DOCSLIB.ORG

The 1940S Society

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
The 1940S Society The 1940s Society For Everyone Interested in Wartime Britain Issue 74 July / August 2012 £3.00 Wartime Fashion with Harry & Edna Jack Hylton The first in a 2 part series by Jeff “Two-Tone Boogie” A Passion for Policing Re-enactors with an eye for detail Diary Events and much more... The 1940’s Society, 90 Lennard Road, Dunton Green, Sevenoaks, Kent TN13 2UX Tel: 01732 452505 Web: www.1940.co.uk Email: [email protected] 1 Enjoy the Summer The 1940s Society Many thanks for all the positive feedback on the new website. All For Everyone Interested in Wartime Britain your comments and suggestions are very much appreciated and taken into consideration when adding to the site. I do apologise for Regular meetings at Otford Memorial Hall near Sevenoaks not rolling out the members area as quickly as I had wanted but members should be receiving emails with their log-in details in the Friday 13th July 2012 - 8pm next week or so. If you haven’t had your log-in details by the 1st August then that probably means I don’t have a valid email address for you. Please email me with your details and I will get back to 1941 - Hitlers Year of Madness you. A Lecture by Dr John Ray Thank you to all those that have renewed their membership. 1941 was a pivotal year of the Second Membership is from January to December and for those that are World War. The two great opposing leaders new to the Society you can now join for the July to December Hitler and Churchill vowed to fight period at half the yearly rate. Join on-line at www.1940.co.uk or use on to the bitter end and the the form on the back of this magazine. Citizens of Britain faced the continued hardship of life under Getting to some of the many 1940s events around the country it is the continued bombing raids. wonderful to see the dedication and enthusiasm from the re-enactors. An example of this is Barry and Jackie Anscomb-moon (featured on page 18) who have put so much time and effort into It is often said that the two biggest their Police Station. I hope to speak to more enthusiasts at events mistakes that Hitler made were the this summer and feature them in later issues. war against Russia and the war against America. Both of these Enjoy the summer and If you have articles, reviews or information decisions took place in 1941. that you think fellow members would be interested in then do take the time to drop me a line and we can include it in future issues. Dr Ray will be discussing these and many other aspects of this important wartime Kind Regards year. Dr John Ray is an author of numerous books Ian and taught history for forty years until his retirement in 1988. He is an authority on the Please support the Society with a subscription on-line at Second World War and in great demand as a www.1940.co.uk or fill out and return the form on the back of this magazine. speaker and lecturer. We are delighted to have him talk to us this evening. If you have any comments, articles or information of interest we would be pleased to consider it for future use. Please contact us at: The 1940’s Society, 90, Lennard Road, Dunton Green, Sevenoaks, Kent, TN13 2UX or email us at: [email protected] . All rights reserved. Reproduction in whole or part and in any form whatsoever, is strictly prohibited without the prior permission of the editor. Whilst every care is taken with material submitted to ‘The 1940s Society”, no responsibility can be accepted for loss or damage. Opinions expressed in this magazine do not necessarily reflect those of the Editor or the 1940s Society. Friendly meetings learning more about life in the 1940’s. Whilst every effort has been made to contact all copyright holders, the sources of some pictures that may be used are obscure. The Meetings start at 8pm at Otford Memorial Hall, Nr. Sevenoaks. publishers will be glad to make good in future editions any error or omissions brought to their attention. The publication of any quotes or illustrations on which clearance has not been given is unintentional. Admission £3. Further details from Ian on 01732 452505 or visit the Web Site at: www.1940.co.uk Designed and produced by Ian Bayley. © Ian Bayley 2012 2 3 For music, books, and a variety of other wartime Wartime Fashion & Hair related items Harry and Edna are about to launch their new travelling exhibition on wartime fashion and Make do and Mend with their ally in tow Sarah from Do Wop Dos demonstrating some interesting if slightly less well known wartime hair styles. Here is a little New excerpt from their presentation. skilled labour workforce was now being used in