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Reprint of the original, first published in 1882.
George Orwell provides a vivid and unflinching portrayal of working-class life in Northern England during the 1930s. Through his own experiences and meticulous investigative reporting, Orwell exposes the harsh living conditions, poverty, and social injustices faced by coal miners and other industrial workers in the region. He documents their struggles with unemployment, poor housing, and inadequate healthcare, as well as the pervasive sense of hopelessness and despair that permeates their lives. In the second half of the The Road to Wigan Pier Orwell delves into the complexities of political ideology, as he grapples with the shortcomings of both socialism and capitalism in addressing the needs of the working class. GEORGE ORWELL was born in India in 1903 and passed away in London in 1950. As a journalist, critic, and author, he was a sharp commentator on his era and its political conditions and consequences.
The Wigan Warriors Miscellany is the definitive set text for every fan of the world famous cherry and whites. packed with facts, fun, gossip, nostalgia and conjecture, it looks back over 138 years of glorious history to celebrate the personalities, victories and controversies of the sport’s biggest name.Handily pocket-sized to pull out in the middle of those pub arguments over who was the fastest, dirtiest or biggest, this book will not only tell you who scored the most tries, kicked the most goals or won the most trophies, but also who earned the most red cards, did best on Every Second Counts and broke cricketer David Boon’s record for beer consumption on a flight to Australia. Put down your pie and pick up a copy.
This book draws from a rich history of scholarship about the relations between music and cities, and the global flows between music and urban experience. The contributions in this collection comment on the global city as a nexus of moving people, changing places, and shifting social relations, asking what popular music can tell us about cities, and vice versa. Since the publication of the first Sounds and the City volume, various movements, changes and shifts have amplified debates about globalization. From the waves of people migrating to Europe from the Syrian civil war and other conflict zones, to the 2016 “Brexit” vote to leave the European Union and American presidential election of Donald Trump. These, and other events, appear to have exposed an anti-globalist retreat toward isolationism and a backlash against multiculturalism that has been termed “post-globalization.” Amidst this, what of popular music? Does music offer renewed spaces and avenues for public protest, for collective action and resistance? What can the diverse​​ histories, hybridities, and legacies of popular music tell us about the ever-changing relations of people and cities?