'Everybody Has A SUMMER HOLIDAY' is the third holiday book written by Eileen from her 2010-2019 diaries. Her first holiday book, 'We're All Going On A SUMMER HOLIDAY' was written from her 1964-1999 diaries. Her second book, 'Fun And Laughter On Our SUMMER HOLIDAY' was written from her 2000-2009 diaries. Eileen continues to use the words from Cliff Richard's no.1 record, 'Summer Holiday' for the title of her third book, and to this singer she has remained a faithful fan. 'Everybody Has A SUMMER HOLIDAY' has now seen her four children settling down to a family and life of their own. With her tennis officiating now at an end, this has allowed Eileen and Alan an opportunity to visit even more places than they had ever dreamt. What remains the same is Eileen's amazing detailed diary account of the places she has travelled to and the people she has met. With each unbelievable situation, entertaining experience, together with her hilarious and unique sense of humour, this is another holiday book which is such a joy to read.

Osment's trilogy of 'Devon Plays' draw on his background growing up on a farm in North Devon and were produced in the mid-1990s by Cambridge Theatre Company (Method and Madness). The Dearly Beloved (1993): 'Local boy made good comes back to visit his mother in a small West Country town where his presence brings home to his friends who stayed put the various ways in which their lives have failed ... you can't but be reminded of Chekhov at times.' Independent What I Did in the Holidays (1995): 'Osment's wonderfully dense and detailed study of fraught life in rurally non-swinging Britain. The play charts a painfully funny path through the casual everyday cruelties inflicted by the thoughtless young and selfish old. Osment's play is a delight.' Evening Standard Flesh and Blood (1996): 'Brilliant at evoking the nostalgia of Devon country life in a strange, recidivist family ... and in the elision between outdoor lust and indoor stuffiness.' Observer

Pop music meets the media... This issue is dedicated to a social and cultural phenomenon that we could call the ‘mediatization of pop music’. With a particular focus on the 1960s and 1970s, it is our contention that these two decades significantly shaped our current mediatized culture both in its form and content. Since then, instead of political or confessional organisations, it was popular media and music that offered the contact point between public and private spheres, between the personal and the political, and this shift should be reconsidered as a focal trope in modern culture. We hope to widen the notion of mediatization by highlighting a range of historical processes that have had phenomenological after-effects: the experiential prototypes that were developed during this pivotal period later became persistent paradigms, and paved the way for the mediatized world we still live in.