essential war work and uniform making. Website Therefore the Board of Trade tackled the shortages and demands in 3 ways; • Rationing – introduction of New selection of posters now available clothing rationing in June 1941 • Utility (design) CC41 www.1940.co.uk (controlled commodity 1941) • Austerity (control of manufacture, This girl in slacks Fashion during the war years limiting adornments etc) would have been underwent a huge change, as looked at with Shortages and rationing brought amazement pre-war. did the way women styled their a new dawn of fashion and For a second year! We will be hosting a hair and the make up they wore. Change was mostly bought design and through this came about with the onset of war and a new casualness in dress. charitable 1940’s event the need to divert raw materials Fading fast was formal evening into the much needed war effort. dress. It became acceptable for Saturday 11th August 2012. Although Britain had Stockpiled women to go without stockings 10:30am – 4:30pm essential goods before the war, in summer and for men to wear SANDWICH, KENT - GUILDHALL after the fall of France imports a cravat with an open neck rather than the formal tie and • 40’s Sweet heart, Kas of raw materials could not meet shirt collars. • Fiona Harrison demand and the government • Cinque Port Lindi Hoppers was faced with finding a way of Women were also taking on • Entertainment FREE controlling and meeting supply more masculine roles, for • Vintage Vehicles needs. example joining the ATS meant the wearing of shirts, caps, ties • Trade stands All proceeds go to NACC • Food Stalls Another reason for the and jackets. • Charity bargain stalls shortages was that a large Clothes rationing was For more information contact: number of factories producing announced through the newspapers on a Sunday and Phone: 07825 214377 In Memory of Michael John and manufacturing clothing E-mail : [email protected] Wilkie 26/03/1957 – 28/8/2009 had been requisitioned and the used 26 existing margarine 4 5 coupons dropped to 48 then 36 years, boiler suits, hats, sewing by 1945. thread, hard haberdashery, laces, mending wool, lace, net, Eight top designers including sanitary towels and black out Hardy Amies and Norman dyed cloth. Hartnell were each asked to submit 4 designs which Hair and how to style it became conformed to austerity rules. an issue for many women. Principally this meant a simple A shortage of hair products manufacturing process with bought about a need to cover limited cloth. For example skirts up hair and the introduction of were limited to 3 buttons, 6 alternative hair styles became seams, 2 box pleats & 1 pocket. the norm. No elastic waist bands or belts and the focus was on line Women were encouraged to and cut allowing pronounced keep their hair short as not only shoulders and a nipped in waist. did it cut down on the amount VOGUE magazine welcomed of styling to be done but also the designs and felt that utility the amount of product needed was steering away from drab as well. There were many making of wigs. Or perhaps a & dreary. Vogue claimed that Hats were a popular ingenious uses of hair pieces, hair piece made from a cows tail way of brightening now all women could have up a womens outfit. one Pathe information film madam? equal chance to buy beautifully Image from “The encouraged you to have your designed clothes suitable to their 1940s Look”. hair cut to provide hair for the As Hats were never rationed lives and incomes. many women used them as a changeable accessory and Mens clothing was also affected, changed the adornments on for example they were no hats rather than have a plethery longer allowed turn ups, wide of dresses. lapels or double breasted suits. Waistcoats could only have 3 The advent of the Gas mask curl buttons and pockets were kept was a style which left a parting to a minimum on all clothing. in middle of your head for your Pyjamas had no pockets at all gas mask strap, making the “Austerity” dresses, coupons (in the current food and a less formal approach wearing of it more comfortable. conforming to Britain’s Board of ration book) so as not to alert became far more acceptable The Turban increased in Trade regulations. the public to the scheme and such as open necks with no popularity partly because it hid thus avoiding panic buying. collars, pullovers and cord greasy hair and meant that However the black market trousers. women could pin and set their was very quickly flooded with curls and leave them in until 100,000 coupons so the Board Boys under 13 were not allowed the following evening or until Of Trade issued regulations to to wear long trousers and they were ready for going out.
