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Roger Fraser is convinced he is cursed by unforeseen situations constantly bringing his integrity into disrepute, especially in social situations. His family thinks he is gaff prone, but if they could see him in the business arena, they would find Roger is an unassailable trouble-shooter, trampling on Essex boy traders, and solving delicate problems with aplomb. Join the Fraser family and their assorted band of odd-ball friends and work colleagues, as our hero steers his way through some tricky situations, but nonetheless, always seems to get the rough end of the pineapple and ends up licking his wounds in the doghouse.
Roger Fraser continues to battle the vexing absurdities of modernism, his aim to stay out of the doghouse by adopting meditation as an antidote to combat his hang-ups. When it comes to neutralising uppity officials and slaying implacable harridans masquerading as mewling princesses, Roger has no equal in the world of high-finance and within his wife Charlotte’s social set. He survives a no-nonsense outward bound course instructor, boldly engages status quo doyens including an intractable hanging judge and a very persistent spook, avoids being mugged by lazoonland trailer trash, and subdues an autocratic drama teacher. On a lighter note, Roger dodges the clutches of jailbait schoolgirls, is bedeviled by an overzealous impresario and battles intransigent shrews amongst a plethora of highly contentious and hilarious incidents, but despite his new found remedy, inevitably he winds up in the doghouse, wondering where it all went wrong.
Roger Fraser, the ever optimistic but perpetually put upon investment banking stock analyst-trouble shooter and occasional rugby player has more work and domestic issues to challenge his sensibilities. He skilfully manoeuvres from one demanding situation to the next, barely managing to extinguish the callous flames of fate seeming to constantly blight his endeavours and bite at his flesh. During his excursions into shocking social scandals and battling with egotistical megalomaniacs, he endlessly verges on disaster, but somehow always manages to survive. Roger pokes irreverent fun at the new Establishment, single-handedly takes on female dragons, prevails against rampaging supermarket shoppers and trades wisecracks with a Brummy vicar, but invariably finds himself tethered to the doghouse, singing the blues.
Listen to the Blues! Exploring A Musical Genre provides an overview of this distinctly American musical genre for fans of the blues and curious readers alike, with a focus on 50 must-hear artists, albums, and subgenres. Unlike other books on the blues, which tend to focus on musician biographies, Listen to the Blues! devotes time to the compositions, recordings, and musical legacies of blues musicians from the early 20th century to the present. Although the author references musical structure, harmony, form, and other musical concepts, the volume avoids technical language; therefore, it is a volume that should be of interest to the casual blues fan, to students of blues music and its history, and to more serious blues fans. The chapters on the impact of the blues on popular culture and the legacy of the blues also put the genre in a broader historical context than what is found in many books on the blues. The book opens with a background chapter that provides an overview of the history and structure of blues music. A substantial, encyclopedic chapter that focuses on 50 must-hear blues musicians follows, as does a chapter that explores the impact on popular culture of blues music and musicians and a chapter that focuses on the legacy of the genre. A bibliography rounds out the work.
A backstage audition led Mark Hembree into a five-year stint (1979–1984) as the bassist for Bill Monroe's Blue Grass Boys. Hembree’s journey included playing at the White House and on the acclaimed album Master of Bluegrass. But it also put him on a collision course with the rigors of touring, the mysteries of Southern culture, and the complex personality of bandleader-legend Bill Monroe. Whether it’s figuring out the best time for breakfast (early) or for beating the boss at poker (never), Hembree gives readers an up-close look at the occasionally exalting, often unglamorous life of a touring musician in the sometimes baffling, always colorful company of a bluegrass icon. The amusing story of a Yankee fish out of water, On the Bus with Bill Monroe mixes memoir with storytelling to recount the adventures of a Northerner learning new ways and the Old South.
Australia's greatest country singer-songwriter Slim Dusty's own story, written with Joy McKean, his wife for 50 years - now updated. 'It seems I've done most things I wanted to do, but of all things, I think I most enjoy finding good songs and recording them. There are so many songs I want to record that I will be kept busy for as long as I can keep it up ... It is the people you meet along the road of life who make the travelling easier. No wonder I loved it all.' - Slim Dusty Slim Dusty was Australia's most well-loved and best known country music performer. A legend in the bush, his famous hit 'A Pub With No Beer' made him a household name in the towns and cities too. This is the story of the life that Slim Dusty and Joy McKean shared for their fifty years of marriage and touring together - their love for each other, their family and their music - and their determination to bring country music to the whole of Australia. Slim died in 2003, but throughout Australia, and around the world, people are still playing his songs and passing them on to new generations of fans. In this updated edition of the classic autobiography, Joy McKean writes about her family's commitment to honouring his memory and their work to keep his name alive. If you love today's Australian country music, this is the story of where it all started. '... just like his lyrics, the prose is perfect. Here he is talking about the early Dusty days. It's just like listening to a bright spark in the bush.' - The Age 'Slim blazed the red-dirt trail for Australian singer/songwriters, allowing us to remain unashamedly ourselves.' - Missy Higgins
The result of years of research by its authors, this discography strives to identify and trace the recorded development of the musical style now known as western swing from its early years through World War II. The style developed from the Texas string band tradition, growing from a fiddle and guitar duo into full swing band groups, and along the way, it drew from and absorbed a variety of other musical styles, thus making it one of the most diverse genres in American music. Until now, studies have been limited to a few book-length biographies, but through exhaustive research and interviews, Ginell and Coffey have provided the most complete and comprehensive listing of pre-War western swing and hot string band recordings to date. Accessible through a variety of indexes, the information included here comprises four sections. The reader can easily find cross-referenced information on which musicians played with which bands on which songs. Easy-to-follow linear and chronological development of the music is provided as well.
As I Recall is the memoirs of Don Ewing of Guelph, Canada, an active supporter of the social democratic movement for more than 65 years. He has been an important contributor to Canadian life and to Canadian social history. His passion for inclusivity and social justice led him to buck society's pressures to be a conscientious objector in the Second World War, doing fire fighting and teaching high school in a Japanese internment camp in Lemon Creek. The book contains many photographs and personal reminiscences on the life and growth of the social democratic process in Canada, his music teaching, and his life in the United Church
Duke Ellington's son Mercer has said that his father was frustrated in only one area of musical ambition: his desire to do his own Broadway show. Though Ellington wrote many theatrical pieces, he was never able to achieve success as a composer for the stage, and today his stage shows receive little attention from music historians. Nevertheless, these works occupied a significant place in Ellington's creative imagination, and many of the ideas he employed in their composition found their way into his other work. Here is the first book to acknowledge Duke Ellington's contribution to the stage. It offers a survey of every theater piece Ellington is known to have worked on during his lifetime, beginning with the 1925 revue The Chocolate Kiddies and ending with the unfinished "street opera" Queenie Pie. This large body of work includes full-length musicals, African American revues, ballets, and incidental music. The plot of each work is described and the score analyzed according to its dramatic function in the piece. Musical phrases are reproduced in the text, and associations with other well-known Ellington compositions are noted. An appendix provides a chronological listing of Ellington's shows with song titles conveniently listed under each.