1,721,582 research outputs found
W. F. Mitchell
No full textEarlier this year, an article was published in the News Bulletin
(February 2012) on the background of Captain Boyns Hedley
Hocking, a dentist who became one of the first casualties in the
bombing of Darwin in 1942. The author, W F Mitchell, has kindly
provided a summary of the 70th anniversary activities held in
Darwin in February 2012 to commemorate this significant event in
the Northern Territory?s historyDate:2012-09News Bulletin no. 413, p. 36 - 37
Charles Garnett, T. P. Guyton, W. A. Evans, W. F. Hand, Fred T. Mitchell
Full text linkFrom left to right, Charles Garnett, Judge T. P. Guyton, Dr. W. A. Evans, Dr. W. F. Hand, and Fred T. Mitchell are pictured in front of a portrait of Stephen D. Lee.https://scholarsjunction.msstate.edu/ua-photo-collection/4224/thumbnail.jp
Charles L. Garnett, T. P. Guyton, W. A. Evans, W. F. Hand, Fred Mitchell, T. P. Guyton, Charles Guyton, Founder\u27s Day
Full text linkseveral pictures on one page taken on Founder\u27s Day--Charles L. Garnett (Class of 1893), Judge T. P. Guyton (1893), Dr. W. A. Evans (1893), W. F. Hand, and President Fred T. Mitchell are shown in the top left corner. Judge T. P. Guyton is shown to the lower left. Mr. Charles Garnett is pictured to the right.https://scholarsjunction.msstate.edu/ua-photo-collection/6704/thumbnail.jp
Strolling down the lane one evening feeling kinda blue,
No full textvoiceCollected by Merlin Mitchell
Transcribed by Kyle Perrin
Reel 29
Item 1
Fred Woodruff
Lincoln, Ark.
March 30, 1950
Caroliner
Strolling down the lane one evening feeling kinda blue,
I wondered if my Caroliner was lonesome, too,
Saw her standing in the garden, she turned her head away,
Made me believe she didn't see me standing there, didn't think I had the
nerve to say:
Good evening, Carolina, I never sew you looking fina,
How's ya Paw, um? How's ya Ma, um? Tell me f i r s t just how you are,
For you, Dear, my heart is fine and thinks that you'll be mine,
Just take yore time, make up yore mind; Good evening, Caroline.
Carrie said she'd like to marry, she promised she'd be true,
Then we were dealing kisses in the moonlight like sweethearts do,
Soon I heard somebody calling, laying, I t ' s time to roam,
Said, Alright, and, kissed my Carolina goodnight, singing all the whole way home.
Good evening, Carolina, I never saw you. looking fina,
How's ya Paw, um? How's ya Ma, um? Tell me f i r s t just how you are,
For you, Dear, my heart is fine and thinks that you'll be mine,
Just take yore time, make up yore mind; Good evening, Caroline.
Mitch..Do you think that might be an old forerunner of the song Dinah?
W Yeah, yeah, it is—a forerunner of Dinah.
Mitch..Sounds a good bit like it in places.
W Yeah, it does. It has the tune to i t , too.
Mitch..Do you play the guitar?
W......No.Funding for digitization provided by the Arkansas Humanities Council and the Happy Hollow Foundation
Retelling racialized violence, remaking white innocence: the politics of interlocking oppressions in transgender day of remembrance
Full text linkTransgender Day of Remembrance has become a significant political event among those resisting violence against gender-variant persons. Commemorated in more than 250 locations worldwide, this day honors individuals who were killed due to anti-transgender hatred or prejudice. However, by focusing on transphobia as the definitive cause of violence, this ritual potentially obscures the ways in which hierarchies of race, class, and sexuality constitute such acts. Taking the Transgender Day of Remembrance/Remembering Our Dead project as a case study for considering the politics of memorialization, as well as tracing the narrative history of the Fred F. C. Martinez murder case in Colorado, the author argues that deracialized accounts of violence produce seemingly innocent White witnesses who can consume these spectacles of domination without confronting their own complicity in such acts. The author suggests that remembrance practices require critical rethinking if we are to confront violence in more effective ways. Description from publisher's site: http://caliber.ucpress.net/doi/abs/10.1525/srsp.2008.5.1.2
Meeting Fred High and hearing about the Berryville Jail; Hearing about the Berryville Jail
No full textCollected by Merlin Mitchell
Transcribed by Kyle Perrin
Fred High
Reel 13
Item 6
High, Ark.