Load more

Recommended publications
  • The History of Women in Jazz in Britain
    The history of jazz in Britain has been scrutinised in notable publications including Parsonage (2005) The Evolution of Jazz in Britain, 1880-1935 , McKay (2005) Circular Breathing: The Cultural Politics of Jazz in Britain , Simons (2006) Black British Swing and Moore (forthcoming 2007) Inside British Jazz . This body of literature provides a useful basis for specific consideration of the role of women in British jazz. This area is almost completely unresearched but notable exceptions to this trend include Jen Wilson’s work (in her dissertation entitled Syncopated Ladies: British Jazzwomen 1880-1995 and their Influence on Popular Culture ) and George McKay’s chapter ‘From “Male Music” to Feminist Improvising’ in Circular Breathing . Therefore, this chapter will provide a necessarily selective overview of British women in jazz, and offer some limited exploration of the critical issues raised. It is hoped that this will provide a stimulus for more detailed research in the future. Any consideration of this topic must necessarily foreground Ivy Benson 1, who played a fundamental role in encouraging and inspiring female jazz musicians in Britain through her various ‘all-girl’ bands. Benson was born in Yorkshire in 1913 and learned the piano from the age of five. She was something of a child prodigy, performing on Children’s Hour for the British Broadcasting Corporation (BBC) at the age of nine. She also appeared under the name of ‘Baby Benson’ at Working Men’s Clubs (private social clubs founded in the nineteenth century in industrial areas of Great Britain, particularly in the North, with the aim of providing recreation and education for working class men and their families).
    [Show full text]
  • 100 Years: a Century of Song 1930S
    100 Years: A Century of Song 1930s Page 42 | 100 Years: A Century of song 1930 A Little of What You Fancy Don’t Be Cruel Here Comes Emily Brown / (Does You Good) to a Vegetabuel Cheer Up and Smile Marie Lloyd Lesley Sarony Jack Payne A Mother’s Lament Don’t Dilly Dally on Here we are again!? Various the Way (My Old Man) Fred Wheeler Marie Lloyd After Your Kiss / I’d Like Hey Diddle Diddle to Find the Guy That Don’t Have Any More, Harry Champion Wrote the Stein Song Missus Moore I am Yours Jack Payne Lily Morris Bert Lown Orchestra Alexander’s Ragtime Band Down at the Old I Lift Up My Finger Irving Berlin Bull and Bush Lesley Sarony Florrie Ford Amy / Oh! What a Silly I’m In The Market For You Place to Kiss a Girl Everybody knows me Van Phillips Jack Hylton in my old brown hat Harry Champion I’m Learning a Lot From Another Little Drink You / Singing a Song George Robey Exactly Like You / to the Stars Blue Is the Night Any Old Iron Roy Fox Jack Payne Harry Champion I’m Twenty-one today Fancy You Falling for Me / Jack Pleasants Beside the Seaside, Body and Soul Beside the Sea Jack Hylton I’m William the Conqueror Mark Sheridan Harry Champion Forty-Seven Ginger- Beware of Love / Headed Sailors If You were the Only Give Me Back My Heart Lesley Sarony Girl in the World Jack Payne George Robey Georgia On My Mind Body & Soul Hoagy Carmichael It’s a Long Way Paul Whiteman to Tipperary Get Happy Florrie Ford Boiled Beef and Carrots Nat Shilkret Harry Champion Jack o’ Lanterns / Great Day / Without a Song Wind in the Willows Broadway Baby Dolls
    [Show full text]
  • The Victor Black Label Discography
    The Victor Black Label Discography Victor 25000, 26000, 27000 Series John R. Bolig ISBN 978-1-7351787-3-8 ii The Victor Black Label Discography Victor 25000, 26000, 27000 Series John R. Bolig American Discography Project UC Santa Barbara Library © 2017 John R. Bolig. All rights reserved. ii The Victor Discography Series By John R. Bolig The advent of this online discography is a continuation of record descriptions that were compiled by me and published in book form by Allan Sutton, the publisher and owner of Mainspring Press. When undertaking our work, Allan and I were aware of the work started by Ted Fa- gan and Bill Moran, in which they intended to account for every recording made by the Victor Talking Machine Company. We decided to take on what we believed was a more practical approach, one that best met the needs of record collectors. Simply stat- ed, Fagan and Moran were describing recordings that were not necessarily published; I believed record collectors were interested in records that were actually available. We decided to account for records found in Victor catalogs, ones that were purchased and found in homes after 1901 as 78rpm discs, many of which have become highly sought- after collector’s items. The following Victor discographies by John R. Bolig have been published by Main- spring Press: Caruso Records ‐ A History and Discography GEMS – The Victor Light Opera Company Discography The Victor Black Label Discography – 16000 and 17000 Series The Victor Black Label Discography – 18000 and 19000 Series The Victor Black
    [Show full text]
  • Ted Heath (Bandleader) from Wikipedia, the Free Encyclopedia
    Ted Heath (bandleader) From Wikipedia, the free encyclopedia Background information Birth name George Edward Heath Also known as Ted Born 30 March 1902 Wandsworth, South London, England Died 18 November 1969 (aged 67) Virginia Water, Surrey, England Genres Big Band, jazz Occupation(s) Bandleader, composer Instruments Trombone Years active 1916–1969 Labels Decca, London George Edward "Ted" Heath (30 March 1902 – 18 November 1969) was a British musician and big band leader. He led Britain's greatest post-war big band recording more than 100 albums which sold over 20 million copies. Considered the most successful band in Britain during the 1950s, it remained in existence as a ghost band long after Heath died, surviving in such a form until 2000. Musical beginnings After playing tenor horn at the age of six, encouraged by his father, the leader of the Wandsworth Town Brass Band, Heath later switched to trombone. Earning a living for his family in the post-war years he, and his brother Harold with three other musicians, formed a band that played to commuters outside London Bridge Station before winding their way along the streets in London to a location outside the Queen’s Hall Gardens venue. It was here that Heath’s professional career began as he was spotted on the street and asked to play with the Jack Hylton Band who had a residence there. He did not last long, not having the experience required, but it gave him the ambition to pursue a career as a professional musician. 1920s His first real band gig was with an American band on tour in Europe – the Southern Syncopation Orchestra – which had an engagement in Vienna, Austria and needed a trombone player.
