เกษตรถือเป็นหัวใจของประเทศ. มันมีบทบาทสำคัญในการสร้างรายได้ของประเทศในการแก้ปัญหาการว่างงานในชนบทและในการรักษาสมดุลในการจัดหาอาหารในประเทศ. ข้าวเป็นวัตถุดิบหลักในประเทศไทย. เกษตรกร ไทย สมาธิมากขึ้นในด้านข้าวและมันเป็นหนึ่งในสินค้าส่งออกหลักของพวกเขา.

ปลูกข้าวส่วนใหญ่ในพื้นที่ภาคกลางของประเทศไทย. เกษตรกร ไทย ทำงานตลอดทั้งปีและหลังจากการเก็บเกี่ยวประจำปี ฤดูพวกเขาวางแผนสำหรับการเพาะปลูกที่สองหรือบางครั้งพวกเขาฝักใฝ่เลี้ยงสัตว์หรือปลา. ประเทศไทยเป็นที่นิยมสำหรับที่ดินอุดมสมบูรณ์ของไพศาลและอุปทานสมบูรณ์น้ำ. ได้กล่าวมีที่ดินอุดมสมบูรณ์ที่สุดในเอเชีย. ประเทศไทยยังเรียกว่า "ขันข้าว". เกษตรกรใช้ปลาหลังและปลูกข้าวพร้อมกัน; เนื่องจากพวกเขาเคยมีอุปทานอย่างต่อเนื่องของปลาสดและข้าวอยู่ใน.

ปัจจุบันเกษตรกรในประเทศไทยหน้าจำนวนปัญหาเป็น> รัฐบาลไทยเข้าสูงส่งเสริมการส่งออก orientated ระบบเกษตรเพื่อเพิ่มอัตราการเจริญเติบโตของประเทศ. นโยบายการเจริญเติบโตนี้มีผลในการชะลอของภาคการเกษตรของประเทศ. ยากจนเทคนิคการจัดการฟาร์มและการใช้ที่ไม่เหมาะสมของเคมีการเกษตรได้ก่อให้เกิดการพังทลายของดินและความเหนื่อยดินเสียหายต่อภาคเกษตร.

อีกปัญหาร้ายแรงในประเทศไทยเพิ่มขึ้นในการตายและการเจ็บป่วยในหมู่เกษตรกรเนื่องจากสารกำจัดศัตรูพืช. นี้เป็นส่วนใหญ่เนื่องจากขาดความรู้ที่มีไปถึงการสมัครและขั้นตอนความปลอดภัย agrochemical. ในปี 1988 จำนวนคนที่รายงานจะทรมานจากพิษสารเคมีเป็น 4.234 ในขณะที่จำนวนผู้เสียชีวิตจากพิษสารเคมีได้ 34.

รัฐบาล ไทย จะจนกระตุ้นให้เป็นจริงและเป็นเวลาที่เกี่ยวกับการที่รัฐบาลได้เอาความคิดริเริ่มที่จะช่วยให้ภาคเกษตรไม่สบายอย่างอื่นประเทศไทยอาจสูญเสียชื่อของ "ชามข้าว".

I find it quite distressing that many software companies have special offers on at this time of year – where do they think I’m going to get the money from? – on products that I really, really want. One company is offering a buy one-get-one-free on sampled instruments, and I’d rather like both the Gamelan and the E-bow sample sets. Except they’re £50 each. I don’t have £50 right at the moment. Don’t they know there’s a Christmas on?

I much prefer the other approach: Give things away. There’s some pretty good, or at least interesting, software being given away this year. Ohm Force have given away a weird synth instrument that I don’t seem to be able to control properly, if indeed you are meant to be able to. I nearly bought this several times of the past couple of years, so I am quite pleased. East/West are giving away a cut-down version of their orchestra plug-in, which normally costs hundreds of pounds. Wasn’t expecting that, am almost giddy with excitement waiting for that to download*. Cakewalk have made some of their more elderly VST effects freeware. Native Instruments have given us more presets for the free Kore player, and I will overlook that one of the patches crashes Ableton Live every time I try to load it; it’s the thought that counts.