February 20, 1950
Berryville Jail Story
High •• There was a boy got b rnt up in the Berryville Jail several
years ago and there's just one woman that I know of that knows
that song.
M• •••• There's a song about it.
High.•• Made a song ahout it.
M• •••• She made it up, you know?
High •• No, nobody did, but there's just one woman that knows that and
she's a cousin to my wife here and she come here--she lives up
in Missouri. Near Springfield. No, it's over at Neosho. We've
wrote and wrote and I told her here--I said, Let's git that down,
and she wouldn't do nothing--and won't answer ner nothing.
M••••• Is that right.
High •• And I said I'd give a quarter for that song.
M• ••••W ell I 'llbe derned.
High •• And, oh, hit was a good one. I just--it 1se lonesome . The boy
just--well I guess he set the jail house afire hisself and thought
they'd comeand git him out, and it burnt him up in there. And
it says,
The jail house caught fire and the jailer didn't
come a-nigh me,
But just lay there and slept;
My name it is Floyd Eddings, the son of old Doc ,
He hardly denied me but I'm one of his flock,
tay at home and go naked, I'm one of his flock.
That's in there. He stold a suit of clothes and they had him
arreste and put him in jail. And that night--the first night--
why, the jail house caught fire--just a little' old plank outfit-several
years ago. Way back further than I can recollect. And
they made a song of it.
M ••••• You don't know who made the song?
High •• No, I don't know who it was. I don 't know but this woman that
knows it and she says, I know it. She had been with us along in
the fall. Went over to the grave yard and saw her Paw and
Maw's--er--her Paw's grave and just went right back that day.
M• ••••W hat1s her name, sir?
High •• Uh--she's jn that book.
Mrs. H •• Frank.
High •• She's Allen but she married a man by the name of Frank. F-R-A-N-K-S or
F-R-A-N-K.
Mrs. H •• Frank--wi thou.t the nsu .
High •• It could take a little while, but there's the book.
M• •••• I see.
High •• I've got 2540 kinfolk's names in there--scattered all over the
country but I don't think I've airy one in Fayetteville. None
in Fayetteville, I don't think.
M• ••••W hich direction do they go mostly? Up toward Missouri?
(End of Tape)Funding for digitization provided by the Arkansas Humanities Council and the Happy Hollow Foundation
Biographical material
No full textCollected by Merlin Mitchell
Transcribed by Kyle Perrin
Biographical Material
Fred High
Reel 5 Item 3
High, Ark.
February 20, 1950
Mitch ..When I was coming down here I asked an elderly lady where you lived
and she said she couldn't tell me too well--told me to go across the
street. But she asked me when I was leaving if there was going to be
a marriage or something. Now, how would that pertain to you?
High . . .Wul, I'm a justice of the peace. That man from Oklahoma that I
started to tell you about--he come to hunt me to buy t h e farm. And
they told him up there--so he told me--he said--they said just go
north and he said when you come to a cannin' factry, why--that's where
he lives--said, he owns that cannin' factry down in there. And they
came down this other road and come to where my girl lived, f i v e miles
up the creek here. And she told 'em to come around this way--'fraid
to tell 'em to come down the creek-- 1fraid they couldn't make it.
And he come around this way and he had uh--uh--a woman lawyer w i t h
him. They come from Jay, Oklahoma. You know whur Jay is?
Mitch . .No, not exactly.
High . . . .Well, there's where they come frum an' she--her man got killed with a
car wreck. And he had got--his w i f e had got killed in a car wreck.
But he's real old and she wasn't but about forty, I guess. And she's
a lawyer and h a r d a-hearin'. And s h e - - u h - - w h e n I went out there the
last time to git to pay f e r my place, why, I talked with her and she
said, Now, I've never married yit. But, said, i f I ever git ready
to marry, said, I'll come--bring my man--come plum back there to
have you to marry me. And she said that embarrasses me a lot about
my hearin'--in court. And she--they said she had awful good luck in
court with her--with her--courtin'--with her lawyerbusiness.
Mitch . . W e l l , what other positions have you held, Mr. High, around here in
the community?
High . . .Oh, what you mean, uh--
Mitch. . Well, you were justice o f the peace.
High . . .W e l l , I've been school director some o f the time. I've been a justice
of the peace for--uh--thirty or forty--thirty-five years, I guess,
anyway--all told, from first and last.
