Reviews of Habibi Funk 031, Kayatibu, and The Good Ones
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Ben Lunn: Marxist Notes on Music
The edifying spirit of the Workers’ Music Association (WMA) Summer School remains intact as it returns after the pandemic
Alongside the wonderful music, there was a great comradery
[Ben Lunn]
SIMON DUFF relishes the cross contamination of Damien Hirst’s greatest hits by street artists from France and the US
In view of the grooming gangs inquiry, SIMON PARSONS feels the relevance of this powerful examination of trauma suffered at Medomsley Youth Detention Centre
JOHN GREEN doubts the motivations of a US war photographer who never questions why, or for whom, she is producing images of imperialist conflict
MARIA DUARTE reviews Springsteen: Deliver Me From Nowhere, Hedda, The Mastermind, and Regretting You
TONY CONWAY welcomes a thrilling and concise history of Hope not Hate, that is also a manual full of tactical advice
PAUL DONOVAN welcomes an inspiring account of living with deafness that has important lessons for the treatment of deaf people in today’s UK
THE Workers’ Music Association (WMA) was formed in 1936 via a conglomeration of workers’ choirs, including the London Labour Choral Union, and other working-class groups and thanks to the leadership of individuals like Alan Bush and Rutland Boughton (among others).
Included in the early aims of bringing the greatest amount of music to the widest spread of the working-class, the Summer School has been a key element of the work and a continuing source of joy and enthusiasm among attendees and those close to the WMA.
Since it started in 1946, the Summer School has been continuous event, with the exception of the start of the Covid-19 pandemic, which made this year a cathartic and joyous experience.
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