That’s what we want at this time of year – free things.

*This may not actually be true

(Updated with audio snippets of the live performance.)

Congratulations to the cast, crew, production staff, creative team, and everyone who helped in their own special way and those who watched the successful staging of “Makata’y Mandirigma, Mandirigma’y Makata” at the UP Theater last November 30, 2009!

I’m collecting in this post the bits and pieces of the play’s music including audio snippets of the live performance. As for photos behind the scenes, you can check here, here, here, here, here, and here. You can also check Arkibong Bayan and Pinoy Weekly’s photo coverage. You can also read this article about the play by Dream Worker Too. Accompaniment music and audio snippets of Makata’y Mandirigma, Mandirigma’y Makata LIVE! after the jump.

Prologo

Ang Gerilya ay Tulad ng Makata
Piano rendition of “Ang Gerilya ay Tulad ng Isang Makata (The Guerrilla is Like a Poet)”, poem by Jose Maria Sison and music by Danny Fabella.

Live! Listen to Ador, Joma, and Laya as they speak verses from the poem while the piano rendition plays in the background.

Unang Yugto

Payabangan nina Sgt. Zardo at Sgt. Samuel
Live! Sung by Vernie Serrano and me.

Awit ng Pagsampa
Arranged with Rapture and Dimension LE for Cakewalk. Acoustic guitar used to play the main riff accompanied with a brass and percussion orchestra, a strings ensemble, and a rock drum set.

Pangalawang Yugto

Tula at Mandirigma

Kapag may nawala, dapat may dumampot sa bandila

Pangatlong Yugto

Ang Sayaw ni Ador
A rendition inspired by “Ang Pagdadalawang-isip ni Ador”. Used the higher octaves of the piano for the main riff. Supporting music provided by brass and percussion orchestra, and a strings ensemble. A tweaked sound sample from a heart rate monitor was used repeatedly in the rendition.

Epilogue

Awit ng Pag-asa | Bartolina Muli
The first part was inspired by and partly a rendition of Tambisan ng Sining’s “Awit ng Pag-asa”. It was rendered in Cakewalk as a performance by a full orchestra playing alongside a rock band. The second part, “Bartolina Muli” was composed by Jefrey Guiban with lyrics by Jose Maria Sison. A strings ensemble was added to the piano rendition to add texture.

Makata’y Mandirigma, Mandirigma’y Makata

Itinanghal sa UP Theater, 2:30 PM and 7 PM, November 30, 2009.

Sumulat ng Tula
National Artist Bienvenido Lumbera

Sumulat ng Dula at Libretto
Edward Perez

Direktor
Romel “Pipoy” Linatoc

Direktor ng Musika
Rica Saturay Palis

Disenyo ng Ilaw at Produksyon
Katsch Katoy

Koreograpiya ng Sayaw
Jun Bueta at Edwin Quinsayas

Mga Gumanap

Jose Maria Sison – Ariel Sumilang
Batang Ador – Edwin Quinsayas
Matandang Ador – Ka Tony Liongson
Laya – Angeli Mercado
Nelia – Jocelyn Cunana-Salvana
Orya – Kleng De Loyola
Nanding – Jed Aquino
Maj. Palapala – Nestor Marcelo
Sgt. Zardo – Vernie Serrano
Sgt. Samuel – Karl Ramirez
Minerva – Dayan Asuelo
Ama ni Minerva – Jonathan Sta. Rosa
Panginoong Maylupa – Joel Garduce
Katiwala – Nuki Calubid

Koro ng Manggagawa

Mariza Sabater, Alex Samson, Rowena Villanobos, Ulysess Sunega, Sonny Tuanio, Leleng Kimuol, Sheila Omana, Martin Custodio

Koro ng Taumbayan

Ofel Cantor, Silahis Ramos, Ludy Comeling, Gly Gotiangco, Danya Reyes, Sheng Ocampo, Diane Zapata, Joel Garduce, Nuki Calubid, Jonathan Sta. Rosa, Aaron Valenzuela, Bugsy Nolasco, JP Lapid, Zak Tamayo, Milo Rivera, JR Madarang

