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The Second English Folk Revival, C. 1945-1970 Julia Yvonne Mitchell

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The Second English Folk Revival, C. 1945-1970 Julia Yvonne Mitchell Subterranean Bourgeois Blues: The Second English Folk Revival, c. 1945-1970 Julia Yvonne Mitchell UCL This thesis is submitted for the degree of PhD. 2 I, Julia Yvonne Mitchell, confirm that the work presented in this thesis is my own. Where information has been derived from other sources, I confirm that this has been indicated in the thesis. 3 Abstract This thesis explores the folk revival phenomenon in England, through an original examination of its place in the social and political history of the country after the Second World War. Although its roots stretched back to the early twentieth century, the post- war English folk revival significantly occurred in the context of the nation’s de- industrialisation, and exposed tensions between, on the one hand, a nostalgic lament for a fast-disappearing working class life, and a ‘forward-looking’ socialist vision of working-class culture. The original contribution to knowledge of this project lies in its analytic approach to the English folk revival as an important part of the post-war political culture. It looks at the revival from the outside in, and contextualizes the movement in the social and political story of post-war England, while also placing it within a dynamic transnational framework, a complex cross-Atlantic cultural exchange with its more well-known American contemporary. In so doing, this thesis contributes to the existing historiographies of folk revivalism in England, as well as the social and political historiographical discourses of the postwar period: the continued salience of class in English society; the transformation of the nation’s economic infrastructures; the social and political influence of the Welfare State – the folk revival tapped into all of these overlapping strands, and helped to magnify them. 4 Table of Contents Abstract ............................................................................................................................ 3 Acknowledgements .......................................................................................................... 7 List of Abbreviations ..................................................................................................... 10 Biographic Notes ........................................................................................................... 11 ‘Folk Song Without Folk’?: An Introduction to Folk Revivalism in Twentieth- Century England ........................................................................................................... 18 Arts, Crafts, and Socialism: Early Folk Music Collection .......................................... 25 Defining Folk Music in a Technological Age .............................................................. 30 The Skiffle Craze: Precursor to English Folk Revivalism ........................................... 40 Historiography ............................................................................................................ 43 Methodology ................................................................................................................ 51 Chapter One: Public House, Public Sphere: The Structural Foundations of the English Folk Revival ..................................................................................................... 60 The Folk Club .............................................................................................................. 61 The Folk Music Press .................................................................................................. 74 Record Labels .............................................................................................................. 86 The BBC ....................................................................................................................... 92 Folk Festivals ............................................................................................................ 105 Chapter Two: ‘This Old World is Changin’ Hands’: Folk Revivalism and Political Culture in Post-War England .................................................................................... 112 5 A.L. Lloyd and Industrial Songs ................................................................................ 114 Art and Socialism: Political Culture and Cultural Politics ...................................... 118 Topical Songwriting .................................................................................................. 134 Chapter Three: A Dialectic of Class and Region: Folk Music in an ‘Affluent Society’ ......................................................................................................................... 159 ‘Vicious Allurements’: The Consumer Economy, The Teenager, and the ‘Affluent Worker’ ...................................................................................................................... 161 Mining Songs, the ‘Pit Elegy’ and the Cultural Response to Nationalisation .......... 177 Chapter Four: ‘Accent Speaks Louder than Words’: Imagining Regional and National Community Through Folk Music .............................................................. 203 Creating a National Folk Canon: The Legacy of Early Collection .......................... 205 Regional Identity and Folk Song in England ............................................................ 208 Utopian Communities in the Northeast ..................................................................... 221 Chapter Five: Folk Revivalism as Cultural Exchange: The Spectre of ‘Americanisation’ ........................................................................................................ 231 The Policy .................................................................................................................. 249 Chapter Six: ‘With Bob On Our Side’: Folk Music, the Culture Industry, and the Problem of Commercial Success ................................................................................ 257 The Culture Industry and Mass Technology: A Sliding Scale of Cynicism from Adorno to McLuhan ................................................................................................................ 260 Folk Music and the Culture Industry ......................................................................... 275 Bourgeois Blues: Conclusions .................................................................................... 297 6 Bibliography ................................................................................................................ 309 Appendix I .................................................................................................................... 341 Appendix II .................................................................................................................. 344 7 Acknowledgements There were times (quite recently) when I never thought I’d get to the ‘writing acknowledgements’ stage of this dissertation. The people whose support has made the completion of this project possible – and enjoyable – are almost too numerous to name. First and foremost, without the support of my parents, I would never have done a PhD. They provided me with the foundation needed to see this project through, although I was far away from home. I want to thank them for seeing inherent value in education, and for encouraging me to make the most of my opportunities. For the many care packages, Skype conversations and phone calls that kept me grounded and kept the whole endeavor in perspective, I will always be grateful. In many ways, PhD supervision is a lottery. You choose your supervisors – or they choose you – because your intellectual interests presumably intersect; but then you hear horror stories of absent, uninterested supervisors who you see once in three years. That was not the case for me: I feel like I won the lottery with my supervisors, Axel Körner and Adam Smith, who saw this project from nascence to completion with patience and good humour, but above all genuine encouragement and strong criticism when I needed it. I cannot thank them enough for the many, many hours of work they have done on my behalf, for their generosity of time and spirit. This project is so much richer for their involvement. I would also really like to thank the faculty and administrative staff at UCL, especially Dr. Michael Collins, who – although I was not a student of his – took the time to meet with me occasionally, and offer advice and guidance on my project. I would also like to thank Carolina Caicedo and Gillian Pressley, who helped me in innumerable 8 ways over the past three and a half years. Whether it was showing me how to use the photocopier, or printer, or letting me in to the postgrad computer room – I really appreciate the patience and support. I would like to thank all the organisations and people who made the research for this project possible. Firstly, the UCL Graduate Research Fund and the Department of History’s research funding made necessary research travel within the UK and to the United States possible. To Ike, Yeardly, Ian and Rachel at the British Library Sound Archive, who were knowledgeable, helpful and who ‘flipped’ many, many, an un- digitised folk recording for my benefit. Also, thank you to the wonderful people at the BBC Written Archives in Caversham, as well as the fine folks at the Library of Congress (American Folklife Center) who helped me in finding the right sources for this project. And finally, to Mary Kallaugher of Spital Tongues, Newcastle – who gave me such a warm,
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