    [Show full text]
  • Artie Shaw 1938-1939
    Glenn Miller Archives ARTIE SHAW 1938-1939 Prepared by: Reinhard F. Scheer-Hennings and Dennis M. Spragg In Cooperation with the University of Arizona Updated December 11, 2020 1 Table of Contents I. 1938 ................................................................................................................... 3 June 1938 ............................................................................................................... 3 July 1938 ................................................................................................................ 4 August 1938 ......................................................................................................... 12 September 1938 ................................................................................................... 15 October 1938 ........................................................................................................ 32 November 1938 .................................................................................................... 37 December 1938 .................................................................................................... 60 II. 1939 ............................................................................................................... 101 January 1939 ...................................................................................................... 101 February 1939 .................................................................................................... 131 March 1939 ........................................................................................................
    [Show full text]
  • Jack Hylton Band Members Contents Jack Hylton Band Members
    Jack Hylton Band Members Contents Jack Hylton Band Members .............................................................................................................................................. 1 A .................................................................................................................................................................................... 2 B .................................................................................................................................................................................... 2 C .................................................................................................................................................................................... 3 D .................................................................................................................................................................................... 3 E..................................................................................................................................................................................... 3 F ..................................................................................................................................................................................... 4 G .................................................................................................................................................................................... 4 H ...................................................................................................................................................................................
    [Show full text]
  • 1 the Jack Hylton Archive, Lancaster University: a Report on Its Current
    The Jack Hylton Archive, Lancaster University: A Report on its Current State and the Potential Research, Performance and Educational Opportunities (April 2007) Adam Greig, Deborah M awer 1. Introduction: brief history The Jack Hylton Archive contained within the Rare Books Archive of Lancaster University‘s Library is ostensibly the largest collection of materials and memorabilia pertaining to the bandleader‘s life, work and phenomenal success. This Archive was presented to the University by the Jack Hylton Estate some time following Hylton‘s death in 1965; prior to this the collection had been housed in the Theatre Royal, Drury Lane.1 The connection between Lancaster University and the Hylton name is also strengthened by the Jack Hylton Music Room, presented to the University with funds raised by The Stars Shine for Jack concert on 28 May 1965.2 The collection arrived unsorted, and remained that way until completion of the Rare Book Archive in 1997 when it was transferred to its current housing and work began on assembling a usable, catalogued source. Although work on the Archive has been continuous since being relocated, it is still far from being entirely sorted; nonetheless it is already possible to use the Archive for research purposes, and to ascertain the potential that it may offer when cataloguing is complete. 2. Archive contents The physical materials within the Archive include: music arrangements, newspaper cuttings, programmes, appointment diaries, 78 rpm and 12“ records, photographs, libretti, publicity flyers and posters, and memorabilia. 2.1 M anuscript band arrangements 0or the purposes of the Hylton Project (December 2006-April 2007), involving Dr Deborah Mawer as Principal Investigator and Adam Grieg as part-time Research Assistant (funded by PALATINE buy-out), the most pertinent source has been the 1 Materials relating Jack Hylton and the Adelphi Theatre, as well as some of the materials associated with circus, and funfair management are still held in the Theatre Museum, London.
