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Gagging for It: Irony, Innuendo and the Politics of Subversion in Women's
Middlesex University Research Repository An open access repository of Middlesex University research http://eprints.mdx.ac.uk Beale, Samantha ORCID: https://orcid.org/0000-0002-3533-644X (2018) Gagging for it: irony, innuendo and the politics of subversion in women’s comic performance on the post-1880 London music-hall stage and its resonance in contemporary practice. PhD thesis, Middlesex University. [Thesis] Final accepted version (with author’s formatting) This version is available at: https://eprints.mdx.ac.uk/23853/ Copyright: Middlesex University Research Repository makes the University’s research available electronically. Copyright and moral rights to this work are retained by the author and/or other copyright owners unless otherwise stated. The work is supplied on the understanding that any use for commercial gain is strictly forbidden. A copy may be downloaded for personal, non-commercial, research or study without prior permission and without charge. Works, including theses and research projects, may not be reproduced in any format or medium, or extensive quotations taken from them, or their content changed in any way, without first obtaining permission in writing from the copyright holder(s). They may not be sold or exploited commercially in any format or medium without the prior written permission of the copyright holder(s). Full bibliographic details must be given when referring to, or quoting from full items including the author’s name, the title of the work, publication details where relevant (place, publisher, date), pag- ination, and for theses or dissertations the awarding institution, the degree type awarded, and the date of the award. If you believe that any material held in the repository infringes copyright law, please contact the Repository Team at Middlesex University via the following email address: [email protected] The item will be removed from the repository while any claim is being investigated. -
Written & Composed by Frank W. Egenon, and Sung with Great
480 (A) I want to go home to mamma! Written & composed by Frank W. Egenon, And Sung with Great Success by Fred. Coyne. Music Published by Hopwood and Crew. I once had a sweetheart, tho' her name it was Brown, she was most decidedly green, (B) Nelly Ray. Sung with success by Tom Bournley. I love a little country queen, ... [Wanting imprint] (628) 2 columns 211 x 130mm Woodcut at head of item (A). (Girl with hands together, crying) 22 x 15mm Woodcut at head of item (B). (Girl, head and shoulders) 56 x 46mm Band of type ornaments between columns. 481 Country hireings. Come all ye blooming country lads and listen unto me, W. Pratt, Printer, 82, Digbeth, Birmingham. 1 column 200 x 76mm [Text cut down slightly at right. Probably from a sheet originally containing two items] 482 The costermonger. I'm pre[ t]ty well known here in town ... Printed by T. Birt, wholesale and reta[i)l, 10, Great St Andrew-Street Seven Dials, London. 1 column 218 x 73mm [Probably from a sheet originally containing two items] 483 The blue eye'd farmer's boy. A farmer's lad at close of day, thro' the fields chanc'd to stray, Printed by T. Birt, wholesale and retail, 10, Great St. Andrew-Street, Seven Dials, London. Country Orders punctually attended to. Every description of Printing on reasonable terms. Children's Books, Battledores, Pictures, &c. 1 column 206 x 82mm [Probably from a sheet originally containing two items] 484 Maiden's lamentation for her Georgy. As I rode over London Bridge, .. -
Introduction: Why Act Like a Man?
Sex, Drag, and Male Roles: Investigating Gender as Performance Diane Torr and Stephen Bottoms http://press.umich.edu/titleDetailDesc.do?id=236704 The University of Michigan Press, 2010 Introduction: Why Act Like a Man? When asked, “What’s a drag king?” I reply: “Anyone, (regardless of gender) who consciously makes a performance out of masculinity.” —del lagrace volcano The first time I saw Diane Torr perform as a man the experience was a little unnerving. In the context of a lecture-demonstration, she had first ap- peared as “herself” and presented a slide show documenting the develop- ment of her work. She then disappeared offstage, leaving us to watch a video about her “Man for a Day” female-to-male transformation work- shops. Eventually she reappeared as Danny King—her middle-aged, mid- dle-class, middle-management character—complete with business suit, slicked-back hair, mustache, stubble, and shiny black shoes. What was dis- orientating, though, was not the cosmetic transformation but the change in physicality. Danny walked on slowly, planting his feet squarely onto the stage floor as if he owned it, and then stopped, folded his arms across his chest, and stared at us with a look of absolute indifference. He made as if to begin speaking, then thought better of it. He adjusted his posture, looked down at his shoes, back up at us, and stared some more. A moment more, and he began striding casually around the stage as if checking out its dimensions, utterly unconcerned by the presence of observers. By the time he finally deigned to speak to us, he was indisputably in command of the stage and his audience and yet he had done almost nothing. -
Woman and Music in First World War London
University of Pennsylvania ScholarlyCommons Publicly Accessible Penn Dissertations 2017 Now We've Got Our Khaki On: Woman And Music In First World War London Vanessa Williams University of Pennsylvania, [email protected] Follow this and additional works at: https://repository.upenn.edu/edissertations Part of the History Commons, Music Commons, and the Women's Studies Commons Recommended Citation Williams, Vanessa, "Now We've Got Our Khaki On: Woman And Music In First World War London" (2017). Publicly Accessible Penn Dissertations. 2635. https://repository.upenn.edu/edissertations/2635 This paper is posted at ScholarlyCommons. https://repository.upenn.edu/edissertations/2635 For more information, please contact [email protected]. Now We've Got Our Khaki On: Woman And Music In First World War London Abstract Scholarship on British perspectives on the First World War now consistently incorporates reflections on wartime labor on the Home Front, particularly on women’s roles as nurses, factory workers, philanthropists, and care-givers. However, the creative work that produced the War’s popular culture—the material and affective labor of artists and audience members—is still largely absent: artistic responses to the conflict are studied chiefly through masterpieces of elite culture that conveyed appropriately elegiac affects of mourning and that continue to perpetuate modern conceptions of the War as a monolith of male martyrdom and heroism. This dissertation bridges this gap, situating women’s music-making within contemporary national debates over the political, economic, and social ramifications of women’s wartime work. During the First World War, the affective labor of musical performance and consumption became entwined with medical care, education, social control, and anxieties over wartime gender and class roles. -