Koro ng Mananayaw

Terence Lopez, Glades Maglunsod, Mavi de Ocampo, Lourdes Villarias, JJ Pandeagua, Geming Abraham, Teta Sibugan, Queda Guerrero, Janesa Baniago, Rebo Rodriguez

Namahala sa Produksyon

Executive Producer
Benjie Oliveros

Associate Producers
Rey Casambre, Bedette Libres

Production Manager
Walkie Mirana

Assistant Production Managers
Dayan Asuelo, AK Guray

Head Stage Manager
Jola Diones-Mamangun

Assistant Stage Managers
Michelle Buenaventura, Angge Santos, Aian Perucho (Props), King Catoy (Lights), Taren Lulu (Lights)

Technical Director
Jason Bobier

Video Support
Ariel Saturay, Cris Balleta, Nino Tagaro, Raymund Villanueva, Juny Frias

Mga Lumikha at Nag-areglo ng Musika
Rica Saturay-Palis, Tony Palis, Fitzgerald “GP” Villapando, Roland Peter “Peps” Nicart, Lorenz Gealogo, at Karl Ramirez

Production Design Team
Angge Santos, Marish Viola, Kuki Musni, Max Santiago, Aian Perucho

Costume and Make-up
Diane Directo, Kate Weaver, Jeanne Nebrida

Mobilization and Invitation Team
Rita Baua, Norma Binas, Nelson, Gary, Tom Medina

Transportation and Food Committee
Mona Bernardo, Norma Ranjo, Nanay Lolit

Cakewalk has announced that it’s now offering it a bunch of free Windows music software, including synths and effects processors.

Here’s what Cakewalk has to say about each of the freebies:

• SFZ+ is rgc:audio’s SoundFont player sample-playback engine, packed in a professional VST/DXi instrument.  Outstanding sound quality, stereo built-in effects, adjustable CPU/quality settings to adjust it to your hardware, fully multitimbral operation, multiple stereo outputs, several loading modes including direct-from-disk streaming and a beautiful interface make sfz+ the perfect choice for SoundFont users and professional composers.
• Square I offers the warmness and classic sound of the vintage analog synthesizers, combined with the fidelity and precision of a VST instrument.  A simple synthesizer, oriented to the serious music enthusiast.
• Cakewalk Audio FX 1 is a series of real-time audio processing plug-ins. All Cakewalk Audio FX plug-ins are Microsoft DirectX- compatible, allowing you to use them with any digital audio software that supports DirectX – including Cakewalk SONAR and other Cakewalk applications.
• Cakewalk Audio FX 2.  Audio FX 2 uses advanced processing algorithms to apply the classic sound and warmth of several different vintage guitar amplifiers and analog tape decks to your digital audio.
• Cakewalk Audio FX 3 SoundStage allows you to design acoustic environments in which to play back digital audio, resulting in unique, realistic reverb. Audio FX 3 Features Two Views: Performer’s View and Room View. To create the perfect room, just click and drag your mouse to move walls and change ceiling height. Choose from different microphones, and place them inside the room. Then assign each audio track to different “performer” positions to hear custom reverb on each track. When you’re finished, save your soundstage for other sessions, or use as a template for other designs. Audio FX 3 includes ready-to-use soundstages too.

Download them here >>

En weer een superleuke update voor meisjes, allemaal gedragen door 1 kind, die heel veel kleding heeft en dus is alles in hele goede staat.

Meisjeskleding in de maten 86 – 110.

• Merkkleding: Mexx, Esprit, Birddog, Ragazzi, Cakewalk, Wooden Buttons, Zara en meer
• Non-merk: Hema, H&M, Villa Happ, K3, Dora, Disney en meer

Kom snel even kijken.
En leden van onze mailinglijst krijgen 15% extra korting op alles!!

Op de hoogte zijn en ook korting krijgen?