    [Show full text]
  • The Evolving Presence of Jazz in Britain Chapter 4 Case Study: in Dahomey: a Negro Musical Comedy in London, 1903
    City Research Online City, University of London Institutional Repository Citation: Parsonage, Catherine Jane (2002). The evolution of jazz in Britain c. 1880- 1927: antecedents, processes and developments. (Unpublished Doctoral thesis, City University London) This is the accepted version of the paper. This version of the publication may differ from the final published version. Permanent repository link: https://openaccess.city.ac.uk/id/eprint/14853/ Link to published version: Copyright: City Research Online aims to make research outputs of City, University of London available to a wider audience. Copyright and Moral Rights remain with the author(s) and/or copyright holders. URLs from City Research Online may be freely distributed and linked to. Reuse: Copies of full items can be used for personal research or study, educational, or not-for-profit purposes without prior permission or charge. Provided that the authors, title and full bibliographic details are credited, a hyperlink and/or URL is given for the original metadata page and the content is not changed in any way. City Research Online: http://openaccess.city.ac.uk/ [email protected] The Evolution of Jazz in Britain c. 1880-1927: Antecedents, Processes and Developments Catherine Jane Parsonage Thesis submitted for the degree of Doctor of Philosophy City University Department of Music July 2002 IMAGING SERVICES NORTH Boston Spa, Wetherby West Yorkshire, lS23 7BQ www.bl.uk THE FOLLOWING HAVE BEEN REDACTED AT THE REQUEST OF THE UNIVERSITY: Figure 1 (after page 36) Figures 2 &
    [Show full text]
  • “The Jazz Problem”: How U.S. Composers Grappled with the Sounds of Blackness, 1917—1925 Stephanie Doktor Cumming, Georgia
    “The Jazz Problem”: How U.S. Composers Grappled with the Sounds of Blackness, 1917—1925 Stephanie Doktor Cumming, Georgia Bachelor of Arts, Vocal Performance, University of North Georgia, 2003 Master of Arts, Musicology, University of Georgia, 2008 Master’s Certificate, Women’s Studies, University of Georgia, 2008 A Dissertation presented to the Graduate Faculty of the University of Virginia in Candidacy for the Degree of Doctor of Philosophy Department of Music University of Virginia December, 2016 iv © Copyright by Stephanie DeLane Doktor All Rights Reserved December 2016 v For Hillary Clinton and Terry Allen, who both lost the race but the fight still rages on vi ABSTRACT My dissertation tracks the development of jazz-based classical music from 1917, when jazz began to circulate as a term, to 1925, when U.S. modernism was in full swing and jazz had become synonymous with America. I examine the music of four composers who used black popular music regularly: Edmund Jenkins, John Powell, William Grant Still, and Georgia Antheil. For each composer, whose collections I consulted, I analyze at least one of their jazz-based compositions, consider its reception, and put it in dialogue with writings about U.S. concert music after World War I. Taken together, these compositions contributed to what I call the Symphonic Jazz Era, and this music was integral to the formation of American modernism. I examine how these four composers grappled with the sounds of blackness during this time period, and I use “the Jazz Problem” as an analytic to do so. This phrase began to circulate in periodicals around 1923, and it captured anxieties about both the rise of mass entertainment and its rootedness in black cultural sounds in the Jim Crow era.