Mitch.. .How old are you now, sir?
High . . .Seventy-two--few days ago. Never moved. I'm a-set t in' in twelve
f o o t of where I'se born. The Highs come here a hunderd and f i v e
years ago from Benton County. That book tells where the old man
High put up a mill there close to Rogers--East of Rogers--a corn mill
run by water--water mill. But, hits flour mill there now.
Biographical Material (cont.)
Mitch . .That's up in Missouri.
High . . . In--yeah,* in Benton County-- enton County--right east of Rogers.
The book tells where--about where they come-- They come frum Illin--
Indiany to there, though , frum--wul, my paw was bornd in Ohio. And
then they come--drifted down here. He brought e i g h t b o y s and four
girls when he landed over here in this field of mine--in '45--1845--
in the fall--'45 Well, now that little song that I ' s e a-fixin' to
sing.
*Mr. High is hard of hearing and did not understand the statement made by
Mitchell concerning the location of the mill. The mill is located
near Rogers, Arkansas, and not in Missouri.Funding for digitization provided by the Arkansas Humanities Council and the Happy Hollow Foundation
Representations of screen heterosexuality in the musicals of Fred Astaire and Vincente Minnelli
Full text linkThis thesis examines the ways in which heterosexuality
is rendered in the Hollywood genre where its existence
is most privileged: musicals of the studio era (c. 1930 -
c. 1960). In this popular film category, heterosexuality
is expressed in a framework of "boy-meets-girl" amatory
coupling that is remarkably amplified and insistent. In
analysis that is at once sympathetic and critical of the
subject matter, I show that heterosexuality in the
Hollywood musical is constructed in a way that is far
from monolithic. On the contrary, I find that there are
in fact varieties of heterosexual identity that exist in
the genre, and that they are most succinctly revealed
through romantic engagement. Yet heterosexuality is
depicted along divergent formulations owing to
contrasting relational aims and assumptions. Building on
Richard Dyer's 1993 essay, "'I Seem to Find the
Happiness I Seek': Heterosexuality and Dance in the
Musical," I will discuss how the basis of these separate
models is traceable to different approaches related to
power distributions between men and women. These
processes, in turn, arise from different notions
concerning masculinity and femininity. In this way, a
mix of gender expressions inhabit the Hollywood musical
leading to an assortment of heterosexual models. Textually these models become visible not only through
an analysis of characterization and the position of the
man and woman within the narrative, but in the camera
work, all aspects of the mise-en-scene, and most
cogently, in the arrangement of the central heterosexual
couple in the song-and-dance sequences.
For my examination of heterosexuality in the Hollywood
musical, I will concentrate on the work of two of its
greatest auteurs: Fred Astaire (star) and Vincente
Minnelli (director). The impact each man made on this
genre is hard to overestimate. In terms of methodology
I divide my analysis between these two artists, and
ascertain what model(s) of heterosexual identity are
communicated by them. Then after establishing what
design(s) of heterosexual life each one suggests (for
Astaire I analyse Top Hat (1935] as well as Carefree
[1938] and The Sky's the Limit [1943], while for
Minnelli I look at Meet Me in St. Louis (1944) and The
Pirate (1948]), I conclude this thesis by examining
their most acclaimed joint effort (The Band Wagon
(1953]) to discern what, if any, change one might have
had on the other. A phenomenon tied to the US musical
(whether stage or screen) is that although it is the
most heterosexual of genres, it is also one
traditionally both crafted and appreciated by gay men. Though it does not fall within the scope of this thesis,
it is worth speculating for future work if Astaire's
heterosexuality and Minnelli's homosexuality had any
significant bearing on the way they represented the
standard boy meets-girl plot device upon which the
