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The popular "she sells seashells" tongue twister was originally published in 1850 as a diction exercise. The term "tongue twister" was first applied to this kind of expression in 1895. "She sells seashells" was turned into a popular song in 1908, with words by British songwriter Terry Sullivan and music by Harry Gifford .
The Sing-song Girls of Shanghai, also translated as Shanghai Flowers [1] or Biographies of Flowers by the Seashore, [2] is an 1892 novel by Han Bangqing. [ 2 ] The novel, the first such novel to be serially published, [ 2 ] chronicles lives of prostitutes in Shanghai in the late 19th century. [ 1 ]
Margaret Petherbridge Farrar (March 23, 1897 – June 11, 1984) was an American journalist and the first crossword puzzle editor for The New York Times (1942–1968). Creator of many of the rules of modern crossword design, she compiled and edited a long-running series of crossword puzzle books – including the first book of any kind that Simon & Schuster published (1924). [1]
Spanish bandleader Xavier Cugat recorded a version of "Mary Ann" in the late 1940s. During the 1956–57 American calypso craze, the Easy Riders, Burl Ives, and other interpreters of folk music further popularized the song, generally under the title "Marianne". [2]
"She Sells Sanctuary" is a song by British rock band the Cult. It is from their second studio album, Love (1985), and was released as a single on 13 May 1985, peaking at number 15 on the UK Singles Chart in July of the same year.
The intertidal zone or foreshore is the area above water level at low tide and underwater at high tide; in other words, it is the part of the littoral zone within the tidal range.
She was traveling in Germany with five students in summer 1914, when German mobilization for World War I began, and she had to guide the party of girls to safety. [13] They closed the school in 1918. [5] Timlow also wrote books, beginning with a series of children's books published in the 1890s, Cricket, Cricket at the Seashore, and Eunice and ...
By the Seashore proto-typically reflects this period in Renoir's art. He worked with small compositions in the field that he then pulled together in more elaborate, larger works while in his studio. He was also playing with the disparity of space and scale between figure and background at this time. [3]