Word: sung
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Dates: during 1950-1959
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...Syngman Rhee, who once underwent torture at Japanese behest and has no love for them either, has all along insisted that Japan must pay him compensation for taking the Koreans in. One big reason: he already has more manpower than he can find jobs for. In contrast, Kim II Sung's devastated and manpower hungry Communist North Korea is eager to take in all the Koreans it can find...
Last week two Soviet ships, Tobolsk and Krilyon, steamed into Japan's Niigata harbor to pick up the first load of 975 repatriates, who had marched to the embarkation center waving red flags and singing The Song of Kim II Sung. The minds of most of their passengers had long been prepared by Soren, the Communist-financed society that controls 90% of Korean schools in Japan. The Koreans had had an undeniably miserable time in Japan. After years of work, most had less than 15,000 yen ($42) to their names. In an old U.S. Air Force barracks, they...
...Japanese Red Cross officials reminded all repatriates they were "free to choose to live in Japan, in South Korea or in North Korea." But in private interviews, only one 16-year-old girl backed out. After years of feeling unwanted in a-strange land, even those not lulled by Sung's song agreed with Bok Young Kyun, father of four, who said: "The children have no future in Japan and neither have...
Watching the performance from the audience, Tenor Robert Nagy guessed what had happened, hurried backstage and climbed into Carelli's discarded Don Curzio costume. After that, the performance went off without a hitch, despite the fact that Carelli had never sung Basilio at the Met (he had recorded it in Vienna). The audience failed to notice the switch, but Conductor Erich Leinsdorf was shaken. "You should have seen his face," said Tenor Carelli afterward. "He nearly fell off his chair...
...that the other dances were rather dreary affairs. The first, and much the longest, was based on Thurber's "The Wonderful O." Read by an anonymous narrator, the story was fun to hear, but it was interrupted at intervals by dancing, much to its detriment. The danced portions were sung by a small chorus competently led by Emily Romney. Stephen Addiss' music contented itself for the most part with a two-part chanting of the text which was serviceable but monotonous, only occasionally relieved by moments of lyric freedom. The other two dances, "Emergence" and "Academic Allegory" were both abstruse...