Since 2007, John Carlisle has fascinated readers with his untold stories of Detroit in his "Detroitblogger John" column for the Metro Times. His words and photographs shed light on the overlooked and forgotten while bringing life to neglected, far-flung neighborhoods. The Detroit chapter of the Society of Professional Journalists named Carlisle the 2011 Journalist of the Year for his work on the city. This collection features dozens of his previously unpublished photographs and forty-two of his most unforgettable stories, including a man who has a strip club in his living room, a bar in a ghost town, a coffee shop for the citys homeless, an art gallery in a mattress store and an old-fashioned debutante ball in the unlikeliest of places.
Since 2007, John Carlisle has fascinated readers with his untold stories of Detroit in his "Detroitblogger John" column for the Metro Times...This collection features dozens of his previously unpublished photographs and forty-two of his most unforgettable stories, including a man who has a strip club in his living room, a bar in a ghost town, a coffee shop for the city's homeless, an art gallery in a mattress store and an old-fashioned debutante ball in the unlikeliest of places." -- back cover.
A million light-years from Earth, one solitary spaceship floats through a vast swarm of enemies. The ship was an experimental vessel from Earth that utilised a revolutionary new concept in space mechanics, developed by the near-superman Aarn Munro. The enemy vessels were wholly unknown to Mankind, for the new drive had taken the Terran vessel into an unmapped void, where not even the telescopes of Earth had ever penetrated before...
Theatre in Dublin,1745–1820: A Calendar of Performances is the first comprehensive, daily compendium of more than 18,000 performances that took place in Dublin’s many professional theatres, music halls, pleasure gardens, and circus amphitheatres between Thomas Sheridan’s becoming the manager at Smock Alley Theatre in 1745 and the dissolution of the Crow Street Theatre in 1820. The daily performance calendar for each of the seventy-five seasons recorded here records and organizes all surviving documentary evidence pertinent to each evening’s entertainments, derived from all known sources, but especially from playbills and newspaper advertisements. Each theatre’s daily entry includes all preludes, mainpieces, interludes, and afterpieces with casts and assigned roles, followed by singing and singers, dancing and dancers, and specialty entertainments. Financial data, program changes, rehearsal notices, authorship and premiere information are included in each component’s entry, as is the text of contemporary correspondence and editorial contextualization and commentary, followed by other additional commentary, such as the many hundreds of printed puffs, notices, and performance reviews. In the cases of the programs of music halls, pleasure gardens, and circuses, the playbills have generally been transcribed verbatim. The calendar for each season is preceded by an analytical headnote that presents several categories of information including, among other things, an alphabetical listing of all members of each company, whether actors, musicians, specialty artists, or house servants, who are known to have been employed at each venue. Limited biographical commentary is included, particularly about performers of Irish origin, who had significant stage careers but who did not perform in London. Each headnote presents the seasons’s offerings of entertainments of each theatrical type (prelude, mainpiece, interlude, afterpiece) analyzed according to genre, including a list of the number of plays in each genre and according to period in which they were first performed. The headnote also notes the number of different plays by Shakespeare staged during each season and gives particular attention to entertainments of “special Irish interest.” The various kinds of benefit performance and command performances are also noted. Finally, this Calendar of Performances contains an appendix that furnishes a season-by-season listing of the plays that were new to the London patent theatres, and, later, of the important “minors.” This information is provided in order for us to understand the interrelatedness of the London and Dublin repertories.
