The Sugar Girls – Ethel’s Story: Tales of Hardship, Love and Happiness in Tate & Lyle’s East End PDF Download
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Author: Duncan Barrett
Publisher: HarperCollins UK
ISBN: 0007485549
Category : History
Languages : en
Pages : 142
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Book Description
During the Blitz, the Sugar Girls kept Britain sweet. The work was back-breakingly hard, but the Tate & Lyle factory was more than just a workplace - it was a community, a calling, a place of love and support and an uproarious, tribal part of East London. This is Ethel’s story, one of four stories from The Sugar Girls.
Author: Duncan Barrett
Publisher: HarperCollins UK
ISBN: 0007485549
Category : History
Languages : en
Pages : 142
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Book Description
During the Blitz, the Sugar Girls kept Britain sweet. The work was back-breakingly hard, but the Tate & Lyle factory was more than just a workplace - it was a community, a calling, a place of love and support and an uproarious, tribal part of East London. This is Ethel’s story, one of four stories from The Sugar Girls.
Author: Duncan Barrett
Publisher: Charnwood
ISBN: 9781444813692
Category : Fiction
Languages : en
Pages : 408
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Book Description
In the years leading up to and after the Second World War thousands of women left school at fourteen to work in the bustling factories of London¡s East End. Through the Blitz and on through the years of rationing the 'Sugar Girls' kept Britain sweet. The work was back-breakingly hard, but Tate & Lyle was more than just a factory: it was a community, a calling, a place of love and support and an uproarious, tribal part of the East End. From young Ethel to love-worn Lilian, irrepressible Gladys to Miss Smith who tries to keep a workforce of flirtatious young men and women on the straight and narrow, this is an evocative, moving story of hunger, hardship and happiness.
Author: Maud Carter Clement
Publisher: Genealogical Publishing Com
ISBN: 0806379898
Category : Pittsylvania County (Va.)
Languages : en
Pages : 392
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Book Description
The book rings with the names of early inhabitants and prominent citizens. For the genealogist there is the important and wholly fortuitous list of tithables of Pittsylvania County for the year 1767, which enumerates the names of nearly 1,000 landowners and property holders, amounting in sum to a rough census of the county in its infancy. Additional lists include the names, some with inclusive dates of service, of sheriffs, justices of the peace, members of the House of Delegates, 1776-1928, members of the Senate of Virginia, 1776-1928, clerks of the court, and judges.
Author: C. Semmes
Publisher: Springer
ISBN: 1403983305
Category : Performing Arts
Languages : en
Pages : 297
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Book Description
Chronicling over forty years of changes in African-American popular culture, the Regal Theatre (1928-1968) was the largest movie-stage-show venue ever constructed for a Black community. Semmes reveals the political, economic and business realities of cultural production and the institutional inequalities that circumscribed Black life.
Author: William Terrell Lewis
Publisher:
ISBN:
Category : Doyle Collection
Languages : en
Pages : 472
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Book Description
Chiefly a record of some of the descendants of John Lewis. He was born in Donegal County, Ireland 1678 to Andrew Lewis and Mary Calhoun. He married Margaret Lynn. He died in Virginia 1 Feb 1762. They were the parents of seven children.
Author: Mellonee V. Burnim
Publisher: Routledge
ISBN: 1317934423
Category : Music
Languages : en
Pages : 544
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Book Description
American Music: An Introduction, Second Edition is a collection of seventeen essays surveying major African American musical genres, both sacred and secular, from slavery to the present. With contributions by leading scholars in the field, the work brings together analyses of African American music based on ethnographic fieldwork, which privileges the voices of the music-makers themselves, woven into a richly textured mosaic of history and culture. At the same time, it incorporates musical treatments that bring clarity to the structural, melodic, and rhythmic characteristics that both distinguish and unify African American music. The second edition has been substantially revised and updated, and includes new essays on African and African American musical continuities, African-derived instrument construction and performance practice, techno, and quartet traditions. Musical transcriptions, photographs, illustrations, and a new audio CD bring the music to life.
