OpenLLM-France/wikimedia huggingface dataset:
# Sunkist Growers, Inc. v. Winckler Smith Citrus Products Company

* related portals: Supreme Court of the United States.
* sister projects: Wikipedia article, news, Wikidata item.
United States Supreme Court
370 U.S. 19
Sunkist Growers, Inc. v. Winckler Smith Citrus Products Company
Argued: March 21 and 22, 1962. --- Decided: May 28, 1962
See 370 U.S. 965, 82 S.Ct. 1577.
Herman F. Selvin, Los Angeles, Cal., for petitioners.
William C. Dixon, Oakland, Cal., Holmes Baldridge, on the brief, for respondents.
Mr. Justice CLARK delivered the opinion of the Court.

## Notes

This work is in the public domain in the United States because it is a work of the United States federal government (see 17 U.S.C. 105).
Public domainPublic domainfalsefalse
# Sunkist Growers, Inc. v. Winckler & Smith Citrus Products Company/Opinion of the Court

* Court Documents
* Case Syllabus
* Opinion of the Court
United States Supreme Court
368 U.S. 813
Sunkist Growers, Inc. v. Winckler & Smith Citrus Products Company
Petition for writ of certiorari to the United States Court of Appeals for the Ninth Circuit granted limited to Question 1 presented by the petition which reads as follows:
'1. Where a group of citrus fruit growers form a cooperative organization for the purpose of collectively processing and marketing their fruit, and carry out those functions through the agency of three co-operative agricultural associations, each of which is basically wholly owned and governed by those growers, and each of which is admittedly entitled to the exemption from the antitrust laws accorded to agricultural cooperatives by the Capper-Volstead Act (7 U.S.C.A., sec. 291)-is an unlawful conspiracy, combination or agreement established under Sections 1 and 2 of the Sherman Act [15 U.S.C.A. §§ 1, 2] upon proof only that these growers, through the agency of these three cooperatives, agreed among only themselves with respect to the extent of the division of the function of processing between them or with respect to the price they would charge in the open market for the fruit and the by-products thereof processed and marketed by them?'
The case is transferred to the summary calendar.

## Notes

This work is in the public domain in the United States because it is a work of the United States federal government (see 17 U.S.C. 105).
Public domainPublic domainfalsefalse
# Sunray Mid-Continent Oil Company v. Federal Power Commission

* related portals: Supreme Court of the United States.
* sister projects: Wikidata item.
United States Supreme Court
364 U.S. 137
Sunray Mid-Continent Oil Company v. Federal Power Commission
Argued: April 26 and 27, 1960. --- Decided: June 27, 1960
Mr. Melvin Richter, Washington, D.C., for petitioner.
Mr. Howard E. Wahrenbrock, Washington, D.C., for respondent.
Mr. Justice BRENNAN delivered the opinion of the Court.

## Notes

This work is in the public domain in the United States because it is a work of the United States federal government (see 17 U.S.C. 105).
Public domainPublic domainfalsefalse
# Sunrise (film)/Trailer

Sunrise
A Song of Two Humans
"An amazing picture—'Sunrise' is superb"
—N. Y. Journal
"Emotional appeal terrific"
—Film Daily
"'Sunrise,' by Murnau, proves a masterpiece"
—N. Y. Times
"The Film of films—the best picture of this year, last year and all the years before"
—N. Y. Daily News
"Sunrise" with Janet Gaynor and George O'Brien
This work is in the public domain in the United States because it was published before January 1, 1929.
The longest-living author of this work died in 1931, so this work is in the public domain in countries and areas where the copyright term is the author's life plus 92 years or less. This work may be in the public domain in countries and areas with longer native copyright terms that apply the rule of the shorter term to foreign works.
Public domainPublic domainfalsefalse
# Sunrise at Sea

written in May 1827, from Poems, in Harper's Cyclopædia 1909
When the mild weather came,  And set the sea on flame,  How often would I rise before the sun,  And from the mast behold  The gradual splendors of the sky unfold  Ere the first line of disk had yet begun,  Above the horizon's are,  To show its flaming gold,  Across the purple dark!
 One perfect dawn how well I recollect,  When the whole east was flecked  With flashing streaks and shafts of amethyst,  While a light crimson mist  Went up before the mounting luminary,  And all the strips of cloud began to vary  Their hues, and all the zenith seemed to ope  As if to show a cope beyond the cope!  How reverently calm the ocean lay  At the bright birth of that celestial day!  How every little vapor, robed in state,  Would melt and dissipate  Before the augmenting ray,  Till the victorious Orb rose unattended,  And every billow was his mirror splendid!
# Speidel v. Henrici

