and Oak Foundation. With additional support from Carlson Family Foundation. © The Economist Intelligence Unit Limited 2019 2 OUT OF THE SHADOWS: SHINING LIGHT ON THE RESPONSE TO CHILD SEXUAL ABUSE AND EXPLOITATION About the research Out of the shadows: Shining light on the response to child sexual abuse and exploitation is an Economist Intelligence Unit research programme supported by the World Childhood Foundation and the Oak Foundation with additional support from the Carlson Family Foundation. It is based largely on a country-level benchmarking index that evaluates how stakeholders are responding to the scourge of sexual violence against children in 40 selected countries. -
1 This Was the Year That the Shadows Appeared As Singers Before a Pan
1975 This was the year that The Shadows appeared as singers before a pan-European audience. The earlier 1973 initiative had not produced the desired outcome and by 1974 they were in the wilderness and did not exist as a viable group. They got together to perform at the Palladium on 27 October of that year as a personal tribute to and for the benefit of the widow of BBC producer Colin Charman. BBC boss Bill Cotton heard them and suggested that they might like to represent the UK at the Eurovision Song Contest the following year. They accepted, formed a working ensemble, and undertook a few local ‘practice’ gigs while preparing and practising the songs. The chosen song, [254] LET ME BE THE ONE, was one of six put forward for the UK’s entry in the Eurovision Contest of 1975, and was the last of the contenders performed over six successive weeks on Lulu’s BBC TV show at the start of the year. It was duly televised in Stockholm on 22 March but came in second to Dutch group Teach-In’s lyrically challenged ‘Dinge-Dong’ ~ English title ‘Ding-A-Dong’ (“Ding- A-Dong every hour,/ When you pick a flower …”), which impressed the British public sufficiently to enjoy a seven-week residence in the Singles charts (climbing to No.13). No such good fortune attended the release of The Shadows’ follow-up to their charting Eurovision Single, another piece from the same composer, the staggeringly inane, hopelessly unamusing [266] RUN BILLY RUN (“Closed my eyes, I tried countin’ sheep,/ Desp-rate Dan just looked like Bo-Peep,/ I can’t sleep”). -
Dorothy Potter and the Wizards of Oz
Dorothy Potter And The Wizards Of Oz Script and Lyrics by: Janinne Chadwick c. 2016 For Little People’s Repertory Theatre Script and Lyrics by: Janinne Chadwick c. 2016 Act One: Scene 1 A Nursery Lullaby A nursery that includes a crib and a shelf or dresser. Baby Dorothy is standing in her crib. Her mother is rocking in a rocking chair, knitting. Her father is off-stage. Baby Dorothy: (calling for her father) Daddy! Daddy! Bertie Beans! Lillian: No more candy, darling, it’s time for bed. Father enters. Jim: Did I hear my favorite little witch calling for me? Lillian: Say goodnight to Daddy and I’ll sing you a lullaby. Baby Dorothy: Goodnight Daddy. Lullaby Lillian: Rock a bye, Dorothy, in your baby bed One day you’ll fly on a broomstick instead When the owl comes calling you’ll study and play And learn to use magic in a school far away Veldamort enters. She has a Ruby wand. She points her wand at Father and he falls down dramatically as Mother tries to shield Dorothy. Lillian: (screams) No, not Dorothy! Curse me instead. Veldamort: Out of my way, silly woman! Veldamort waves her wand at Mother, who falls to the ground. Veldamort: (to Dorothy) And now my pretty! There’s not room in this world for the both of us! Avada Kedavra! The spell deflects onto Veldamort, who writhes in pain and staggers out of the room. Veldamort: (as she’s leaving) Ahhh, what have you done? Baby Dorothy: (reaches for her forehead where her ruby scar has appeared) Owie! Mama, Owie. -
The Chart Book – the Specials Record Mirror Singles 1955-1962
The Chart Book – The Specials Record Mirror Singles 1955-1962 Compiled by Lonnie Readioff Chart History For Record Mirror Single Charts Between 22 January 1955 and 17 March 1962 Entry Peak Weeks on chart, Title (Number 1 Number) (Awards symbols, if any for this record in this period) (Composer) Full artist credit (if different) B-Side (Or EP/Album track listing if any charted on this chart) Label (Catalogue Number) Duration. Notes are presented below the title for some entries. Entries are sorted by artist, then by entry date and finally, in the event of ties, by peak position and finally weeks on chart. All re-entries are shown as separate entries, but track listings of any albums or EP's which re-entered the chart are not shown for their re-entries. Fats Domino (Continued) 19.12.1959 12 5 Be My Guest (Tommy Boyce / Fats Domino / John Marascalco) I've Been Around London 7": HLP 9005 02:16 30.01.1960 15 4 Be My Guest (Re-entry 1) (Tommy Boyce / Fats Domino / John Marascalco) I've Been Around London 7": HLP 9005 02:16 09.04.1960 18 1 Country Boy (Dave Bartholomew / Fats Domino) If You Need Me London 7": HLP 9073 02:10 Lonnie Donegan Entry: 07.01.1956 Hits: 27 Peak: 1 Weeks: 211 07.01.1956 6 12 Rock Island Line (Lonnie Donegan) The Lonnie Donegan Skiffle Group John Henry Decca 7": 45FJ 10647 02:30 07.04.1956 15 3 Rock Island Line (Re-entry 1) (Lonnie Donegan) The Lonnie Donegan Skiffle Group John Henry Decca 7": 45FJ 10647 02:30 28.04.1956 2 16 Lost John (Lonnie Donegan) The Lonnie Donegan Skiffle Group Stewball Pye Nixa 78: N 15036 02:13 -
082 out of the Shadows Text 9/12/03 9:36 AM Page 1
082 Out of the Shadows Cover 1/20/04 10:14 AM Page 1 If someone you love has an addiction, you may be exhausted by years of trying unsuccessfully to save him or her from self-defeating choices. This book can show you how to make changes that can free you for a life of joy and peace. Learn how to stop feeling responsible for your loved one’s choices. Learn how you can help—and how you need to let go. Letting go may even bring about the healing you’ve been hoping for. Lutheran Hour M inistries ® Lutheran Hour M inistries Lutheran Hour Ministries Lutheran Hour ® M inistries 6BE81 Lutheran Hour M inistries ® Lutheran Hour M inistries Lutheran Hour M inistries Lutheran Hour Ministries 082 Out of the Shadows Text 9/12/03 9:36 AM Page 1 Out of the Shadows When Someone You Love Has an Addiction by Sam N. Foster, LCSW 082 Out of the Shadows Text 9/12/03 9:36 AM Page 2 Lutheran Hour ® Ministries © 2001 Int’l LLL The Int’l Lutheran Laymen’s League, with its outreach through Lutheran Hour Ministries, is an auxiliary of The Lutheran Church—Missouri Synod and Lutheran Church—Canada. Scripture taken from the HOLY BIBLE; NEW INTERNATIONAL VERSION®, NIV®, Copyright © 1973, 1978, 1984 by International Bible Society. Used by permission of Zondervan Publishing House. Capitalization of pronouns referring to the Deity has been added and is not part of the original New International Version text. 082 Out of the Shadows Text 9/12/03 9:36 AM Page 3 Wanting to Help Often those living with or caring deeply about someone who has an addiction recognize there is a serious problem long before the addict does.