Just a closer walk with thee: New Orleans-style jazz and the Campaign for Nuclear Disarmament in 1950s Britain
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Cites background from "Just a closer walk with thee: New O..."
...(McKay 2003: 267) What this account hints at – and what McKay develops at length – is the idea that music can form a ‘bridge’ with political ideas, investing those ideas with emotional significance, rather as Bennett imagines....
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References
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"Just a closer walk with thee: New O..." refers background or methods in this paper
...(Taylor 2001, p. 115) The significance of this critique is that Taylor herself presents a depoliticised sweet sadness: by looking only at the Trust in the 1990s rather than, say, also the musician’s projects of the 1950s and 1960s, Taylor misses the more complex situation, in which Colyer’s own…...
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...…yer’s achievements have been acknowledged or supporters alongside (‘the second line’) was formally recognised by Paul McCartney, New also a black cultural expression of urban presOrleans City Council and the British Govern- ence and power, of reclaiming the streets. ment (Taylor 2001, pp. 111–12)....
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...Taylor’s version of trad is represented by ‘a particular group of white Englishmen: middle class, financially comfortable, having repaid their mortgages and now with time on their hands’ (Taylor 2001, p. 113)....
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39 citations
"Just a closer walk with thee: New O..." refers background in this paper
...Further, a number of autobiographies of key jazz musicians from the time are remarkable for the sheer lack of space given to their own authors’ political campaigning (see Lyttelton 1958; Melly 1965, for instance)....
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39 citations
"Just a closer walk with thee: New O..." refers background in this paper
...…115) The live jazz setting the tempo for the Aldermaston marches was invariably provided by some form of brass band, however loosely that might be defined on the day: marchers ‘stepped to the parade jazz of a New-Orleans-style marching band beneath the black flag of Anarchism’ (Oliver 1990, p. 81)....
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...(Campbell 1983, p. 115) The live jazz setting the tempo for the Aldermaston marches was invariably provided by some form of brass band, however loosely that might be defined on the day: marchers ‘stepped to the parade jazz of a New-Orleans-style marching band beneath the black flag of Anarchism’ (Oliver 1990, p. 81)....
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...(Oliver 1990, p. 81) This is neat, but lacks the essential tension of such factionalising discourses as the left and jazz alike....
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