* related portals: Supreme Court of the United States.
* sister projects: Wikidata item.
United States Supreme Court
120 U.S. 377
Speidel v. Henrici
[Statement of Case from pages 377-385 intentionally omitted]
Wm. Reinecke, Geo. Hoadly, E. M. Johnson, and Edwd. Colston, for appellants.
George Shiras, Jr., for appellees.
GRAY, J.

## Notes

This work is in the public domain in the United States because it is a work of the United States federal government (see 17 U.S.C. 105).
Public domainPublic domainfalsefalse
# Speedy (film)/Trailer

Harold Lloyd in
"Speedy"
As a taxi driver—he proved a fliver——
As a "conductor" he got "lead poisoning" biting nickles—
Here's where you give "Harold" the Ha! Ha!
In his "mile-a-minute" streak of laughs, screams and guffaws.
and it's
| 50% | Love |
| 50% | Comedy |
| 100% | Entertainment |
This work is in the public domain in the United States because it was published before January 1, 1929.
The longest-living author of this work died in 1973, so this work is in the public domain in countries and areas where the copyright term is the author's life plus 50 years or less. This work may be in the public domain in countries and areas with longer native copyright terms that apply the rule of the shorter term to foreign works.
Public domainPublic domainfalsefalse
# The Ballad Literature and Popular Music of the Olden Time/Volume 1/Reign of Elizabeth/When that I Was a Little Tiny Boy

The Fool’s song which forms the Epilogue to Twelfth Night is still sung on the stage to this tune. It has no other authority than theatrical tradition. A song of the same description, and with the same burden, is sung by the Fool in King Lear, act iii., sc. 2—
The following is the song in Twelfth Night:—
# The Ballad Literature and Popular Music of the Olden Time/Volume 2/Errata

* Page 5, line 5, for “is crwth,” read “is said to be crwth.”
* p. 6, l. 34, for “armée,” read “armé.”
* p. 6, l. 3, of note $^a$, for “psaltry,” read “rote.”
* p. 7, last line but one, for “apochryphal,” read “apocryphal.”
* p. 18, l. 6, after “Saintwix,” add “alias St. Viste or St. Just;” and for “King’s College,” read “King’s Hall.”
* p. 18, last line of note, for “indicii,” read “judicii,”
* p. 23, l. 22, cancel from “The rote” to “wheel,” in the following line.
* p. 31, l. 33, for “Beverley Minster,” read “St. Mary’s Church, Beverley.”
* p. 45, l. 5, for “1841,” read “1481.”
* p. 55, l. 8, for “Songs in parts,” read “Songs in three or four parts.”
* p. 63, l. 3, for “Robin Hood, Robin Hood, said little John,” read “Heave and ho, rumbelow.”
* p. 77, l. 2, of “We be three poor mariners,” for “about 1630,” read “about 1700.”
* p. 87, l. 11, for “1698,” read “1699.”
* p. 183, l. 8, for “ii. 142,” read “iii. 142.”
* p. 183, cancel “slowly and,” to the time of the tune.
* p. 185, cancel “slowly and,” to the time of the tune.
* p. 207, l. 4, for “and old thing,” read “an old thing.”
* p. 232, l. 3, should be “and all Pretenders shake for dread,” not “speed.”
* p. 235, last line but one, after “the Fading is,” add “said to be.”
* p. 255, last line, for “The hunting,” read “The new hunting.”
* p. 342, l. 2, should be “Her tongue it is so bold,” not “loud.”
* p. 343, note $^a$, last line, first column, for “not even one,” read “only one;” and in last line, second column, for “all of his,” read “all his.”
* p. 379, l. 17, for “dated 1695,” read “date about 1745.”
* p. 435, l. 7, cancel “time of Charles I.”
* p. 443, l. 1, for “gobling crew,” read “Goblin crew.”
* p. 453, l. 5 and 6, for “the late George Macfarren,” read “Mr. J. W. Dixon.”
* p. 486, l. 9, for “sixteenth,” read “seventeenth.”
* pages 660, 661, and 662, time of the three tunes to be “jovially,” not “moderate time.”
* p. 779, 1. 9, for “The was,” read “There was.”
* p. 27, l. 1, treble, last note but three to be F, not G.
* p. 56, bar 5, treble, the first two notes of the melody to be G G, not B B.
* p. 58, bar 7, treble, last chord, cancel the upper D.
* p. 79, bar 1, treble, the D (under G) to be B, a third lower.
* p. 151, line 3, bass, the first note to be C, not B.
* p. 159, bar 2, bass, the under note in the third chord to be G, not F.
* p. 233, bar 7, treble, the first note of the melody to be G, not A.
* p. 642, bar 2 of last line, bass, the chord should be C C, not B B.
* p. 644, line 3, treble, first chord to be D B, not E B.
* p. 658, bar 3, treble, the last note to be C, not B.
# The Ballad Literature and Popular Music of the Olden Time/Volume 1/Reign of Elizabeth/To-Morrow Is St. Valentine's Day