  Kleine-mode sluit haar deuren! OPHEFFINGSUITVERKOOP VANAF NU 35% KORTING OP ALLES!

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Nieuwe merkkleding in de maten 50 t/m 98.

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Profiteer vanaf nu en krijg 35% EXTRA kassakorting op je volledige bestelling.  Wees er snel bij want OP = OP!

Met vriendelijke groet,

Marielle van Geffen – Dirks
Kleine-Mode baby- en kinderkleding

Zoek je nog leuke kleding voor een klein prijsje? Kom dan eens langs bij koekeloereonline.

Alle outlet van vorige winter nu met 70% korting! Merken  Gbro, Oilily, Cakewalk, Kidz-art, Kiezel-tje, Carbone.

Alle kleding van deze winter nu met 30-40% korting! Merken Mim-pi, Kiezel-tje, Retour, Bonnie doon, Molo, Barbara farber, Doerak.

Meld je aan bij mijn mailinglijst en ontvang altijd 10% extra korting op je bestellingen!

 Groetjes, Annemieke
outlet kinder merkkleding:
http://www.koekeloereonline.nl/shop/–

Today is Bert Williams’ birthday.

George Walker and Bert Williams are important figures not only in show business history, but American cultural history, as well. Williams, the more gifted and longer-living of the two, was the Jackie Robinson of American show business, and in his theme-song “Nobody” (lyrics by Alex Rogers), left the world with a standard that’s still being covered today (e.g. by Johnny Cash on his American III: Solitary Man album).

When life seems full of clouds and rain

And I am full of nothin but pain,

Who soothes my thumpin’, bumpin’ brain? Nobody!

When winter comes with snow and sleet

And me with hunger and cold feet,

Who says, “Here’s 25 cents, go and get something to eat?” – Nobody

The supreme irony is that while Williams is the most famous black man to come out of vaudeville (apart from Bill Robinson), he was by ancestry mostly caucasian. His paternal grandfather was the Dutch Consul in Antigua, West Indies. His paternal grandmother and his mother were both quadroons—one quarter black. This would make Williams something like 3/16 African, but in the racist world that he was to inherit, that was enough to make his life a supreme challenge.

He was born Egbert Austin Williams in the year 1874. In 1885, the family moved to California. As a teenager, Williams hoped to go to Stanford University. He became an entertainer to raise money to pay for his tuition. Because he had no experience, theatres wouldn’t book him. He started out in the rough-and-tumble world of Barbary Coast saloons instead, where his poise, dignity and class were only handicaps. An 1893 tour of lumber camps where he performed skits and songs fared hardly better. In these years, he gradually had the horrifying revelation that he was the victim of the racist expectations of the audience and that, in order to be a success, he would have to stoop to portraying the sort of low stereotype that white people expected. While Williams was light-complexioned, African features predominated – to the audience he was a “black man”, and in America, “black men” behaved a certain way. The problem was that Williams was well-educated, upper middle-class, and sophisticated. To make a success in show business, he actually had to struggle to learn what was to him an alien dialect and mannerisms.

In these early years, Williams displayed few of the gifts for which he was later distinguished, was no great shakes as a singer, dancer, musician (he played banjo) or comedian, yet his high intellegence managed to carry him through. With his evolving new “darky” persona (which undoubtedly galled him), he started getting his first decent bookings, first a few months at the San Francisco Museum, then with Martin and Seig’s Mastodon Minstrels.

It is at this early and embryonic juncture that Williams met George Walker, who was a year younger than Bert, but already a veteran of minstrel and medicine shows. The two hit it off and worked up an act. George sang a song “See Yer Colored Man”, while Bert played banjo. Bert was the straight man in their first crude comedy routines. For nearly two years (1893-95) the two performed their songs and skits at Jack Halahan’s Cramorne Theatre (later known as the Midway Plaisance.)

