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The intertidal and shallow-water sands of the coasts of the British Isles contain, in many cases as the dominant amphipod fauna, species of the three genera Haustorius, Urothoë, and Bathyporeia of the family Haustoriidæ, often coexistent in the same habitat and obtainable in the same samples. The swimming and burrowing mechanisms of Haustorius arenarius have been described by Dennell (1933), and I have described (1939) the mechanisms in some species of the genus Bathyporeia. This paper deals mainly with Urothoë marina; no reference is made to the other species of the genus, although U. brevicornis has been examined and found to be similar to U. marina. Since all species of the genus Urothoë are very similar morphologically and live in similar habitats, it may be assumed that the following description of U. marina will apply to them also, but I have had no opportunity of examining the more southern species U. grimaldii or U. pulchella. Crawford (1937) states that the burrowing habits of U. brevicornis and U. grimaldii var. poseidonis are very similar to those of Haustorius.


This book offers a new history of twentieth-century North Africa, one that gives voice to the musicians who defined an era and the vibrant recording industry that carried their popular sounds from the colonial period through decolonization. If twentieth-century stories of Jews and Muslims in North Africa are usually told separately, Recording History demonstrates that we have not been listening to what brought these communities together: Arab music. For decades, thousands of phonograph records flowed across North African borders. The sounds embedded in their grooves were shaped in large part by Jewish musicians, who gave voice to a changing world around them. Their popular songs broadcast on radio, performed in concert, and circulated on disc carried with them the power to delight audiences, stir national sentiments, and frustrate French colonial authorities. 041b061a72


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