This is one of Ophelia's songs in Hamlet. It is found in several of the ballad operas, such as The Cobblers’ Opera (1729), The Quakers’ Opera (1728), &c., under this name. In Pills to purge Melancholy (1707, ii. 44) it is printed to a song in Heywood’s Rape of Lucrece, beginning, “Arise, arise, my juggy, my puggy.” Other versions will be found under the names of “Who list to lead a soldier’s life,” and “Lord Thomas and Fair Ellinor.” See pages 144 and 145.
# The Ballad Literature and Popular Music of the Olden Time/Volume 1/Reign of Elizabeth/Sick, Sick, and Very Sick

This tune is contained in Anthony Holborne’s Cittharn Schoole, 4to., 1597, and in one of the Lute MSS. in the Public Library, Cambridge. (D. d. iv. 23.) In Much Ado about Nothing, Hero says, “Why, how now! do you speak in the sick tune?” and Beatrice answers, “I am out of all other tune, methinks.” In Nashe’s Summer’s last Will and Testament, Harvest says, “My mates and fellows, sing no more Merry, merry, but weep out a lamentable Hooky, hooky, and let your sickles cry—
On 24th March, 1578, Richard Jones had licensed to him “a ballad intituled Sick, sick, &c., and on the following 19th June, “A new songe, intituled—
This was probably a moralization of the former.
In the Harleian Miscellany, 4to, 10. 272, is “A new ballad, declaring the dangerous shooting of the gun at the court (1578), to the tune of Sicke and sicke; commencing—
The ballad from which the tune derives its name is probably that printed in Ritson’s Ancient Songs, (1793, p. 139) from a manuscript in the Cotton Library (Vespasian, A 25), and entitled Captain Car. The event which gave rise to it occurred in the year 1571. The first stanza is here printed to the tune:—
# The Ballad Literature and Popular Music of the Olden Time/Volume 2/The Commonwealth

* Introduction
* Hey, Then, Up Go We
* Vive le Roy
* Love lies bleeding
* Prince Rupert’s march
* When the King enjoys his own again
* By the border’s side as I did pass
* Fain I would if I could
* Cavalilly man
* The glory of the North
* The Devil’s Progress
* The glory of the West
* Nonesuch
* My father was born before me
* The clear Cavalier
* Old Noll’s Jig
* My name is old Hewson the cobbler
* I live not where I love
* Oh! for a husband
* An old woman clothed in grey
* I would I were in my own country
* The broom, the bonny broom
* I am a poor shepherd undone
* Christmas’s Lamentation
* When Love was young
# The Ballad Literature and Popular Music of the Olden Time/Volume 2/The Commonwealth/Love lies bleeding