When the pair heard about a successful show in Chicago called The Octoroon that was hiring black performers, they decided to take their chances and move there in hopes they could bluff their way in. Their plan was to work their way east with a travelling medicine show. The scheme was rudely interrupted in Texas by a lynch mob, however, who were offended by Walker and Williams’ flashy, expensive clothes (which, by the way, were a professional necessity for vaudevillians). The mob tore off their clothes and gave them burlap sacks to wear. The good “doctors” of the medicine show did not defend them, and so they were left naked and penniless to make their way to the next town. How they managed to do so is not recordrd for posterity. After this incident, the boys vowed never to work the South again, a promise on which they made good.

Miraculously, they managed to make it to Chicago and get a week’s try-out in The Octoroon – but they flopped and were let go. The set-back provided them with an opportunity to take stock of their act and decide on some improvements. In the next few months, they developed the basic characteristics of the act that would make them world famous.

First, Williams bit the bullet and decided to black up. It was common for African Americans to wear blackface in those days. In fact, that was how blacks broke into show business in the first place, by performing in minstrel shows as “genuine coons”. As with so many performers, the blackface seemed to work a miracle on the naturally shy and introverted Williams – it released his inhibitions and freed him up to be funny. He finally let go of his dignity (which is a fine thing for a man to possess, but a handicap for a clown), and started going for the bellylaughs. The character he became known for was a loser, a sort of shabby pessimistic everyman in threadbare clothes, or as he sang in one of his more popular songs, “The Jonah Man” – the guy to whom everything bad happens. In contrast, Walker was a flashy dude in smart clothes, a ladies’ man, a talker, a schemer, the eternal optimist, and the motivating force behind the plots of all their stories. The two characters, of course, were exagerations of the men’s actual personalities.

Billed as “Two Real Coons”, the two travelled with their constantly improving act starting in 1896. In 1898 they were spotted by a scout in French Lick Indiana and tapped to perform in a Broadway show The Gold Bug which lasted one week. A succession of prestige vaudeville gigs followed, though: Koster & Bial’s, Proctor’s, Hammerstein’s Olympia, Tony Pastor’s Music Hall, the Keith Circuit. They were credited with introducing the cakewalk to mainstream America in their act, a popular dance which evolved from the minstrel show walkaround. Comical dancing became a highlight of their act, Walker high-stepping and lively, Williams, shuffling and clumsy.

In 1898, they toured with “Clorindy, or the Origin of the Cakewalk”, a book musical that further helped to legitimize african Americans on stage. They followed this up with a tour of “A Lucky Coon” , a sort of compendium of their minstrel bits, in 1899.

In 1901, Walker and Williams made history by becoming the first black recording artists, and the cylinders they cut sold well enough to put them among the first black best-sellers. Walker and Williams went on to star in and produce many important musicals over the next few years, including The Sons of Ham (1901), In Dahomey, the first all-black musical to open on Broadway (1902-05), and Bandanaland (1908). In 1903, Walker and Williams became the first African Americans to give a command performance for an English Monarch (Edward VII). George Bernard Shaw said of their performance: “the best acting now in London is that of Williams and Walker in In Dahomey.”

In 1905, Williams started singing Nobody, which was to be his theme song.

When I was in that railroad wreck

And thought I’d cashed in my last check

Who took that engine off my neck? Hm…not a soul…

In 1908, Walker contracted syphllis, which in those days was without a treatment. By 1909, the condition was affecting his performance and though he struggled valiantly to control the symptoms, he began to stutter, forget his lines, and lose his motor control on stage. That year, he retired from the act. By 1911, he was dead.

