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From The Underground Buskingin London CHAPTER4 Busking of the Soul How many people in Japan know what “busking” means? In Britain, busking is “to earn money by singing or playing a musical instrument in public places,” and singers or players are called “buskers.” Busking has thrived in the London Underground for many years, and has become an established part of the music culture. It gives the travelling public a brief and transient moment to unwind and enjoy music; it is also a tourist attraction at the same time. However, with the modernisation of stations and the increasing number of passengers, busking caused some problems, such as noise, jeopardising passengers’ safety, disputes between buskers, etc. So in 2003 the London Underground Authority introduced a licensing system which requires that anyone wanting to be a busker must pass an audition. Luckily, I was the first Japanese to acquire an official busking licence. This book is a record of my busking between April and November 2005, but other occurrences and anecdotes that took place before those eight months are also included. I hope you will enjoy the book - just like you enjoy listening to your favourite music time and time again! The diary of laughter with the tear of Mr. Domon who was basking in the same time at London Underground as the author "James Bowen" of the books "street cat named a bob".
How many people in Japan know what “busking” means? In Britain, busking is “to earn money by singing or playing a musical instrument in public places,” and singers or players are called “buskers.” Busking has thrived in the London Underground for many years, and has become an established part of the music culture. It gives the travelling public a brief and transient moment to unwind and enjoy music; it is also a tourist attraction at the same time. However, with the modernisation of stations and the increasing number of passengers, busking caused some problems, such as noise, jeopardising passengers’ safety, disputes between buskers, etc. So in 2003 the London Underground Authority introduced a licensing system which requires that anyone wanting to be a busker must pass an audition. Luckily, I was the first Japanese to acquire an official busking licence. This book is a record of my busking between April and November 2005, but other occurrences and anecdotes that took place before those eight months are also included. I hope you will enjoy the book - just like you enjoy listening to your favourite music time and time again! The diary of laughter with the tear of Mr. Domon who was basking in the same time at London Underground as the author "James Bowen" of the books "street cat named a bob". Hideaki Domon
From The Underground Buskingin London CHAPTER2 7 July 2005 London bombings How many people in Japan know what “busking” means? In Britain, busking is “to earn money by singing or playing a musical instrument in public places,” and singers or players are called “buskers.” Busking has thrived in the London Underground for many years, and has become an established part of the music culture. It gives the travelling public a brief and transient moment to unwind and enjoy music; it is also a tourist attraction at the same time. However, with the modernisation of stations and the increasing number of passengers, busking caused some problems, such as noise, jeopardising passengers’ safety, disputes between buskers, etc. So in 2003 the London Underground Authority introduced a licensing system which requires that anyone wanting to be a busker must pass an audition. Luckily, I was the first Japanese to acquire an official busking licence. This book is a record of my busking between April and November 2005, but other occurrences and anecdotes that took place before those eight months are also included. I hope you will enjoy the book - just like you enjoy listening to your favourite music time and time again! The diary of laughter with the tear of Mr. Domon who was basking in the same time at London Underground as the author "James Bowen" of the books "street cat named a bob".
From The Underground Buskingin London CHAPTER3 We Are The Champions! How many people in Japan know what “busking” means? In Britain, busking is “to earn money by singing or playing a musical instrument in public places,” and singers or players are called “buskers.” Busking has thrived in the London Underground for many years, and has become an established part of the music culture. It gives the travelling public a brief and transient moment to unwind and enjoy music; it is also a tourist attraction at the same time. However, with the modernisation of stations and the increasing number of passengers, busking caused some problems, such as noise, jeopardising passengers’ safety, disputes between buskers, etc. So in 2003 the London Underground Authority introduced a licensing system which requires that anyone wanting to be a busker must pass an audition. Luckily, I was the first Japanese to acquire an official busking licence. This book is a record of my busking between April and November 2005, but other occurrences and anecdotes that took place before those eight months are also included. I hope you will enjoy the book - just like you enjoy listening to your favourite music time and time again! The diary of laughter with the tear of Mr. Domon who was basking in the same time at London Underground as the author "James Bowen" of the books "street cat named a bob".
This wonderful new edition of Poems on the Underground is published to celebrate the 150th anniversary of the Underground in 2013. Here 230 poems old and new, romantic, comic and sublime explore such diverse topics as love, London, exile, families, dreams, war, music and the seasons, and feature poets from Sappho to Carol Ann Duffy and Wendy Cope, including Chaucer and Shakespeare, Milton, Blake and Shelley, Whitman and Dickinson, Yeats and Auden, Seamus Heaney and Derek Walcott and a host of younger poets. It includes a new foreword and over two dozen poems not included in previous anthologies.
The world-famous French singer Édith Piaf (1915-63) was never just a singer. This book suggests new ways of understanding her, her myth and her meanings over time at home and abroad, by proposing the notion of an 'imagined Piaf.
Ib. Child labour in society
This book presents a new history of the most important conflict in European affairs during the 1930s, the Spanish Civil War. It describes the complex origins of the conflict, the collapse of the Spanish Republic and the outbreak of the only mass worker revolution in the history of Western Europe. Stanley Payne explains the character of the Spanish revolution and the complex web of republican politics, while also examining the development of Franco's counter-revolutionary dictatorship. Payne gives attention to the multiple meanings and interpretations of war and examines why the conflict provoked such strong reactions at the time, and long after. The book also explains the military history of the war and its place in the history of military development, the non-intervention policy of the democracies and the role of German, Italian and Soviet intervention, concluding with an analysis of the place of the war in European affairs, in the context of twentieth-century revolutionary civil wars.
Madchester may have been born at the Haçienda in the summer of 1988, but the city had been in creative ferment for almost a decade prior to the rise of acid house. The end-of-the-century party is the definitive account of a generational shift in popular music and youth culture, what it meant and what it led to. First published right after the Second Summer of Love, it tells the story of the transition from new pop to the political pop of the mid-1980s and its deviant offspring, post-political pop. Resisting contemporary proclamations about the end of youth culture and the rise of a new, right-leaning conformism, the book draws on interviews with DJs, record company bosses, musicians, producers and fans to outline a clear transition in pop thinking, a move from an obsession with style, packaging and synthetic sounds to content, socially conscious lyrics and a new authenticity. This edition is framed by a prologue by Tara Brabazon, asking how we can reclaim the spirit, energy and authenticity of Madchester for a post-youth, post-pop generation. It is illustrated with iconic photographs by Kevin Cummins.
Despite an extensive literature on homelessness there is surprisingly little work that investigates the roots of homelessness by tracking homeless people over time. In this fascinating and much-needed ethnographic study, Megan Ravenhill presents the results of ten years' research on the streets and in the hostels and day-centres of the UK, incorporating intensive interviews with 150 homeless and formerly homeless people as well as policy makers and professionals working with homeless people. Ravenhill discusses the biographical, structural and behavioural factors that lead to homelessness. Amongst the important and unique features of the study are: the use of life-route maps showing the circumstances and decisions that lead to homelessness, a systematic study of the timescales involved, and a survey of people's exit routes from homelessness. Ravenhill also identifies factors that predict those most vulnerable to homelessness and factors that prevent or considerably delay the onset of homelessness.