This tune is referred to under the various names of Love lies bleeeding, Law lies bleeding, The Cyclops, The Sword, and The power, or The dominion, of the Sword.
In The Loyal Garland, fifth edition, 1686, is “The Dominion of the Sword: A Song made in the Rebellion.” Commencing—
It is also in Loyal Songs, i. 223, 1731 (there entitled “The power of the Sword”); in Merry Drollery complete, 1661 and 1670; in Pills to purge Melancholy, vi. 190; &c.
In the Bagford Collection, a song, “printed at the Hague, for S. Browne, 1659,” is named “Chips of the old Block; or Hercules cleansing the Augean Stable. To the tune of The Sword.” It commences—
Other copies of this will be found in King’s Pamphlets, vol. xvi.; in Rats rhymed to death, 1660; and in Loyal Songs, ii. 53.
“Love lies a bleeding; in imitation of Law lies a bleeding,” is contained in Merry Drollery complete, 1661 and 1670. There are also copies in ballad form in which the tune is entitled The Cyclops.
“A new Ignoramus: Being the second new song to the same old tune, Law lies a bleeding,” was printed by Charles Leigh in 1681, and included in Rome rhym’d to death, 8vo., 1683. It commences—
This is included in 180 Loyal Songs, 1685 and 1694, with several other political songs to the same tune. Among them, another “Ignoramus,” beginning—
The tune of Love lies bleeding is contained in every edition of The Dancing Master, from and after 1686; in 180 Loyal Songs, 1685 and 1694; in Walsh’s Dancing Master; in Pills to purge Melancholy; &c.
​In Shadwell’s Epsom Wells, 1673, Clodpate sings “the old song, Lay by your pleading, Law lies a bleeding;’ and perhaps Whitlock had the other song in his mind when he said, “Both truth and love lie a bleeding.” (Zootomia, or Present Manners of the English, 1654.)
The title of the ballad is “Love lies a bleeding:
To the tune of The Cyclops.”
# The Ballad Literature and Popular Music of the Olden Time/Volume 2

The Ballad Literature and Popular Music of the Olden Time: A History of the Ancient Songs, Ballads, and of the Dance Tunes of England, with Numerous Anecdotes and Entire Ballads. Also A Short Account of the Minstrels.
By W. Chappell, F.S.A.
The Whole of the Airs Harmonized by G. A. Macfarren.
Vol. II.
“Prout sunt illi Anglicani concentus suavissimi quidem, ac elegantes.
Thesaurus Harmonicus Laurencini, Romani, 1608.
London: Chappell and Co., 50, New Bond Street, W.
# Spirella Catalogue (1933)/43

| STYLE 1075—HOSE SUPPORTING GARMENT | STYLE 1075 | STYLE 1075 |
| | ADAPTABILITY—This garment is designed for use in negligee, sports, or for any other purpose where a corset or other figure training garment is not worn and a hose supporting garment is required. Do not confuse this garment with an abdominal belt. It affords a slight support and gives a medium control through the hips with a trim effect to the figure of normal proportions. It is lightly boned with Spirella. MEASUREMENTS Waist Sizes—22 to 41 Style 1075   Front 7½ Back 9½ HOW TO ORDER—Order the same size as the client's waist measurement. This garment will not be specialized. A bandeau or brassiere is usually required with this garment to take care of the upper part of the figure, and should be selected to meet the client's needs. ADJUSTMENT—When correctly adjusted the front of this garment should be sufficiently low to reach the top of the pelvic arch, and the back sufficiently low to maintain an even pull around the figure and aid in the anchorage. | ADAPTABILITY—This garment is designed for use in negligee, sports, or for any other purpose where a corset or other figure training garment is not worn and a hose supporting garment is required. Do not confuse this garment with an abdominal belt. It affords a slight support and gives a medium control through the hips with a trim effect to the figure of normal proportions. It is lightly boned with Spirella. MEASUREMENTS Waist Sizes—22 to 41 Style 1075   Front 7½ Back 9½ HOW TO ORDER—Order the same size as the client's waist measurement. This garment will not be specialized. A bandeau or brassiere is usually required with this garment to take care of the upper part of the figure, and should be selected to meet the client's needs. ADJUSTMENT—When correctly adjusted the front of this garment should be sufficiently low to reach the top of the pelvic arch, and the back sufficiently low to maintain an even pull around the figure and aid in the anchorage. |
| 42 | For materials and prices, see Price List. | 43 |
# Spirella Catalogue (1933)/39