For a brief while, his wife Ada Overton Walker (a dancer who had performed with the team for years), went on as his replacement in drag. After a period of uncertainty, Williams developed a solo act, and in so doing, revealed himself to be one of the great comic artists of the 20^th century. In addition to his classic character songs like Nobody with their distinctive mix of pathos and humor, he also told dialect stories, (or “lies” as he called them) in the great tradition of african American folklore, and pantomime, which he claimed to have learned in Europe from a man named Pietro. His “poker routine”, in which he silently portrayed every player in a card game, conveying several distinct characters right down to what hand each man was holding, was legendary (and, luckily, was preserved on film). He toured the country in vaudeville with this material, almost never receiving the top billing he deserved because of the prejudice of the times, although there times when he was next to closing at Proctor’s Fifth Avenue and Hammerstein’s. From now, through the rest of his life, Williams was in the strange position of being hailed as a genius, universally beloved and respected by his colleagues, adored by his audiences…yet forced to leave the theatre by the back door, stay in separate “colored” hotels and boarding houses (in towns that had them), and avoid local troublemakers (including law enforcement officers) who relished making life hell for “uppity” negroes. A touching anecdote has Joe Keaton finding himself sitting at the same bar with Williams and noticing that they are opposite ends. “Come down and have a drink with me, Bert,” Keaton offered. But the bar was segregated and Williams was at the black end, so he mumbled an embarrrassed but polite refusal, and Keaton, realizing the situation, came down to his end of the bar to join him.

In 1910, Williams became the first major black star in motion pictures, a series of one-reel silent shorts for Biograph. In 1911, Zeigfeld hired him for his Follies – the first black to be so honored. When most of the cast threatened to leave, Zeigfield is reported to have said, “Go if you want to. I can replace everyone of you, except the man you want me to fire.”  Though getting his foot in the door at Zeigfeld’s was an achievement, it didn’t spell the end of racism in his life. In the show, while given many chances to shine, they were plenty of times when the roles he was given to play were an unfortunate reflection of the attitudes of the times: red caps, cab drivers, or some other type of lackey to his white co-stars were the typical parts given to this grandson of a diplomat. In 1914, he headlined at the Palace, another first for an African American, and the very pinnacle of success for a vaudevillian. Perhaps it was such triumph that gave him the serenity of mind to best a racist bartender in St. Louis. In a not-too-subtle effort to oust Williams from the bar on account of his skin color, the barkeep attempted to charge him $50 for a glass of gin. Williams calmly put a $500 bill down on the bar and said,  “I’ll have ten of them.” On another occasion, Lionel Barrymore was backstage watching Williams work, and a stagehand came up and said, “Like him, huh?” Barrymore said, “Yes, he’s terrific.” Just as Williams got offstage the stage hand said loudly, “Yeah, he’s a good nigger, knows his place.” and Williams said, “Yes. A good nigger. Knows his place. Going there now. Dressing room ONE!”

His last years were spent working the Follies, the Frolics and the Keith vaudeville circuit, but by the late teens his health began to fail. He died of a combination of heart failure and pneumonia while performing in Under the Bamboo Tree,­ a Shubert show in Detroit.   He was only 47.

To find out more about these variety artists and the history of vaudeville, consult No Applause, Just Throw Money: The Book That Made Vaudeville Famous, available at Amazon, Barnes and Noble, and wherever nutty books are sold.

Vandaag is het weer Dolle Donderdag:

En dat betekent dus weer: SUPERKOOPJES halen.

Wat is er te vinden?

* Mooie (fleece)truitjes van Petit Filou en Kiekeboe Mini in maat 68 tm 86.
Normale winkelprijzen 25-30 euro, nu voor maar € 7,50.

* Een Diesel sweater in maat 74 van € 39,95 voor € 7,50.

* Kiekeboe Mini sjaal + wanten voor 5 euro of met een muts erbij voor € 7,50.

* Diverse 2-delige sets voor meisjes voor maar 12 euro.
In de maten 92-98 tm 128-134.

* Diverse 2-delige sets voor jongens voor minder dan de helft van de normale winkelprijs. In de maten 92-98 tm 140-146.

* Prachtige kwaliteit jongensoverhemden van Filou & Co. Winkelprijzen bijna 40 euro. Nu voor maar 10 euro. Laat je zoon er netjes bijlopen voor weinig!

* Verschillende longsleeves en sweaters voor jongens van minder bekende merken voor maar 6 euro per stuk. In diverse maten.

* Een mooie meisjesbloes met ruches van Filou & Co voor maar 10 euro. Ook alvast heel geschikt voor de komende feestdagen. Maat 122.