Hollywood musical relies
The Cadet, 1917-08, vol. 04
No full textThe Cadet was published between 1914-1924 as an enterprise for the benefit of the Catholic Cadet Corps. A non-political publication, it covers a wide range of subjects of general interest, including the activities not only of the C.C.C., but of other Newfoundland cadet corps as well.War Anniversary Day, St. John’s : Mayor addressing citizens [illustration] -- Editorial -- Some facts worth knowing about our regiment and reserves -- Newfoundland in the war / F. A. McKenzie -- Roll of honour : Private James Hudson ; L.-Corpl. Harvey Butler ; Private R. Callahan ; Capt. A. O’Brien ; Capt. Jack Mitchell ; L.-Corp. Robert Noonan ; Sergt. P. Tobin ; Lance-Corp. Jack Dunphy ; Private Edmund Dunphy ; Private William Dunphy ; Private John Dunphy ; Corp. Richard Neville ; Private Frank Hussey ; Private Bewey [illustrations] -- Roll of honour : Privates Stanley and George Abbott ; Private Josiah Squibb ; Private W. Murphy ; Private John Hardy ; Capt. Frank Summers ; Lieut. Clift Rendell ; Lieut. Richard Shortall ; Lieut. Bruce Reid [illustrations] -- Roll of honour : Lieut. Sam. Ebsary ; Pte. McWorthier ; Private Hubert Ebsary ; Private White McGrath ; L.-Corp. Gordon Bastow ; Private Blyde ; Pte. Leonard J. Barrett ; Pte. Robert J. Williams ; Private Randolph Winter ; Private James Lannigan ; Private William Doheney ; Corporal W. Costello ; Lieut. Hubert Herder ; Private M. F. Kennedy [illustrations] -- Roll of honour : Capt. Eric Stanley Ayre ; Capt. Bernard Pitts Ayre ; Lieut. Gerald Walter Ayre ; Lieut. Wilfred Douglas Ayre [illustrations] -- With the Canadians : Private Grant ; Private Don. Trapnell ; Private George Hunt ; Private Gerald Byrne ; Private M. Myler ; Private Thistle ; Pte. Charles Frampton ; Corp. W. Richards ; Sergt. Gordon Boone [illustrations] -- Roll of honour : Pte. J. Fitzgerald ; Pte. James Joseph Hynes ; Sergt. A. Duffett ; Pte. George Samuel Knight [illustrations] -- With H.M. naval forces : Lieut.-Commander Richard Howley ; Lieut. Stan Duder ; Edward Spracklin ; Frank McNamara [illustrations] -- With H.M. naval forces : R. Alfred Joy ; William Joy ; The first contingent of naval reservists to leave St. John’s ; Leander Green ; Alfred Andrews ; Lieut.-Commander J. Randell [illustrations] -- A few of the distinguished ones : Private Alfred Manuel ; Pte. Gladney ; Lieut. Peter Samson ; Private David Brown ; Lance-Corpl. Jack Lewis ; Sergt. Arthur Webber ; Lieut. Cyril Gardner ; Private Oliver Goodland ; Sergt. Joseph Morrissey [illustrations] -- The German Government and the German nation / Rev. Prof. John Line -- His Excellency the Governor, the Rt. Rev. Lord Bishop of Newfoundland, Very Rev. Fr. Renouf, the Premier and Executive reviewing the Newfoundland Regiment at Government House grounds [illustration] -- A few of the distinguished ones : Surgeon Capt. W. Parsons ; Pte. Jack Cox ; Capt. Rowsell ; Pte. G. Phillips ; Capt. Bertram Butler ; Lieut. Gerald Byrne ; Pte. Mat. Collins ; Capt. Arthur Raley ; Lieut. H. G. Parrett ; Major Bernard ; Lieut. Ralph Lewis ; Sergt. W. Lewis [illustrations] -- Some of our wounded : Pte. Rowe ; L.-Corp Edward Shea ; Lieut. Peter Cashin ; Lieut. C. F. Garland ; Lieut. W. Clare ; C.Q.M.S. Ralph Andrews ; Lieut. Ralph Herder ; Private Boland ; Lieut. Herbert Rendell ; Lieut. George Langmead ; Capt. J. Nunns [illustrations] -- Newfoundland is proud of them : Capt. Jack Turner ; Mr. George Turner ; Pte. Alfred W. Turner ; Private Frank Turner ; Private Donald M. Turner ; Private W. George Turner [illustrations] -- A family of heroes -- E’en to eternity / Fred. B. Wood -- A friend indeed / Fred. B. Wood -- Newfoundland’s National Government : Rt. Hon. Sir E. P. Morris ; W. F. Coaker ; W. F. Lloyd ; J. R. Bennett ; R. A. Squires ; M. P. Cashin ; W. W. Halfyard ; J. C. Crosbie ; M. P. Gibbs ; J. A. Clift ; W. J. Ellis ; W. Woodford ; J. G. Stone ; A. E. Hickman.An issue devoted to Newfoundland's role in the First World War to date (p. [5]). -- Frequency: quarterly (?). Includes numerous advertisements
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