| STYLE 1078—HOSE SUPPORTING GARMENT | STYLE 1078 | STYLE 1078 |
| | ADAPTABILITY—This garment is designed for use in negligee, sports, or for any other purpose where a corset or other figure training garment is not worn and a hose supporting garment is required. This belt permits perfect freedom and comfort in all positions with no injurious downward pressure over the abdomen. While it gives a slight control it does not answer the purpose of a corset, girdle, or abdominal belt. It is made without boning. MEASUREMENTS Waist Sizes—20 to 40. Style 1078   Front 4 Back 4½ HOW TO ORDER—Order two sizes larger than the client's waist measurement. This garment will not be specialized. A bandeau or brassiere is usually required with this belt to take care of the upper part of the figure, and should be selected to meet the client's needs. ADJUSTMENT—This garment should be adjusted on the figure so that the top is about 2 inches below the waist. | ADAPTABILITY—This garment is designed for use in negligee, sports, or for any other purpose where a corset or other figure training garment is not worn and a hose supporting garment is required. This belt permits perfect freedom and comfort in all positions with no injurious downward pressure over the abdomen. While it gives a slight control it does not answer the purpose of a corset, girdle, or abdominal belt. It is made without boning. MEASUREMENTS Waist Sizes—20 to 40. Style 1078   Front 4 Back 4½ HOW TO ORDER—Order two sizes larger than the client's waist measurement. This garment will not be specialized. A bandeau or brassiere is usually required with this belt to take care of the upper part of the figure, and should be selected to meet the client's needs. ADJUSTMENT—This garment should be adjusted on the figure so that the top is about 2 inches below the waist. |
| 38 | For materials and prices, see Price List. | 39 |
# Spirella Catalogue (1933)/47

HOW TO ORDER
1. Order Spirella Girdles by waist size, hip size and centre front below measurement, giving client's actual measurements taken over the Fitting Garment.
2. Smaller or larger hip sizes than listed in the Catalogue may be ordered by specializing.
3. When ordering any of the Basic Features indicate on the Order Form the feature desired—Side Hook and Eye Fastening, Back Lacing, etc., as the case may be.
4. When ordering changes from Catalogue measurements and construction indicate the changes required in the spaces provided on the Order Form. A list of changes which may be made in girdles is given in the Price List.
Note—Before specializing make sure that you have brought out the best possible lines of your client's figure by the careful adjustment of the Fitting Garment, and that it is necessary to make the change.
IMPORTANT POINTS TO BE KEPT IN MIND ADJUSTMENT
5. In order to give the client the full benefit of the design a Spirella Girdle must be adjusted and worn the Spirella way.
"How to Put On Your Spirella Girdle"
6. An illustrated leaflet is sent out with every Spirella Girdle. It gives complete instructions on how to adjust a girdle and illustrates the correct position on the body.
7. Use this leaflet as your guide in teaching your client how to wear her garment. Emphasize her responsibility in adjusting it correctly each day.
Back Lacing
8. Bear in mind that a garment carrying the Back Lacing Feature will come to you with the lacing spaced 2 inches from top to bottom, making the measurements exactly the same as they would be in a garment without the lacing.
9. Do not loosen the lacers until the regular adjustment has been completed. Then adjust the back lacing as necessary to make any refinements which will improve the service to your client.
10. The soft back lacing in a Spirella Girdle is NOT to be used in the daily putting on of the garment.
# Spirella Catalogue (1933)/31

