Ormsby wilkins biography of donald

Commercial radio station in Sydney, Australia

2UE is an all-music radio station in Sydney owned by Nine Entertainment and run under a lease agreement by Ace Radio. It currently broadcasts from its studios in Pyrmont, New South Wales.

History

1920s

2EU

Electrical Utilities applied to the Postmaster-General's Department for a licence for a new B Class (later commercial) station licence. The station was to have the call-sign 2EU, based on the initials of Electrical Utilities. However, before the licence, PMG – Broadcasting Station Licence No.12, was issued on 7 November 1924, Electrical Utilities advised the PMG that it wished to reverse the initials in the call-sign – thus the licence was issued to 2UE. As to the reason for the change of call-sign, Jim Malone, Chief Manager of Telegraphs and Wireless for the Federal Government, suggested the change saying that 2UE had a "more euphonious sound".

2UE

2UE opened on 26 January 1925. The founder of Electrical Utilities and 2EU/2UE was Cecil "Pa" Stevenson, who was also 2UE's chief engineer, and one of the most prominent personalities in Australia's early broadcasting history. Prior to opening 2UE, he had operated experimental station 2IY, as well as working alongside a couple of other early experimenters.

Pa Stevenson was assisted at 2UE by his family, and in particular by his eldest son, Murray. Murray Stevenson claimed that he was chiefly responsible for the technical side of the station. Pa Stevenson was the first announcer.

The original studio was in the dining room of the Stevenson Maroubra home; and an 80 feet (24.384 metres) transmitting tower was installed in his back yard. All the equipment was homemade; the studio and equipment costing £750 ($1,500) to build, and £9 ($18) per week to operate. Within a short time the studios were moved to Stevenson's radio store in George Street, Sydney.

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The world-famous Spanish writer Miguel de Cervantes Saavedra (1547–1616) became known in South Asia mainly through the medium of English, and this started happening fairly late, namely, towards the end of the nineteenth century. In his contribution to a volume fittingly called Quixotic Encounters, one of the very few works dedicated to “the almost uncharted area of the reception of Cervantes in India,”(2) Ganguly has noted that “curiously enough, the first copy of Don Quijote finds a home in Calcutta as far back as the 1780s, thanks to Williams Jones [...] who is known to have enjoyed and entertained himself reading it in the Spanish version in the company of his wife in Calcutta. (Vide his biography Life and Mind of Oriental Jones, the Father of Modern Linguistics by Galard [sic] Cannon.) Unfortunately for us, Jones did not think it necessary to talk about Cervantes or his book to local pundits whom he was meeting so frequently to formulate his path-breaking hypothesis on the Indo-European languages, for otherwise our contact with El Quijote would have preceded by a few decades, almost a century”.(3) This passage is quoted here in extenso not only because it contains a piece of inaccurate information which needs to be corrected, but also because Ganguly has claimed the same elsewhere,(4) and this has already misled other scholars.(5)

The fact of the matter is that the reading of Cervantes’s Don Quijote by Sir William Jones (1746–1794) in Calcutta in the last quarter of the eighteenth century is not at all documented, and, moreover, it may have not taken place there. What Garland Cannon has communicated in this connection in his biography of Jones is the following: “He read aloud to Anna daily. After a week’s introduction to Spanish, she was able to read Cervantes’s minor novels with facility, and he read her another”.(6) The expression “minor novels” obviously indicates that Jones’s wife has been reading some of Cervantes’s shorter novels such a

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Wikipedia on Les Sylphides

Les Sylphides, Michel Fokine’s diaphanous Chopin ballet, was revolutionary in part because it did away with the idea that a ballet needed a plot, but also because it was set to non-ballet music – i.e. the kind of music one might hear at a recital hall. In its earliest form, as performed at the Mariinsky in St. Petersburg in 1907 (with the name Chopiniana), the ballet hinted at dramatic situations from Chopin’s life. But Fokine soon re-imagined it as an abstract reverie that drew loosely upon motifs from Romantic ballets like Giselle and La Sylphide. This second version, set to a new selection of Chopin pieces (only the waltz in C-sharp minor op. 64 was kept) was staged, first for the Mariinsky, and then, with some adjustments, for Diaghilev’s Ballets Russes. Its delicate, even at times ecstatic mood finds its musical counterpart in a nocturne, three waltzes, two mazurkas, and a prelude, all written for the piano. Over the years they have been subjected to many orchestral adaptations. The Russian Romantic composer, Alexander Glazunov, was the first to adapt them for orchestra; Maurice Keller, a repetiteur at the Mariinsky, was mainly responsible for the second version. And for the Ballets Russes première, in June of 1909 at the Théâtre du Châtelet, Diaghilev had three of his pet composers – Stravinsky, Tcherepnin, and Liadov – re-set the score.

In 1936, the British pianist and composer, Roy Douglas, had his go. For many companies, including American Ballet Theatre, his has become the standard text. Douglas’s orchestral texture is on the thick side, symphonic, heavy on the horns. It lacks intimacy. But ABT programs from the early seventies list another attribution: Benjamin Britten, the composer of Billy Budd and Peter Grimes. According to recent research, it turns out that Britten was commissioned by the company to create his arrangement of the Chopin pieces in 1941. But at some point in the last decade or two