From the late nineteenth century through the 1920s, the U.S. government sought to control practices of music on reservations and in Indian boarding schools. At the same time, Native singers, dancers, and musicians created new opportunities through musical performance to resist and manipulate those same policy initiatives. Why did the practice of music generate fear among government officials and opportunity for Native peoples? In this innovative study, John W. Troutman explores the politics of music at the turn of the twentieth century in three spheres: reservations, off-reservation boarding schools, and public venues such as concert halls and Chautauqua circuits. On their reservations, the Lakotas manipulated concepts of U.S. citizenship and patriotism to reinvigorate and adapt social dances, even while the federal government stepped up efforts to suppress them. At Carlisle Indian School, teachers and bandmasters taught music in hopes of imposing their “civilization” agenda, but students made their own meaning of their music. Finally, many former students, armed with saxophones, violins, or operatic vocal training, formed their own “all-Indian” and tribal bands and quartets and traversed the country, engaging the market economy and federal Indian policy initiatives on their own terms. While recent scholarship has offered new insights into the experiences of “show Indians” and evolving powwow traditions, Indian Blues is the first book to explore the polyphony of Native musical practices and their relationship to federal Indian policy in this important period of American Indian history.
Throughout its length from London to Glasgow via Crewe and Carlisle, with a loop through the West Midlands and spurs to Holyhead,Liverpool and Manchester, the West Coast Main Line has consistently provided interest for those many with more than a passing interest in trains and travel. This book outlines the history of the route,its physical characteristics and sets the scene for the various passenger and goods traffic flows that sustained it; it then details the arrangements for motive power and train working through the era of change that was 1957 to 1963. The level of interest - as evidenced daily by the presence at the lineside of hordes of young spotters and other observers - was particularly high at that time as processions of trains hauled by fine express passenger locomotives and those more suited to other traffic passed by. The book also goes 'behind the scenes' to provide insights into the daily and seasonal challenges of managing that section of a wider railway network, as directed by the varying terms of relevant legislation, and a government increasingly concerned to shape the railways for the changing needs of the public, industry and the economy. The book will be of particular interest to those who simply recall those days by the lineside, those with an interest in detailed arrangements to provide and maintain suitable motive power, those with an interest in how the railway served the needs of the nation and modellers who seek information. The book is illustrated with color and monochrome images and supported by maps.
When the 1st Marine Division began its invasion of Peleliu in September 1944, the operation in the South Pacific was to take but four days. In fact, capturing this small coral island in the Palaus with its strategic airstrip took two months and involved some of the bloodiest fighting of the Second World War in the Pacific. Rather than the easy conquest they were led to expect, the Marines who landed on Peleliu faced a war of attrition from the island's Japanese defenders, who had dug tunnels and fortified the island's rugged terrain. When the Marines' advance stalled after a week of heavy casualties, the "Wildcats" of the 81st Infantry Division were called in, at first as support. Eventually, the 1st Marines Division was evacuated and the 81st Infantry secured the island. Now Bobby C. Blair and John Peter DeCioccio tell the story of this campaign through the eyes of the 81st Infantry to offer a revised assessment. Previous accounts of the battle have focused on the 1st Marines, all but ignoring the 81st Infantry Division's contributions. Victory at Peleliu demonstrates that without the army's help the marines could not have succeeded on Peleliu. Blair and DeCioccio have mined the 81st Division's unit records and interviewed scores of veteran participants. The new data they offer challenge the orthodox view that the 81st Infantry merely mopped up an already broken enemy. Allowing their interviewees to tell much of the story, the authors also give a human face to a brutal battle. Although American efforts in the Palau Islands proved largely unnecessary to ultimately defeating the Japanese, the lessons learned on Peleliu were crucial in subsequent fighting on Iwo Jima and Okinawa. The 81st Infantry's contributions are now part of that larger story.
The Cucamonga Valley was once America's largest wine-producing region, crafting quality vintages decades before Napa and Sonoma. Secondo Guasti, an ambitious and enterprising Italian immigrant, established the region's first vineyard in 1901, and others soon followed. Wineries like the Vai Brothers, Padre, Galleano, Brookside and more made the valley the epicenter of a burgeoning industry. Not even Prohibition could halt production. While domestic breweries and distilleries shuttered, Cucamonga's brandy and sherry continued to be legally made for culinary and medicinal purposes. Yet by the late 1970s, harvests had dwindled and vineyards vanished. Urbanization, vine disease and property taxes effectively ended production. Today, local vintners and wine enthusiasts are reviving the region's proud heritage. Authors George M. Walker and John Peragine uncork a legacy too delectable to die.
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