Max Arthur, bestselling author of the hugely popular ‘Forgotten Voices’ series, recaptures the day-to-day lives of working people in the Edwardian era.

After the fall of France in May 1940, the British Expeditionary Force was miraculously evacuated from Dunkirk. Britain now stood alone to face Hitler’s inevitable invasion attempt. For the German army to land across the channel, Hitler needed mastery of the skies—the Royal Air Force would have to be broken. So every day throughout the summer, German bombers pounded the RAF air bases in the southern counties. Greatly outnumbered by the Luftwaffe, the pilots of RAF Fighter Command scrambled as many as five times a day, and civilians watched skies crisscrossed with the contrails from the constant dogfights between Spitfires and Me-109s. Britain’s very freedom depended on the outcome of that summer’s battle: Its air defenses were badly battered and nearly broken, but against all odds, “The Few,” as they came to be known, bought Britain’s freedom—many with their lives. More than a fifth of the British and Allied pilots died during the Battle of Britain. These are the personal accounts of the pilots who fought and survived that battle. Their stories are as riveting, as vivid, and as poignant as they were seventy years ago. We will not see their like again.

Using a collection of over one thousand popular songs from the war years, as well as around 150 soldiers’ songs, John Mullen provides a fascinating insight into the world of popular entertainment during the First World War. Mullen considers the position of songs of this time within the history of popular music, and the needs, tastes and experiences of working-class audiences who loved this music. To do this, he dispels some of the nostalgic, rose-tinted myths about music hall. At a time when recording companies and record sales were marginal, the book shows the centrality of the live show and of the sale of sheet music to the economy of the entertainment industry. Mullen assesses the popularity and significance of the different genres of musical entertainment which were common in the war years and the previous decades, including music hall, revue, pantomime, musical comedy, blackface minstrelsy, army entertainment and amateur entertainment in prisoner of war camps. He also considers non-commercial songs, such as hymns, folk songs and soldiers’ songs and weaves them into a subtle and nuanced approach to the nature of popular song, the ways in which audiences related to the music and the effects of the competing pressures of commerce, propaganda, patriotism, social attitudes and the progress of the war.

On the night of 16-17 May 1943, nineteen Lancaster bombers from 617 Squadron headed for Germany. Their mission, for which they had been trained under a cloak of absolute secrecy, was to destroy the dams of the Ruhr Valley and in doing so cripple the Nazi industrial war effort. It was to become one of the most famous raids of WW2. For the first time, acclaimed oral historian Max Arthur has gathered together the voices of the 'Dambusters', including Guy Gibson, commander of the mission and Barnes Wallis, who developed the iconic Bouncing Bomb. These voices tell of the hard training and sheer bravery that went into this legendary mission. We also hear from the German civilians who suffered the attack, who speak of the devastation that was wrought in their lives. This was a raid like no other, and in this extraordinary collection Max Arthur has created an enduring record of a unique event in British military history.

Using a collection of over one thousand popular songs from the war years, as well as around 150 soldiers’ songs, John Mullen provides a fascinating insight into the world of popular entertainment during the First World War. Mullen considers the position of songs of this time within the history of popular music, and the needs, tastes and experiences of working-class audiences who loved this music. To do this, he dispels some of the nostalgic, rose-tinted myths about music hall. At a time when recording companies and record sales were marginal, the book shows the centrality of the live show and of the sale of sheet music to the economy of the entertainment industry. Mullen assesses the popularity and significance of the different genres of musical entertainment which were common in the war years and the previous decades, including music hall, revue, pantomime, musical comedy, blackface minstrelsy, army entertainment and amateur entertainment in prisoner of war camps. He also considers non-commercial songs, such as hymns, folk songs and soldiers’ songs and weaves them into a subtle and nuanced approach to the nature of popular song, the ways in which audiences related to the music and the effects of the competing pressures of commerce, propaganda, patriotism, social attitudes and the progress of the war.

Tough, highly adaptable and efficient, the Parachute Regiment has established itself as one of the finest fighting forces in the world. On the occasion of the 75th anniversary of its founding, renowned historian Max Arthur has compiled this enthralling oral history of the modern Parachute Regiment. This unique chronicle is told through the voices of more than a hundred of the soldiers themselves, and of those involved closely with them. Whether in the Falklands, Kosovo, Iraq, Sierra Leone or Afghanistan, the Paras have maintained their reputation for being where the fighting is fiercest and where the odds of survival are often stacked heavily against them. The gripping, visceral first-person narrative makes The Paras stand apart from conventional regimental histories as one of the most remarkable accounts of conflict ever published.