Greed, war and corruption had almost destroyed the once-revered Orebegi tribe, and now it seemed that the strain of two years drought was to deliver the final blow. In a last-ditch effort to save what little he has left and to protect his family, Mat - grandson & heir to the legendary Chief 'Night-Eyes' Orebegi - sets out to see his Uncle Tazo, his hopes resting on a new business venture. When Tazo is arrested for murder, Mat has to learn quickly and work as never before as he is thrown into a position that tests his ability and ingenuity to their limits. As he does so, he and his family slowly become more and more embroiled in a evil web of intrigue that brings the past back to haunt him. Will he be able to solve the murder and bring about his Uncle's release? Will he finally be avenged for the murder of his ancestors? Everything is at stake, and Mat must prove himself worthy if he is to settle the past, restore the family honour, and earn the title of the new 'Chief Night Eyes'!
Using a collection of over one thousand popular songs from the war years, as well as around 150 soldiers’ songs, John Mullen provides a fascinating insight into the world of popular entertainment during the First World War. Mullen considers the position of songs of this time within the history of popular music, and the needs, tastes and experiences of working-class audiences who loved this music. To do this, he dispels some of the nostalgic, rose-tinted myths about music hall. At a time when recording companies and record sales were marginal, the book shows the centrality of the live show and of the sale of sheet music to the economy of the entertainment industry. Mullen assesses the popularity and significance of the different genres of musical entertainment which were common in the war years and the previous decades, including music hall, revue, pantomime, musical comedy, blackface minstrelsy, army entertainment and amateur entertainment in prisoner of war camps. He also considers non-commercial songs, such as hymns, folk songs and soldiers’ songs and weaves them into a subtle and nuanced approach to the nature of popular song, the ways in which audiences related to the music and the effects of the competing pressures of commerce, propaganda, patriotism, social attitudes and the progress of the war.
Originally published in 1954, this was the first factual history of comedy films and the men and women who had since 1894 kept us laughing in the cinema. It traces the beginning of comic motion pictures and the pioneer work of Paul, Gaumont, Hepworth, Pathe and Zecca. Then comes the picture palace craze and the success of the early Italian and French comedies and trick films. The work of Al Christie and Mack Sennett in America, and the rise of American films, is fully described, as knockabout gives way to slapstick, and salaries and box-office receipts soar. Now come Chaplin, Harold Lloyd and all the other bright figures of the Roaring Twenties, with favourites like Buster Keaton and Will Rogers to the fore. The development of sound and its effect on the comedians is explained, and the story comes up to date through the thirties and forties to 1954. Some of the hundreds of names to whom tribute is paid include Mabel Normand, Larry Semon, Roscoe Arbuckle, Monty Banks, Max Linder, Harry Langdon, Will Hay, the Marx Brothers, Bob Hope, Fernandel and Alec Guinness. These are only a few of the many whose careers are traced. The book is illustrated by a number of carefully selected photographs, many of which are unique. This edition, first published in 1968 has been revised but the period it covers remains the same, 1894-1954, sixty years of film humour.
London's buildings are dotted with commemorative plaques. Many are the famous blue plaques, indicating where a famous person was born, lived, stayed, or if a significant event took place there, or an earlier use of the site. This book is a comprehensive gazetteer of all of London's plaques. Using Derek Sumeray's classic book as a basis, this thoroughly revised new edition arranges plaques alphabetically by area, providing a text that is linked to London's geography and, therefore, of greater use to a resident or visitor wanting to explore the famous people and events commemorated in that area.
Reprint of the original, first published in 1875. The publishing house Anatiposi publishes historical books as reprints. Due to their age, these books may have missing pages or inferior quality. Our aim is to preserve these books and make them available to the public so that they do not get lost.
Poplar Memories is a vivid impression of Cockney London before and during the Second World War, set in a teeming, rundown docklands neighbourhood famous for being, well, one end of the Blackwall Tunnel. John Hector’s spellbinding account of his early life in the 1920s and ’30s conjures up a vanished era when simplicity and happiness went hand-in-hand. Halcyon days of ‘talking pictures’ and pavement buskers, Saturday night knees-ups round the piano, eel and pie stalls, chimneysweeps, ‘boxers’, Clarnico’s toffees and Lloyd Loom furniture, and a little shop called Woolworth’s selling ‘nothing over sixpence’ – unless it’s a shilling. All this was to disappear forever in the horrors of the Blitz. The author was disabled by infantile paralysis – yet he became School Captain and embarked on a successful career at 14, surviving extreme poverty, panel doctors, dockers’ riots and Hitler’s Luftwaffe with an unshakeable belief in the ordinary people of Poplar.
Using a collection of over one thousand popular songs from the war years, as well as around 150 soldiers’ songs, John Mullen provides a fascinating insight into the world of popular entertainment during the First World War. Mullen considers the position of songs of this time within the history of popular music, and the needs, tastes and experiences of working-class audiences who loved this music. To do this, he dispels some of the nostalgic, rose-tinted myths about music hall. At a time when recording companies and record sales were marginal, the book shows the centrality of the live show and of the sale of sheet music to the economy of the entertainment industry. Mullen assesses the popularity and significance of the different genres of musical entertainment which were common in the war years and the previous decades, including music hall, revue, pantomime, musical comedy, blackface minstrelsy, army entertainment and amateur entertainment in prisoner of war camps. He also considers non-commercial songs, such as hymns, folk songs and soldiers’ songs and weaves them into a subtle and nuanced approach to the nature of popular song, the ways in which audiences related to the music and the effects of the competing pressures of commerce, propaganda, patriotism, social attitudes and the progress of the war.
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