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In Recording History, Peter Martland uses a range of archival sources to trace the genesis and early development of the British record industry from1888 to 1931. A work of economic and cultural history that draws on a vast range of quantitative data, it surveys the commercial and business activities of the British record industry like no other work of recording history has before. Martland's study charts the successes and failures of this industry and its impact on domestic entertainment. Showcasing its many colorful pioneers from both sides of the Atlantic, Recording History is first and foremost an account of The Gramophone Company Ltd, a precursor to today's recording giant EMI, and then the most important British record company active from the late 19th century until the end of the second decade of the twentieth century. Martland's history spans the years from the original inventors through industrial and market formation and final take-off--including the riveting battle in recording formats. Special attention is given to the impact of the First World War and the that followed in its wake. Scholars of recording history will find in Martland's study the story of the development of the recording studio, of the artists who made the first records (from which some like Italian opera tenor Enrico Caruso earned a fortune), and the change records wrought in the relationship between performer and audience, transforming the reception and appreciation of musical culture. Filling a much-needed gap in scholarship, Recording History documents the beginnings of the end of the contemporary international record industry.
A comprehensive guide to Britain's moths and butterflies, packed with Chris Manley's stunning photography.
Focusing on British broadsheets such as The Times and The Guardian, and tabloid publications such as The Sun and The Daily Mail, this book looks at the visualization of post-colonial Britain through cartoons. Tahnia Ahmed examines how Irish, Jewish, Sikh and Muslim communities are Othered, interrogating the patterns and trends in the way they are depicted – both consciously and unconsciously – by cartoonists in Britain from the 20th century onwards. She reveals how cartoonists such as Nicholas Garland and Peter Brookes present assimilation as the goal for the portrayed minorities. At the same time, this goal is deemed impossible because difference is ontological and unchangeable. Central to the cartoons explored in this book is the construction of identity and the concept of 'us', demonstrating the role cartoons play in the stability and enduring power of the archetype. Ahmed suggests that cartoons illustrate how racial and religious prejudice subtly interface and reinforce one another. A depiction of religious difference, Ahmed argues, is often actually a cover for outright racism.
An in-depth analysis of Great Britain's policy in the oil-rich Persian Gulf region during the last years of British imperialism in the area, covering the period from the independence of Kuwait to the decision of the Wilson Government to withdraw from the Gulf.
Containing entries for more than 45,000 English, Scottish, Welsh, Irish, Cornish, and immigrant surnames, The Oxford Dictionary of Family Names in Britain and Ireland is the ultimate reference work on family names of the UK. The Dictionary includes every surname that currently has more than 100 bearers. Each entry contains lists of variant spellings of the name, an explanation of its origins (including the etymology), lists of early bearers showing evidence for formation and continuity from the date of formation down to the 19th century, geographical distribution, and, where relevant, genealogical and bibliographical notes, making this a fully comprehensive work on family names. This authoritative guide also includes an introductory essay explaining the historical background, formation, and typology of surnames and a guide to surnames research and family history research. Additional material also includes a list of published and unpublished lists of surnames from the Middle Ages to the present day.
Britain and Ireland have a remarkably varied geology for so small a fragment of continental crust, with a fine rock record back through three billion years of geological time. This history would have been interesting enough if it had been played out on relatively stable continental crust. However, Britain and Ireland have developed at a tectonic crossroads, on crust once traversed by subduction zones and volcanic arcs, continental rifts and mountain belts. The resulting complexity is instructive, fascinating and perplexing. Geological History of Britain and Ireland tells the region's story at a level accessible to undergraduate geologists, as well as to postgraduates, professionals or informed amateurs. This second edition is fully revised and updated, reflecting our continually developing knowledge of the region's geology. Full coverage is again given to the rich Precambrian and Early Palaeozoic history, as well as to later events more relevant to hydrocarbon exploration. The book is an essential starting point for more detailed studies of the regional geology. Additional resources for this book can be found at: http://www.wiley.com/go/woodcock/geologicalhistory
First Published in 1987. Routledge is an imprint of Taylor & Francis, an informa company.
The social history of music in Britain since 1950 has long been the subject of nostalgic articles in newspapers and magazines, nostalgic programmes on radio and television and collective memories on music websites, but to date there has been no proper scholarly study. The three volumes of The History of Live Music in Britain address this gap, and do so from the unique perspective of the music promoter: the key theme is the changing nature of the live music industry. The books are focused upon popular music but cover all musical genres and the authors offer new insights into a variety of issues, including changes in musical fashions and tastes; the impact of developing technologies; the balance of power between live and recorded music businesses; the role of the state as regulator and promoter; the effects of demographic and other social changes on music culture; and the continuing importance of do-it-yourself enthusiasts. Drawing on archival research, a wide range of academic and non-academic secondary sources, participant observation and industry interviews, the books are likely to become landmark works within Popular Music Studies and broader cultural history.
A radically new reading of the origins of recorded music Noise Uprising brings to life the moment and sounds of a cultural revolution. Between the development of electrical recording in 1925 and the outset of the Great Depression in the early 1930s, the soundscape of modern times unfolded in a series of obscure recording sessions, as hundreds of unknown musicians entered makeshift studios to record the melodies and rhythms of urban streets and dancehalls. The musical styles and idioms etched onto shellac disks reverberated around the globe: among them Havana’s son, Rio’s samba, New Orleans’ jazz, Buenos Aires’ tango, Seville’s flamenco, Cairo’s tarab, Johannesburg’s marabi, Jakarta’s kroncong, and Honolulu’s hula. They triggered the first great battle over popular music and became the soundtrack to decolonization.