The war creates new demands for Molly and Nellie's families, as well as a few surprises. In Sweet Rosie O'Grady, Joan Jonker brings us another instalment of her hugely popular Molly and Nellie series, as the two friends get up to more mischief in their beloved Liverpool. Perfect for fans of Katie Flynn and Nadine Dorries. Neighbours Molly Bennett and Nellie McDonough are thrilled to see their children settling down. Jill and Steve are making wedding plans and Doreen waits patiently at home for Phil's next leave. But the Second World War is separating loved ones forever and the future looks bleak... Then Rosie O'Grady arrives in Liverpool from Ireland and Molly and Nellie are in for a treat. With her sparkling blue eyes and youthful charm, sweet Rosie O'Grady is like a breath of fresh air. Her direct approach to life soon has everyone crying with laughter; and Molly's son, Tommy, who used to think girls were nothing but a nuisance, is in for a pleasant surprise... What readers are saying about Sweet Rosie O'Grady: 'Carrying on the saga of Molly and Nellie, two extremely funny and big-hearted ladies, this book will not disappoint Joan fans anywhere!... Oh, and fans of Nellie will love all of the tricks that she gets up to in this book!' 'Another great read from Joan Jonker. Her books contain a little bit of everything, sadness and humour in vast quantities, she certainly knew how to put a smile on the reader's face. FABULOUS READ'

Neighbours Molly and Nellie are thrilled to see their children settling down. Jill and Steve are making wedding plans and Doreen waits patiently at home for Phil's next war leave. When Rosie O'Grady arrives in Liverpool from Ireland the neighbours are in for a treat.

A chronologically arranged reference book on the Hollywood musical, with each entry including pertinent facts about a film and a brief essay about the plot and production. Includes hundreds of black & white stills.

Beginning with The Jazz Singer (1927) and 42nd Street (1933), legendary Hollywood film producer Darryl F. Zanuck (1902–1979) revolutionized the movie musical, cementing its place in American popular culture. Zanuck, who got his start writing stories and scripts in the silent film era, worked his way to becoming a top production executive at Warner Bros. in the later 1920s and early 1930s. Leaving that studio in 1933, he and industry executive Joseph Schenck formed Twentieth Century Pictures, an independent Hollywood motion picture production company. In 1935, Zanuck merged his Twentieth Century Pictures with the ailing Fox Film Corporation, resulting in the combined Twentieth Century-Fox, which instantly became a new major Hollywood film entity. The Golden Age Musicals of Darryl F. Zanuck: The Gentleman Preferred Blondes is the first book devoted to the musicals that Zanuck produced at these three studios. The volume spotlights how he placed his personal imprint on the genre and how—especially at Twentieth Century-Fox—he nurtured and showcased several blonde female stars who headlined the studio’s musicals—including Shirley Temple, Alice Faye, Betty Grable, Vivian Blaine, June Haver, Marilyn Monroe, and Sheree North. Building upon Bernard F. Dick’s previous work in That Was Entertainment: The Golden Age of the MGM Musical, this volume illustrates the richness of the American movie musical, tracing how these song-and-dance films fit within the career of Darryl F. Zanuck and within the timeline of Hollywood history.

The image of the Irish in the United States changed drastically over time, from that of hard-drinking, rioting Paddies to genial, patriotic working-class citizens. In 'Twas Only an Irishman's Dream, William H. A. Williams traces the change in this image through more than 700 pieces of sheet music--popular songs from the stage and for the parlor--to show how Americans' opinions of Ireland and the Irish went practically from one extreme to the other. Because sheet music was a commercial item it had to be acceptable to the broadest possible song-buying public. "Negotiations" about their image involved Irish songwriters, performers, and pressured groups, on the one hand, and non-Irish writers, publishers, and audiences on the other. Williams ties the contents of song lyrics to the history of the Irish diaspora, suggesting how ethnic stereotypes are created and how they evolve within commercial popular culture.