| STYLE 4127—GIRDLE | THE 4126 SERIES—SLENDER OR 20-TYPE | THE 4126 SERIES—SLENDER OR 20-TYPE |
| | ADAPTABILITY—This series is designed for normal figures of the 20-type, requiring no pronounced correction for figure irregularities or physical ailments. The design comfortably conforms to the figure over the hip bones, snugs the abdomen and gives a smooth, attractive back line. The elastic in the back and the shaping of the front sections permit the utmost freedom and ease of movement. MEASUREMENTS Waist Sizes—22 to 30. Hip Sizes-May be ordered 6, 7, 8, 9 or 10 inches larger than waist, without extra charge. Style 4126   F 0 CB 0 UA 0 B 0 F 6 or 6½ (TF 8½) H 10 B 10 Style 4127   F 0 CB 0 UA 0 B 0 F 6½ or 7 (TF 9) H 10½ B 12 Style 4128   F 0 CB 0 UA 0 B 0 F 7 or 7½ (TF 11) H 12½ B 14 HOW TO ORDER—The style in the series to order is determined by the client's centre front below measurement; but when there is more than one style in the series with the correct centre front below measurement, choose the one which has also the back below measurement nearest to the client's needs. NOTE—This series cannot be extended above the waist or made longer or shorter below the waist on account of its design and construction. No girdle is complete without a brassiere. For complete information on How to Order, see page 47. | ADAPTABILITY—This series is designed for normal figures of the 20-type, requiring no pronounced correction for figure irregularities or physical ailments. The design comfortably conforms to the figure over the hip bones, snugs the abdomen and gives a smooth, attractive back line. The elastic in the back and the shaping of the front sections permit the utmost freedom and ease of movement. MEASUREMENTS Waist Sizes—22 to 30. Hip Sizes-May be ordered 6, 7, 8, 9 or 10 inches larger than waist, without extra charge. Style 4126   F 0 CB 0 UA 0 B 0 F 6 or 6½ (TF 8½) H 10 B 10 Style 4127   F 0 CB 0 UA 0 B 0 F 6½ or 7 (TF 9) H 10½ B 12 Style 4128   F 0 CB 0 UA 0 B 0 F 7 or 7½ (TF 11) H 12½ B 14 HOW TO ORDER—The style in the series to order is determined by the client's centre front below measurement; but when there is more than one style in the series with the correct centre front below measurement, choose the one which has also the back below measurement nearest to the client's needs. NOTE—This series cannot be extended above the waist or made longer or shorter below the waist on account of its design and construction. No girdle is complete without a brassiere. For complete information on How to Order, see page 47. |
| 30 | For materials and prices, see Price List. | 31 |
# Spirella Catalogue (1933)/41

| STYLE 1071—HOSE SUPPORTING GARMENT | STYLE 1071 | STYLE 1071 |
| | ADAPTABILITY—This garment is designed for use in negligee, sports, or for any other purpose where a corset or other figure training garment is not worn and a hose supporting garment is required. MEASUREMENTS Waist Sizes—20 to 36 Style 1071   Front 5½ Back 6 HOW TO ORDER—Order two sizes larger than the client's waist measurement. This garment will not be specialized. A bandeau or brassiere is usually required with this belt to take care of the upper part of the figure, and should be selected to meet the client's needs. ADJUSTMENT—This garment should be adjusted on the figure so that the top is about 2 inches below the waist. | ADAPTABILITY—This garment is designed for use in negligee, sports, or for any other purpose where a corset or other figure training garment is not worn and a hose supporting garment is required. MEASUREMENTS Waist Sizes—20 to 36 Style 1071   Front 5½ Back 6 HOW TO ORDER—Order two sizes larger than the client's waist measurement. This garment will not be specialized. A bandeau or brassiere is usually required with this belt to take care of the upper part of the figure, and should be selected to meet the client's needs. ADJUSTMENT—This garment should be adjusted on the figure so that the top is about 2 inches below the waist. |
| 40 | For materials and prices, see Price List. | 41 |