* Voor meisjes: mooie longsleeves van Eager Beaver en Kamiel & Pupilla, in de maten 128 tm 152. Ook voor maar € 7,50 per stuk. Originele winkelprijzen tussen de 25 en 30 euro.

* Als laatste een Cakewalk sweater in maat 152. Voor maar 10 euro.

Je hebt vast al begrepen dat al deze kleren NIEUW zijn.
Natuurlijk kun je Dolle Donderdagbestellingen combineren met artikelen uit de andere mappen.

Ik hoop dat ik snel weer op de been ben, want er ligt hier een flinke stapel met hele leuke meisjeskleding te wachten om in mijn winkel gezet te worden.
En ook nog handgemaakte en dus unieke haarspeldjes.
Je kunt dit alles alvast zien in de map Komende Update. (alleen foto’s)

Graag tot ziens bij Aankleedpopje Kinderkleding: http://www.aankleedpopje.nl

Twee maanden geleden heeft Daffodille.nl, Pompidoe Kids uit Rhoon overgenomen. Aansluitend aan de kindermaat 86 loopt het assortiment nu op tot en met maat 176!

Ze willen het succes met u delen. Door het ontstaan van een grote wintercollectie kunt u profiteren. Op de gehele collectie geldt een korting van minimaal 30%.

De merken die ze verkopen zijn; Barbara Farber, Bengh, Bomba, Cakewalk, Gaastra, Geisha, IKKS, Jottum, Lot & Binc, Mc Gregor, Muy Malo, Noppies, Tommy Hilfiger, Tumble n’dry, Vingino en vele andere…
Neem eens een kijkje in de webshop (www.daffodille.nl) of de winkel (Strawinskyplein 11 te Rhoon)!

MEGAKORTINGEN op maandag 2 november en dinsdagavond 3 november van 18.00-23.00 uur bij Koekeloereonline.

Je krijgt 15% extra korting op:
-alle outlet staat al met 50-70% korting in de winkel( Cakewalk, Gbro, Vingino e.a.)

-alle nieuwe collecties staat al met 20-30% korting in de winkel (Mim-pi, Kiezel-tje, Noppies, Retour e.a.)

-alle 2e hands kleding in verschillende maten, jongens en meiden.

-alle Hippe haarknipjes.

Je krijgt de korting dus bovenop de al lage prijzen. En…bestel voor 15 euro of meer en ontvang een waardebon van 5 euro te besteden bij je volgende bestelling.

Meld je aan bij mijn mailinglijst en ontvang altijd 10% extra korting op je bestellingen(alleen nieuwe kleding). Tijdens deze actie komt dat er ook nog eens bovenop, kan het nog goedkoper?

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Groetjes, Annemieke

Location:  Historic American Sheet Music Collection, Duke University, Durham, North Carolina

Title of Song:  South Car’lina tickle : Cake walk

Composer: Geibel, Adam

Publisher: Theodore Presser

Year & Date:  1898, Philadelphia, Pennsylvania

Collection/Call Number/Copies:  Music # B-376

Historic American Sheet Music Item #: b0376

Basic Description
A tall, lanky man in a three-piece suit and a woman in a blouse with puffed sleeves and a long patterned skirt “strut their stuff” with their heads tilted upward. The man holds his right hand up daintily, showing off a glimmering jewel on his pinky finger. The luminosity of the jewel matches the gleaming button or brooch at the center of his ruffled shirt. With his head slightly raised and a smile on his face, he seems proud of his appearance. His yellow-dappled bow-tie and the poufy flower on his lapel nearly rival his head in size. Something that appears to be a medal dangles from his waist and his coat tails flare out jauntily. The woman’s skirt is patterned with what appear to be gourds, and her elaborately-clothed figure casts a dark shadow on the ground.  She too holds out her right hand, drawing attention to a ring on her finger, but her attention seems to be caught by the large flower in her left hand.