Female Impersonation and Sexual Practice in Turn-Of-The-Century America." Journal of the History of Sexuality 5, No
Bryn Mawr College Scholarship, Research, and Creative Work at Bryn Mawr College History Faculty Research and Scholarship History 1995 "The weT ntieth Century Way": Female Impersonation and Sexual Practice in Turn-of-the- Century America Sharon R. Ullman Bryn Mawr College, [email protected] Let us know how access to this document benefits ouy . Follow this and additional works at: http://repository.brynmawr.edu/history_pubs Part of the History Commons Custom Citation Ullman, Sharon R. "'The wT entieth Century Way': Female Impersonation and Sexual Practice in Turn-of-the-Century America." Journal of the History of Sexuality 5, no. 4 (1995): 573-600. This paper is posted at Scholarship, Research, and Creative Work at Bryn Mawr College. http://repository.brynmawr.edu/history_pubs/18 For more information, please contact [email protected]. Sharon Ullman, "The Twentieth Century Way": Female Impersonation and Sexual Practice in Turn-of-the-Century America When female impersonator Julian Eltinge appeared on stage before early twentieth-century vaudeville audiences, his artistry amazed them. To listen to contemporary critics, one might suspect that no one had ever effected so successful an artifice as Eltinge's remarkable portrayal of the female form. Swirling in a cascade of color and movement, Eltinge showcased his femininity while singing and dancing in a variety of "international" presentations. A flushed 1909 Variety critic noted that in Eltinge's "Incense Dance" with the "splendid setting, yellow predominating as the color," the impersonator "executes a dance while in feminine Oriental dress. His 'girl' is an artistic study, from the slippers to the coiffure." 1 Eltinge's popularity was legendary. -
Chaplin-In-Context: a Catalogue of Music Hall Related Films 1895
Chaplin-In-Context A Catalogue of Music Hall Related Films 1895 - 1930 held by the bfi National Film and Television Archive HOW TO USE THE CATALOGUE .............................................................2 BRITISH MUSIC HALL AND VARIETY ON FILM: The holdings of the National Film and Television Archive .....................................................3 Category A. Films of music hall artistes where performances have been recorded more or less directly on film and actuality films involving performers. ..............................................................................................3 The De Forest Phonofilms .................................................................12 Category B. Films featuring music hall artistes and themes, in comedies or dramas made as original works for the Cinema. ...............................16 Category C. Film based directly on music hall sketches or plays..........23 Category D. Fictional films about the music hall of the era 1895 to 1930, but made later........................................................................................25 Appendix 1. Films not in the bfi’s NFTVA collection - for information only........................................................................................................34 1 How to use the catalogue All entries in this catalogue are held in the collection of the bfi National Film and Television Archive with the exception of titles in appendix 1. Titles in square brackets[ ] are titles supplied by later cataloguers because the originals have been lost. Viewing copies are marked ‘vc’ and the footage given relates to that print. Many early film prints are incomplete, in which case every effort has been made to indicate this. For films that have not yet been fully catalogued this data may not be present. All prints are 35mm unless indicated. Those marked ‘vc’ for viewing copy can be viewed at the British Film Institute’s Stephen St premises. Please see our website www.bfi.org.uk/nftva/rvs.html for details. -
The Performing Arts on Film and Television Catalogue
THE PERFORMING ARTS ON FILM & TELEVISION CATALOGUE Film and video materials held by the archives and collections of BFI, Arts Council England, LUX, Central St Martins British Artists Film & Video Study Collection relating to theatre, dance, music, performance art, politics and poetry Balletomines, 1954 2011 Acknowledgements This catalogue was commissioned by MI:LL (Moving Image: Legacy and Learning), an Arts Council England initiative to support projects and develop strategies that promote engagement with the arts through the moving image. Researched, written, edited, designed and published by Helena Blaker James Bell Michael Brooke Elaine Burrows Bryony Dixon Christophe Dupin Jane Giles Amy Howerska Edward Lawrenson Deborah Salter Dan Smith Louise Watson With thanks to Karen Alexander, Nigel Algar, Nigel Arthur, Steve Bryant, Mike Caldwell, Ros Cranston, David Curtis, Will Fowler, Philippa Johns, Nathalie Morris, Patrick Russell, David Sin, Mike Sperlinger, Gary Thomas, Rebecca Vick, Ian White, Andrew Youdell and Juliane Zenke. All stills courtesy of BFI Stills, Posters & Designs A BFI Publication 2011 available to download from www.bfi.org.uk BFI 21 Stephen Street London W1T 1LN UK Telephone +44 (020) 7255 1444 www.bfi.org.uk 2 Contents Please click on a word/link to be taken automatically to that part of the Catalogue Acknowledgements................................................................................................................. 2 Contents ..................................................................................................................................