Carlotta Nillson appears to have retired from the stage sometime around World War I. She remained active with the Actor's Equity organization Walter Vincent Renamed-The New York Times; May 15, 1943; pg. 12 and at some point became one of the first actors from the legitimate stage to appear on radio.Carlota Nillson, Veteran Actress-The New York Times; January 1, 1952; pg. 25 Nillson came out of retirement on two occasions: she appeared in the 1934 play Re-Echo, but voluntarily withdrew from the cast before its Broadway debut when she learned the playwright, I. J. Golden, wanted her part to be played by actress Florence Walcott,In Re-Echo With Her Son-The New York Times; January 11, 1934; pg.
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Lord Carlisle, another school friend, penned a poem about his friends: > Say, will Fitzwilliam ever want a heart, > Cheerful his ready blessings to impart? > Will not another's woe his bosom share, > The widow's sorrow and the orphan's prayer? > Who aids the old, who soothes the mother's cry, > Who feeds the hungry, who assists the lame? > All, all re-echo with Fitzwilliam's name.
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Neil Gow stood as a stallion in England for eight seasons with mixed results. His most successful runner was Re-Echo who won the Cambridgeshire Handicap as a three-year-old in 1922, and was later exported to Argentina where he sired the undefeated champion Payaso. Neil Gow had some impact as a sire of broodmares, with his daughters producing the Oaks winners Rose of England and Chatelaine. He died on 21 April 1919.
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Originally, there was two extra verse in the song: When we grow old and the battle is raging, when to the wide earth's far corners we're flung; when we need faith in the conflict we're waging; shall we remember how once we were young. Fideliter et Fortiter, Fideliter et Fortiter, Down the years we'll re-echo the song: Faithful and strong. Faithful and strong. Then we'll be true to devotions we've learned, cling to our standards, be proud of our name.
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After his discharge from the Navy, Dee bought a Hammond Model A organ. He later customized this instrument with a Hammond Solovox, a Maas-Rowe Vibrachord, and Leslie speakers (model 31-H). He also had a tape echo built into his organ, allowing him to create his trademark re-echo sound. In the early 1960s, Dee recorded on a Wurlitzer organ overdubbed with his Hammond Model A. In 1967, he started recording on a Hammond X-66; in 1972, he switched to a Hammond Concorde.
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Frick's attempts to violently repress the strikers enraged Berkman and Goldman who quickly devised a plan for Frick's assassination. Living My Life describes how Goldman was motivated by the doctrine of "Propaganda by Deed" in Most's Science of Revolutionary Warfare, which supported political violence as a tool of the anarchist. She recounted her belief that Frick's death would "re-echo in the poorest hovel, would call the attention of the whole world to the real cause behind the Homestead struggle."Goldman, Living My Life, 87.
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Dedicated January 1895." The dedication ceremony began at 10:30. The choir (a quartet) from the Third Presbyterian Church of Rochester provided music. George Pullman delivered the deed, ending his short speech by saying, "I hope and firmly believe that the spirit of the prayers offered to the throne of Grace from the old red school-house, whose influence, through a period of more than fifly years, has resulted in the building of this church, will continue, and will echo and re-echo within its walls to the lasting benefit of many people.”Dedication of the Pullman Memorial Universalist Church , Harvard Divinity School.
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Perigee Books. . P. 526. At 22 in 1904, Hall was in the first stage production of Mrs. Wiggs of the Cabbage Patch. His Broadway credits include The Only Girl (1914), Have a Heart (1917), Civilian Clothes (1919), The French Doll (1922), Still Waters (1926), Buy, Buy, Baby (1926), Mixed Doubles (1927), Behold the Bridegroom (1927), The Common Sin (1928), Sign of the Leopard (1928), Security (1929), Fifty Million Frenchmen (1929), Everything's Jake (1930), Philip Goes Forth (1931), Chrysalis (1932), Thoroughbred (1933), Re- echo (1934), They Shall Not Die (1934), Spring Freshet (1934), All Rights Reserved (1934), and Rain from Heaven (1934).
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This voice type was called haute-contre, and the majority of heroic and amatory parts were written for it in grand opera and in opéra-comique. This type reached its apex in the age of Rameau. It was, in fact, a type of tenor voice extremely light and widely ranged, but nearly systematically uttered in falsettone in the high pitch, so as to somehow re-echo the castrato "contraltista" of the Italian stamp.Caruselli, Grande, vol 4, p 1197, article: "tenore". This thesis, evidently borrowed from Rodolfo Celletti’s positions, does not seem to have been fully shared explicitly, in Potter's recent work about the tenor voice.
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J. N. Loughborough, who had seen White in vision 50 times since 1852, and her husband, James White, listed several physical characteristics that marked the visions: #"In passing into vision, she gives three enrapturing shouts of "Glory!" which echo and re-echo, the second, and especially the third, fainter but more thrilling than the first, the voice resembling that of one quite a distance from you, and just going out of hearing." #For a few moments she would swoon, having no strength. Then she would be instantly filled with superhuman strength, sometimes rising to her feet and walking about the room. She frequently moved hands, arms, and head in gestures that were free and graceful.
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Already near retirement, Li Yangbing visited Li Bai on his death bed, where he was entrusted with the care of Li Bai's hastily scrawled and disorganized poetry manuscripts. Li Yangbing was able to use his literary and calligraphic talents, together with the extra time available by his retirement, to prepare the first corpus of collected Li Bai poetry; despite that, according to Li Yangbing, out of the eight years of the An Shi Rebellion turmoil, Li Bai's "writings of those years were lost, nine out of ten. What are preserved ... are for the most part what I obtained from others."Obata, 203 (quoting/translating Li Yangbing from his preface to Li Bo's works) Li Yangbing's diligence in collecting, editing, and publishing Li Bai's poems would eventually lead to the first collected works of Li Bai's poems, with results which would resound through the literary world through the centuries, and which re-echo even through the present day.
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