Personal Description
The self-importance of the couple seems to be a theme in this image, emphasized by the man’s jewels and the almost haughty posture of both figures.  However, the presence of three large flowers and the gourd-like design on the woman’s skirt seem to water down or distract from these overt connotations of extravagance and material wealth, almost giving the figures a slightly folksy quality. By 1898, the year this song sheet was published, the cakewalk as a couples dance had become popular in ballrooms and also as a stage act. Couples stepped high to a tune, while judges eliminated them one by one, presenting the best pair with a cake. Couples were judged on their inventiveness, elegance and grace, so the exaggerated poise and costume of the two figures in this image may be a highly exaggerated and caricatured interpretation of the qualities of the dance itself. This could be an ironic reversal of the original meaning of the cakewalk if the theory that it originated among slaves as a satire of white ballroom culture is true.

Reality Check

Gertrude Bustill Mossell (1855-1948) and Nathan Francis Mossell
Gertrude Bustill Mossell was a journalist, author, and member of the women’s suffrage movement. She was born in Philadelphia to a prominent African American family. After graduating from the Robert Vaux Grammar School, she taught school for seven years. In 1893 she married a leading Philadelphia physician, Nathan Frances Mossell. They married in 1893 and had four children together. The marriage ended her career as a teacher since married women were not allowed to teach. In 1894 she published the first of her books, The Work of the Afro-American Woman, a collection of essays and poems illustrating the contemporary work of black women. The book chronicles the achievements of thousands of African American women in different fields.

Bustill was also a journalist, and her articles on political and social issues were published in a number of periodicals including the AME Church Review, the Philadelphia Echo, the Indianapolis Freeman, the Franklin Rankin Institute, and Our Women and Children. Bustill edited the New York Freeman, the Indianapolis World, and the New York Age. In Philadelphia, she wrote syndicated columns in the Echo, the Philadelphia Times, the Independent and the Press Republican. Mossell also assisted in editing the Lincoln Alumni magazine, a journal of the Lincoln University, a prestigious institution for educating black men, such as Bustill’s husband, Nathan Mossell.

Because most hospitals in Philadelphia refused care to black patients, Bustill and her husband raised funds to open the Frederick Douglass Memorial Hospital and Training School. The hospital opened in 1895 with an academic program to help black women become nurses.

Bustill’s husband, Nathan Francis Mossell was a prominent Philadelphia physician born in Canada. After graduating from Lincoln University in Pennsylvania, Mossell entered the University of Pennsylvania Medical School and became the first African-American physician to be elected to the Philadelphia County Medical Society.  Dr. Mossell served as superintendent and medical director of the Douglass Memorial Hospital for 47 years. He was a founder of the Philadelphia branch of the National Association for the Advancement of Colored people and co-founder of the Philadelphia Academy of Medicine and Allied Sciences. He died in 1946. His wife Gertrude died two years later, in 1948.

(Sources: http://www.archives.upenn.edu/people/1800s/mossell_nathan_f.html, New York Times, Dr. Nathan F. Mossell, Oldest Active Negro Physician, Uncle of Paul Robeson, Was 90, October 29, 1946)

If you are in the UK, you will want to head up to the NEC in Birmingham for Music Live! The show is Nov 6, 7 and 8 and is packed with all the latest offerings from all the mjaor manufacturers. Roland, Edirol and Cakewalk will be at the show and Julien Tritsch will be giving SONAR 8.5 Masterclass demonstrations on Saturday and Sunday. If you are looking for a great deal on a new peice of gear you need to go to Music Live as the best deals of the year tend to be there!

Click here to get the latest news on details on Music Live.

If you are in the LA area on Nov 14th and 15th you definately should go to the West LA Expo. There will be expert product presentations from Seth Perlstein, special cakewalk guest apperances and free food! In addition, there will be guest speakers and just about every product manufacturer showing their latest offerings. This is a must see event!

Sign up for the event and be automatically entered to win great prizes.

SONAR 8.5 has many amazing new features including the VX-64, PX-64, Matrix view, Audio Snap 2.0, Session Drummer 3 and more! The video below explains how to to get your upgrade to SONAR 8.5.