qui pro quo造句

• Upon his return to Poland he started composing for the " Qui Pro Quo " cabaret.
• After 1921 he worked with the " StaD
  czyk ( The Jester ) " theater and then the famous " Qui Pro Quo ".
• Gold ran an orchestra in the " Qui Pro Quo " theater ( 1922 ) and in the Warsaw " Adria " night club ( 1931 1939 ).
• He was also a lyricist of songs for cabarets, caf閟 and theater, including theater " Qui Pro Quo, Gong, Morskie Oko, Perskie Oko, " in Warsaw.
• Starski worked with singer actor Eugeniusz Bodo ( whom he met at " Qui Pro Quo " ) and wrote lyrics to some of his hit songs including " Sex Appeal ".
• The " Vocabolario Treccani " ( an authoritative dictionary published by the Encyclopaedia Treccani ), under the entry " qui pro quo ", states that the latter expression probably derives from the Latin used in late medieval pharmaceutical compilations.
• By 1925, her singing ( in Warsaw ) attracted the attention of " Kvi Pro Kvo ( Qui Pro Quo ) " actor Boronski; it was he who suggested changing her stage name ( Federovska ) to Ola Lilith.
• His translations of Giuseppe Tomasi di Lampedusa s " The Siren and Selected Writings ", Gesualdo Bufalino s " Qui Pro Quo " and Umberto Eco s " Annotations to The Name of the Rose " have been well received critically.
• She then performed with the " Qui Pro Quo " troupe  and on her own  throughout Poland and, later, all of Europe, with Vladislav Godik ( Willy Godnick ) and later with Boris Thomashefsky and Ruth Rene in Czechoslovakia, Austria, France, Berlin, Holland and England.
• When this cabaret closed, Hanka Ordon體na moved to Warsaw and worked at the cabaret Mira |
  , where she was noticed by Fryderyk Jarosy, director of the famous Warsaw cabaret Qui Pro Quo; it was under his guidance that she became a star, recording the famous " MiB
  o [
  
  ci wszystko wybaczy " ( song by Henryk Wars and Julian Tuwim ) in the 1933 movie " Szpieg w masce " ( Spy With a Mask ).
• In 1919 ( under a new stage name of Eugeniusz Bodo, the surname created from the initials of his own first name "'Bo "'hdan and his mother's-"'Do "'rota ) he started acting in various Warsaw-based theatres, vari閠閟 and cabarets ( " Qui Pro Quo ", " Perskie Oko " and " Cyrulik Warszawski " being the most famous ).
• His debut came in 1925, when he was hired by the famous " Qui Pro Quo " cabaret as a singer and dancer, " immediately conquering the audience with his natural juvenile wit and temperamental performances of Warsaw street types . " He remained part of Qui Pro Quo's crew until 1931, appearing on stage along such stars of contemporary Polish cabaret and cinema as Marian Hemar, Eugeniusz Bodo, Hanka Ordon體na, MieczysB
  aw Fogg, Mira ZimiD
  ska, Zula Pogorzelska and Fryderyk Jarosy.
• His debut came in 1925, when he was hired by the famous " Qui Pro Quo " cabaret as a singer and dancer, " immediately conquering the audience with his natural juvenile wit and temperamental performances of Warsaw street types . " He remained part of Qui Pro Quo's crew until 1931, appearing on stage along such stars of contemporary Polish cabaret and cinema as Marian Hemar, Eugeniusz Bodo, Hanka Ordon體na, MieczysB
  aw Fogg, Mira ZimiD
  ska, Zula Pogorzelska and Fryderyk Jarosy.
• Kataszek composed dozens of Polish Charlestons often performed at the small night spots of Warsaw : " Qui Pro Quo, Perskie Oko, " and " Rex "-they included " A ile mi dasz ? ( What Can I Get From You ? ), To Zula W futerko si
  otula ( Here's Zula, Wrapped In Furs ) " written for the Charleston pioneer and " Qui Pro Quo " singer, Zula Pogorzelska, and " Abram, ja ci zagram ! ( I'll Play It For You, Abram ! ) ".
• Kataszek composed dozens of Polish Charlestons often performed at the small night spots of Warsaw : " Qui Pro Quo, Perskie Oko, " and " Rex "-they included " A ile mi dasz ? ( What Can I Get From You ? ), To Zula W futerko si
  otula ( Here's Zula, Wrapped In Furs ) " written for the Charleston pioneer and " Qui Pro Quo " singer, Zula Pogorzelska, and " Abram, ja ci zagram ! ( I'll Play It For You, Abram ! ) ".
• The Court ruled that independent expenditure limits were unconstitutional because, unlike campaign contribution limits, they fail to  serve any substantial government interest in stemming the reality or appearance of corruption in the electoral process .  The Court argued,  " Austin " upheld a corporate independent expenditure restriction by recognizing a  new governmental interest in preventing corruption to  bypass " Buckley " and " Bellotti " .  The Court rejected the anti-distortion reasoning argued in " Austin " and returned to the qui pro quo conception of corruption used in " Buckley ", stating that  independent expenditures, including those made by corporations, do not give rise to corruption or the appearance of corruption .  In overruling " Austin ", the " Citizens " majority insisted,  before " Austin ", the court had not allowed the exclusion of a class of speakers from general public dialogue .  The Court did concede that the " Bellotti " case  did not address the constitutionality of bans on  corporate independent expenditures to support candidates .  However, the court reasoned that such bans  would have been unconstitutional under " Bellotti s " central principle that the First Amendment does not allow political speech restrictions based on a speaker s corporate identity .