Author: Maud Cuney-Hare
Publisher: Library of Alexandria
ISBN: 1465604782
Category : Fiction
Languages : en
Pages : 406
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Book Description
In offering this study of Negro music, I do so with the admission that there is no consistent development as found in national schools of music. The Negro, a musical force, through his own distinct racial characteristics has made an artistic contribution which is racial but not yet national. Rather has the influence of musical stylistic traits termed Negro, spread over many nations wherever the colonies of the New World have become homes of Negro people. These expressions in melody and rhythm have been a compelling force in American music Ð tragic and joyful in emotion, pathetic and ludicrous in melody, primitive and barbaric in rhythm. The welding of these expressions has brought about a harmonic effect which is now influencing thoughtful musicians throughout the world. At present there is evidenced a new movement far from academic, which plays an important technical part in the music of this and other lands. The question as to whether there exists a pure Negro art in America is warmly debated. Many Negroes as well as Anglo-Americans admit that the so-called American Negro is no longer an African Negro. Apart from the fusion of blood he has for centuries been moved by the same stimuli which have affected all citizens of the United States. They argue rightly that he is a product of a vital American civilization with all its daring, its progress, its ruthlessness, and unlovely speed. As an integral part of the nation, the Negro is influenced by like social environment and governed by the same political institutions; thus page vi we may expect the ultimate result of his musical endeavors to be an art-music which embodies national characteristics exercised upon by his soul's expression. In the field of composition, the early sporadic efforts by people of African descent, while not without historic importance, have been succeeded by contributions from a rising group of talented composers of color who are beginning to find a listening public. The tendency of this music is toward the development of an American symphonic, operatic and ballet school led for the moment by a few lone Negro musicians of vision and high ideals. The story of those working toward this end is herein treated. Facts for this volume have been obtained from educated African scholars with whom the author sought acquaintanceship and from printed sources found in the Boston Public Library, the New York Public Library and the Music Division of the Library of Congress. The author has also had access to rare collections and private libraries which include her own. Folk material has been gathered in personal travel.
Author: Duncan Barrett
Publisher: HarperCollins UK
ISBN: 0007485565
Category : History
Languages : en
Pages : 142
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Book Description
This is Gladys’s story, one of four stories from The Sugar Girls. During the Blitz and the years of rationing, the Sugar Girls kept Britain sweet. The work was back-breakingly hard, but the Tate & Lyle factory was more than just a workplace - it was a community, a calling, a place of love and support and an uproarious, tribal part of East London.
Author: Arnold Shaw
Publisher: Oxford University Press, USA
ISBN: 0195060822
Category : Music
Languages : en
Pages : 361
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Book Description
F. Scott Fitzgerald named it, Louis Armstrong launched it, Paul Whiteman and Fletcher Henderson orchestrated it, and now Arnold Shaw chronicles this fabulous era in The Jazz Age. Spicing his account with lively anecdotes and inside stories, he describes the astonishing outpouring of significant musical innovations that emerged during the "Roaring Twenties"--including blues, jazz, band music, torch ballads, operettas and musicals--and sets them against the background of the Prohibition world of the Flapper.
Author: Lynn Abbott
Publisher: Univ. Press of Mississippi
ISBN: 1496810031
Category : Music
Languages : en
Pages : 866
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Book Description
Blues Book of the Year —Living Blues Association of Recorded Sound Collections Awards for Excellence Best Historical Research in Recorded Blues, Gospel, Soul, or R&B–Certificate of Merit (2018) 2023 Blues Hall of Fame Inductee - Classic of Blues Literature category With this volume, Lynn Abbott and Doug Seroff complete their groundbreaking trilogy on the development of African American popular music. Fortified by decades of research, the authors bring to life the performers, entrepreneurs, critics, venues, and institutions that were most crucial to the emergence of the blues in black southern vaudeville theaters; the shadowy prehistory and early development of the blues is illuminated, detailed, and given substance. At the end of the nineteenth century, vaudeville began to replace minstrelsy as America’s favorite form of stage entertainment. Segregation necessitated the creation of discrete African American vaudeville theaters. When these venues first gained popularity, ragtime coon songs were the standard fare. Insular black southern theaters provided a safe haven, where coon songs underwent rehabilitation and blues songs suitable for the professional stage were formulated. The process was energized by dynamic interaction between the performers and their racially-exclusive audience. The first blues star of black vaudeville was Butler “String Beans” May, a blackface comedian from Montgomery, Alabama. Before his bizarre, senseless death in 1917, String Beans was recognized as the “blues master piano player of the world.” His musical legacy, elusive and previously unacknowledged, is preserved in the repertoire of country blues singer-guitarists and pianists of the race recording era. While male blues singers remained tethered to the role of blackface comedian, female “coon shouters” acquired a more dignified aura in the emergent persona of the “blues queen.” Ma Rainey, Bessie Smith, and most of their contemporaries came through this portal; while others, such as forgotten blues heroine Ora Criswell and her protégé Trixie Smith, ingeniously reconfigured the blackface mask for their own subversive purposes. In 1921 black vaudeville activity was effectively nationalized by the Theater Owners Booking Association (T.O.B.A.). In collaboration with the emergent race record industry, T.O.B.A. theaters featured touring companies headed by blues queens with records to sell. By this time the blues had moved beyond the confines of entertainment for an exclusively black audience. Small-time black vaudeville became something it had never been before—a gateway to big-time white vaudeville circuits, burlesque wheels, and fancy metropolitan cabarets. While the 1920s was the most glamorous and remunerative period of vaudeville blues, the prior decade was arguably even more creative, having witnessed the emergence, popularization, and early development of the original blues on the African American vaudeville stage.
