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Luke Kelly (1940-1984) was an Irish singer and folk musician from Dublin, most famous as a member of the band The Dubliners. Kelly was one of the best-known figures of the Irish folk music movement of the 1960s and 1970s. He emigrated to Britain in 1958. This book contains a personal memoir by musician and fellow Dubliner Des Geraghty."
What is the greatest, most precious, opportunity that life provides? It is not winning millions in a lottery. Money, fame, intelligence, beauty, a prestigious career, or mere existence will not simply provide us with a good life. We all have the potential to live well, to have a good life, but how can we do so? We can master complex subjects, attain advanced qualifications and demonstrate sound skills; we can become wealthy, and still make a mess of our lives. People can meet the accepted measures of success, yet still not live well. Gough Whitlam, Nelson Mandela, Pete Seeger, Luke Kelly and Ben of Kombi Life are used here to demonstrate the challenges and joyous rewards of living well. They inform, and teach us, that we can also live well when we cultivate awareness; altruism; wholeness of body, mind and spirit; resilience and persistence; passion; empathy; a sense of belonging; personal character; self-knowledge; and life-enhancing habits.
The Real Ireland is the first study of Irish documentary film, but more than that, it is a study of Ireland itself--of how the idea of Ireland evolved throughout the twentieth century and how documentary cinema both recorded and participated in the process of change. More than just a film studies work, it is a discussion of history, politics and culture, which also explores the philosophical roots of the documentary idea, and how this idea informs concepts of society, self and nation. It features rare and previously unseen illustrations and a detailed documentary filmography, the first of its kind in print anywhere.
Irish music enjoyed popularity across Europe and North America in the second half of the twentieth century. Regional circumstances created a unique reception for such music in the English Midlands. This book is a musical ethnography of Birmingham, 1950–2010. Initially establishing geographical and chronological parameters, the book cites Birmingham’s location at the hub of a road and communications network as key to the development of Irish music across a series of increasingly visible, public sites: Birmingham’s branch of Comhaltas Ceoltóirí Éireann was established in the domestic space of an amateur musician; Birmingham’s folk clubs encouraged a blend of Irish music with sociali...
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Includes reports from the Chancery, Probate, Queen's bench, Common pleas, and Exchequer divisions, and from the Irish land commission.