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After an absence of almost fifty years, Larry looked for a cabaret that he had worked in as a waiter and found that it had been replaced by a parking lot. In his youth he was an innocent, aspiring writer, just out of college, looking for a place to work where hopefully he could obtain material for short stories. He found Neils, the cabaret, and talked his way into a job as a waiter despite the dangers and his slight appearance. Neils was a clip joint that was frequented mainly by servicemen and prostitutes. Larrys education removing him from navet began quickly. Larry describes his first meeting of prostitutes, an alcoholic man whose intoxication increased without even drinking the rum he had ordered, and encounters with servicemen who were benign and threatening. He also describes the musical entertainment provided by the cabaret that helped entice people to enter the place, women who came to Neils who may or may not have been prostitutes, army stories that some of the soldiers told him, a wedding in the cabaret, nights of fear, fights that he had to avoid, and a musician who had survived the second world war and dreamt some weird dreams. Incidents about Larrys non-cabaret life enter the narration, including his meeting the woman he married. Flo, an artist, would have supported him in his effort to write, but other matters intervened, and Larry had to wait almost fifty years to resurrect his notes and write his tale.
Sex, Time and Place extensively widens the scope of what we might mean by 'queer London studies'. Incorporating multidisciplinary perspectives – including social history, cultural geography, visual culture, literary representation, ethnography and social studies – this collection asks new questions, widens debates and opens new subject terrain. Featuring essays from an international range of established scholars and emergent voices, the collection is a timely contribution to this growing field. Its essays cover topics such as activist and radical communities and groups, AIDS and the city, art and literature, digital archives and technology, drag and performativity, lesbian Londons, notions of bohemianism and deviancy, sex reform and research and queer Black history. Going further than the existing literature on Queer London which focuses principally on the experiences of white gay men in a limited time frame, Sex, Time and Place reflects the current state of this growing and important field of study. It will be of great value to scholars, students and general readers who have an interest in queer history, London studies, cultural geography, visual cultures and literary criticism.
What Time Does Midnight Cabaret Start is a "coming of age" love story, set during the later years of the "Hi De Hi "era at Butlins Holiday Camp at Ayr in 1982. 18 year old Terry McFadden is stuck on the dole with nowhere to go. Plagued by crippling shyness, he doesn't have the confidence to do anything, unless it was performing on stage or on the ballroom dance floor. But that wasn't going to get him a job. Then his talents set him on the road towards a life changing summer working as a Butlins Redcoat, where under the guidance of ego maniac Entertainments Manager, Ron De Vere, he discovers the person he wanted to be. He also finds true love, with the lovely Angie
This is an absorbing story of Cappy, who retires, but the romance of the sea and business keep calling him back, and he returns strong. This work is a captivating combination of outstanding personalities, generosity, and World War I history.
Three years before the start of WWII, Eugene Fodor published his first guidebook, 1936–-On the Continent–The Entertaining Travel Annual. Fodor's goal was to create a fun-to-read, annually updated guidebook about Europe that emphasized the people and culture of a country--a radical change from the traditional guidebook approach. Seventy-five years later, On the Continentgives readers a nostalgic glimpse and sentimental grand tour of pre-WWII Europe. Today, Fodor's is one of the world's largest and most trusted brands in travel, covering more than 600 destinations worldwide in guidebooks, on Fodors.com, in ebooks and iPhone apps.
Published in 1980, Blacks in Blackface was the first and most extensive book up to that time to deal exclusively with every aspect of all-African American musical comedies performed on the stage between 1900 and 1940. An invaluable resource for scholars and historians focused on African American culture, this new edition features significantly revised, expanded, and new material. In Blacks in Blackface: A Sourcebook on Early Black Musical Shows, Henry T. Sampson provides an unprecedented wealth of information on legitimate musical comedies, including show synopses, casts, songs, and production credits. Sampson also recounts the struggles of African American performers and producers to overcome the racial prejudice of white show owners, music publishers, theatre managers, and booking agents to achieve adequate financial compensation for their talents and managerial expertise. Black producers and artists competed with white managers who were producing all-Black shows and also with some white entertainers who were performing Black-developed music and dances, often in blackface. The chapters in this volume include: An overview of African American musical shows from the end of the Civil War through the golden years of the 1920s and ’30s New and expanded biographical sketches of performers Detailed information about the first producers and owners of Black minstrel and musical comedy shows Origins and backgrounds of several famous Black theatres Profiles of African American entrepreneurs and businessmen who provided financial resources to build and own many of the Black theatres where these shows were performed A chronicle of booking agencies and organized Black theatrical circuits, music publishing houses, and phonograph recording businesses Critical commentary from African American newspapers and show business publications More than 500 hundred rare photographs A comprehensive volume that covers all aspects of Black musical shows performed in theatres, nightclubs, circuses, and medicine shows, this edition of Blacks in Blackface can be used as a reference for serious scholars and researchers of Black show business in the United States before 1940. More than double the size of the previous edition, this useful resource will also appeal to the casual reader who is interested in learning more about early Black entertainment.