    [Show full text]
  • The Influence of Bix Beiderbecke – Volume Two: Europe
    THE INFLUENCE OF BIX BEIDERBECKE – VOLUME TWO: EUROPE By Nick Dellow and Mark Berresford As evinced in Volume One of this CD set, Bix Beiderbecke was the defining interpreter of jazz for many white American trumpet players in the latter half of the 1920s and into the early 1930s. Less well known is the fact that he was also enormously influential in Europe during this time. Although Bix himself never left the USA, his solos were conveyed across the Atlantic through 78 rpm records issued in England, France, Germany and many other countries. Through a combination of word of mouth and reviews in the Melody Maker (a British dance band magazine), these records soon became the talk of dance band and jazz circles. As a consequence, a “Bixian” style began to pervade jazz-flavoured dance band recordings across Europe from the mid 1920s, most notably in Great Britain. Early influences It was the Original Dixieland Jazz Band (the ODJB) who first brought jazz to the Old World, playing extended engagements in London from April 1919 to July 1920. Their Dixieland music had already proved a hit in Chicago and at New York’s Reisenweber's Restaurant, and through nightly appearances at the Hammersmith Palais de Dance and Rector’s Club in London – as well as via now rare recordings issued by British Columbia – the band repeated the success they had scored in their home country. Many other American bands followed in the wake of the ODJB’s success, and for a decade or so after the Original Dixielanders had returned home, Europe proved to be a valuable source of additional income for American bands and musicians who played this new type of popular music, which their European counterparts often found hard to emulate.
    [Show full text]
  • Louis Armstrong -Portrait of the Artist As a Young Man 1923-1934
    Louis Armstrong—Portrait of the Artist as a Young Man 1923-1934 Dan Morgenstern Grammy Award for Best Album Notes 1994 Columbia/Legacy Smithsonian Institution Press C4K 57176 Transcript provided by Hank Hehmsoth – National Endowment for the Arts 2019 INDEX OF RECORDINGS: for discographical reference and music commentary, see designated page next to each selection. Title Page A Monday Date ............................................................................................................................. 19 Ain’t Misbehavin’ .......................................................................................................................... 16 Alone at Last .................................................................................................................................. 10 Anybody Here Want to Try My Cabbage? .................................................................................... 07 Basin Street Blues (rec. 1928) ...................................................................................................... 20 Basin Street Blues (rec. 1933) ...................................................................................................... 33 Beau Koo Jack ............................................................................................................................... 21 Between the Devil and the Deep Blue Sea .................................................................................... 33 Big Butter and Egg Man ................................................................................................................
    [Show full text]
  • Hylton and Stravinsky's Mavra at the Paris Opéra
    twentieth-century music 6/2, 155–182 © Cambridge University Press, 2011 doi:10.1017/S1478572210000150 Jazzing a Classic: Hylton and Stravinsky’s Mavra at the Paris Opéra DEBORAH MAWER Abstract This article focuses upon an arrangement of part of Stravinsky’s Mavra made for the British dance-band leader Jack Hylton (1892–1965), which, on its presentation at the Paris Opéra in 1931, marked a notable, yet ultimately unsuccessful, attempt at ‘jazzing a classic’. For the French critic Pierre Leroi the failure was a direct consequence of combining different musics (‘La confusion de genres aboutit toujours à un résultat mauvais’). But while the ‘contest’ of style and genre undoubtedly played its part in the negative critical reception of the transcription, the reasons for its failure were not entirely straightforward. Drawing on Fauconnier and Turner’s models of ‘conceptual blending’ and their recent applications in theories of musical ‘multimedia’, I compare Stravinsky’s source and the Hylton band’s jazz translation in terms of their intrinsic musical ‘attributes’, their relationship, and their potential emergent meanings. The exercise identifies commonalities and discrepancies, revealing problems with the original, the reworkings, and the resulting performances. The main issue is, however, not so much one of mixture (‘confusion’) as of imbalance between the elements invoked: ultimately, it is argued, Hylton’s reading was insufficiently ‘jazzique’. On 17 February 1931, upon the hallowed ground of the Opéra, the British dance-band leader and entrepreneur Jack Hylton (1892–1965) directed an arrangement of a portion of Stravinsky’s Mavra – a bold attempt at ‘jazzing a classic’, which nonetheless met with a broadly negative critical reception.
    [Show full text]