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Chris Barber, British trad jazz bandleader, dies aged 90

Last modified on Tue 2 Mar 2021 12.19 EST Chris Barber, the British trombonist, double bassist and trad jazz bandleader who influenced the path of mid-century pop, has died aged 90. He had dementia. His death was confirmed by his UK press representative. Born in Hertfordshire and taught music at London’s Guildhall School, Barber was a champion of trad jazz, the raucous New Orleans style that had waned by the early 1950s as bebop became more fashionable. He helped to reignite the style’s popularity, and became known as one of the Three B’s, alongside Kenny Ball and Acker Bilk, who also separately revived trad jazz.

Councillor banned for sharing offensive and racist Facebook posts has sanctions reviewed

Councillor banned for sharing offensive and racist Facebook posts has sanctions reviewed A ban was set in place to prevent him sitting on any committee until the end of his term of office 17:12, 27 FEB 2021 He shared posts on Facebook (Image: PA) Get the latest Hartlepool news direct to your inbox with our free email newsletterInvalid EmailSomething went wrong, please try again later. Subscribe When you subscribe we will use the information you provide to send you these newsletters. Sometimes they’ll include recommendations for other related newsletters or services we offer. OurPrivacy Noticeexplains more about how we use your data, and your rights. You can unsubscribe at any time.

Let Me Tell You What I Mean by Joan Didion review – a masterclass in minimalism

Let Me Tell You What I Mean by Joan Didion review – a masterclass in minimalism
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Let Me Tell You What I Mean by Joan Didion review – a masterclass in minimalism

Let Me Tell You What I Mean by Joan Didion review – a masterclass in minimalism Peter Conrad Except for Joan Didion, the New Journalists of the 1960s were a self-dramatising gang, determined to upstage the stories they reported. Norman Mailer brawled, Hunter S Thompson raged; less loudly macho, Tom Wolfe preened and Truman Capote whispered sedition. When Didion calls writing “an aggressive, even a hostile act” or “the tactic of a secret bully”, she might be defining this bumptious fraternity. Didion’s own tactics, sampled here in a smattering of uncollected articles, are more covert, perhaps even passive-aggressive. In an essay celebrating the scruffy underground press of the hippie era, she proclaims the ideology that underlay the new procedures: on guard against the respectable broadsheets and their “factitious ‘objectivity’”, journalists needed to risk “the act of saying I”. For Didion, however, that was easier said than done. Tentative,

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