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Drawing on extensive research, Class Act: The Cultural and Political Life of Ewan MacColl is a freshly conceived and energetically written account of a highly creative and controversial activist. He became a communist at fourteen and spent six decades at the cu. Visit Seller's Storefront. All books are shipped in new condition. We are happy to accept returns within 30 days of receipt.

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Class Act The Cultural and Political Life of Ewan MacColl

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Just "artistic differences". Sligo, Southern Ireland. He has "been playing fiddle since he was 8 years old. James Gannon. Sligo, a great fiddler, heard Michael whistling fiddle tunes and offered to teach him the fiddle if he could get hold of an instrument. Michael got his fiddle and was apprenticed to Gannon and later to Michael Gorman, who taught every fiddler of note in West of Ireland.

Gorman soon became a notable fiddler in the county Sligo style, a style which unlike that of Donegall eschews heavy down-bowing and achieves its effects by highly elaborate fingering. From being champion fiddler of the district, Michael became regional champion and later national champ.

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He has represented Ireland at International folk festivals. In his younger days he was also renowned as a dancer with a nice, clean style of footwork. Even today, after a lifetime of heavy work, he will, if moved or excited, dance a jig or a hornpipe while accompanying himself on the fiddle.

He has made many recordings for B. During the day he works as a railway porter at Liverpool Street Station, London, and is one of the folk musicians who is helping to build the British Folk Song and. Dance Ensemble.

Were MacColl and Lloyd involved with it? Was Michael Gorman working with them in any way? This is the link I should have given for Henry Cowell. I didn't realise which part of the site I was looking at when I harvested the address. Sounds like a man who would know what he was talking about. Peggy made an astonishing remark,she said there dont seem to be many people writing good songs in England at the moment,which is the opposite of what they found in the USA. She used to have a stick like a hobby horse and thump it on the floor to the music. There was most of Six Hands in Tempo in that line up.

God, I hate being old. They organised tours for themselves Pat did a couple for them at one time and they played to packed houses wherever they went. At the Spinners Club in Liverpool, where I first saw them, it was necessary to book a couple of weeks in advance in order to be guaranteed to get in, Manchester MSG was the same.

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Sounds fairly successful to me. They didn't like festivals, though they appeared at Keele once - Ewan said "never again". As far as songwriters were concerned, don't know when he made the remark but Peggy edited the New City Songster for around 20 years which included compositions from songwriters from all over the UK and Ireland; WLD contributed a song to one issue. Cap'n, Ewan and Peggy were professional singers who were booked all over the UK. Jim Carroll, I never suggested they were not successful,just out of touch with the rest of the revival.

Ewan and Peggy were gifted performers,they were excellent songwriters,and very good singers,she is also agood musicianthey were both helpful to others with research,but they also made mistakes and like all of us had feet of clay. Are these not 'profesional songwriters of a high standard'.

Ben Harker on Ewan MacColl and the politics of the folk revival

I was terrifically proud of getting in NCS. My work has never found favour in the folk world, but Ewan and Peggy did me a great service in giving me that little bit of recognition that kept me going as a songwriter. The thing about Peggy and Ewan was that they did their own thing.

They were far too bohemian and plain intelligent for the world of poxy folk music - with all its stifling orthodoxies. They didn't mind telling you something that would upset you - but so bloody what! Most of us can't go a day without upsetting some eejit on the mudcat.

Weigh that against a lifetime of achievement, and trying and committment, and be nice to his memory. PS See the Lincolnshire folksong competition thread. What they hadnt realised was that times change, Some Songwriters wanted to have more control over publishing of their material,and that a songwriting publication with a limited distribution[NCS],was mot necessarily the best way of publicising ones material,They preferred to bring out their own songbooks,or record them. I have never sent any of my songs to NCS,and I am sure there are hundreds of somgwriters like me.

And Ewan and Peggy made it clear that publishing the song in NCS would protect your interest - and not exploit you. Honestly Dick - they were really bloody nice. I hate to think what they're going to say about someone like me who's been a bit of a bastard in his time.

Class Act: The Cultural and Political Life of Ewan MacColl: Ben Harker: marsynchhyspoispit.cf: Libros

Is it on DVD? Her aim was to encourage songwriting and to circulate the many good songs that were being written by non-professionals. I can think of very few professional songwriters whose songs would suit the NCS. Again, as with the Critics Group, it was an example of them being prepared to spend time helping other singers, not a particularly prevalent attitude among professional singers then or now.

How did they 'overemphasise' the importance of NCS. She just did it off her own bat for free and ploughed back anything that was made into the next issue.

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I believe she said something similar on television. Maybe she felt, like me, that much songwriting has become far too introspective and private. Tom Munnelly put it well in The Journal of Music in Ireland when he wrote, "you feel like tapping them on the shoulder and asking permission to come in". This does not mean there aren't good songwriters about, just not as many IMO. Ewan and Peggy's contact with the rest of the revival changed radically after the John Snow fiasco, but this didn't mean they were not aware of what was happening - they just chose to work with the Critics - thanks be to whoever!

Having said this, they were leading figures in The Peace Movement, The Anti-Apartheid campaign, various anti-fascist organisations, the Folksingers For Freedom in Viet Nam proud to say I stood shoulder to elbow with Peggy in Grosvenor Square would have been shoulder-to-shoulder but I'm not tall enough. It goes without saying they were fairly unstinting with their time and energy - and there are only so many hours in the day.

Ewan MacColl: A Man to be Watched

Of course Ewan wasn't perfect - who is; but he must have been a baaad, baaad boy to deserve to be slagged off eighteen years after his death. I think my posts have been balanced,I have pointed out many of their good points. I did not say she ran it for the benefit of professional songwriters, WLD gave some examples of professional songwriters whose songs did suit the group ,Bogle, Warshaw and Wooton.