By Michael Foot
Publish 12 months note: First released in 1973
Michael Foot's two-volume biography of Aneurin 'Nye' Bevan (1897-1960) - arguably Britain's maximum socialist, indelibly linked to the founding of the nationwide well-being carrier - is among the significant political biographies of the final century. it's the lifetime of an inspirational flesh presser, written by means of one that knew and unabashedly renowned him.
Volume II, first released in 1973, starts with Bevan's function within the founding of a accomplished nationwide health and wellbeing carrier - this whereas he used to be additionally tasked with addressing the country's critical post-war housing scarcity. It takes in his 1951 resignation from the cupboard in protest on the creation of prescription fees, and his next management of a 'Bevanite' Labour left; his book in 1952 of rather than worry; his carrier as Shadow international Secretary in the course of the Suez obstacle in 1956; his arguable reversal of competition to nuclear guns in 1957; and his dying from melanoma in 1960.
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Extra info for Aneurin Bevan: A Biography, Volume 2: 1945–1960
P RIMUS : 47 NORWOOD FISHER: Fortunately, for the fans, all the bands that were linked together as a scene, they were all really different. That was the beauty of that time period, when I look back on it. Really, what they did, they were drawing from a whole other energy. The dynamics of the band were really pronounced—really high highs, and really quiet parts. They were really playing with the outside. They were really on the fringes. And it was not a pop band. But it was catchy, nonetheless. And it was funky.
I played bass, had the LINN drum, and borrowed a guitar from my buddy Ray Wing from the Tommy Crank Band. In the apartment, I was too embarrassed to sing. The only reason I started singing was because these bands I was in, the singers, I didn’t like how they sang my lyrics. So I decided, Well, I’ll be the singer, even though I couldn’t sing for shit. I even took some singing lessons from this lady, who I think just wanted to see me with my shirt off, because she kept making me take my shirt off when I’d sing.
It was a big, open space— high ceiling, not a rock club–looking place at all. And it had a big backstage, where you could roll your equipment. It seemed really professional. ” [Laughs] But it was amazing back then. DAVID LEFKOWITZ: I used to create these bills that would draw enough people to warrant us doing a show headlining at the Omni in Oakland. I would call it the Funk Thrash Festival—just so people thought it was this big thing. Typically, it would be four bands— usually Primus and the Limbomaniacs, and then two other bands.