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We’ll Meet Again: how toxic nostalgia twisted Vera Lynn’s pop masterpiece

We’ll Meet Again: how toxic nostalgia twisted Vera Lynn’s pop masterpiece

From Captain Tom Moore’s chart-topping You’ll Never Walk Alone to Katherine Jenkins’ charity take on Vera Lynn’s We’ll Meet Once more – a canopy model as gray and sickly as 1940s rationed margarine – 2020 has been a 12 months by which we’ve been reminded, greater than ever, that British tradition is unable to flee the lengthy shadow of the second world struggle.

It was throughout that struggle that the gorgeous We’ll Meet Once more, all hovering optimism and poignant nostalgia, grew to become one of many first nice pop hits. It had a profound influence on the servicemen who, in a 1940 tackle up to date fandom, voted Vera Lynn their favorite musical artist. The 16m-Spotify-streams incarnation model we all know greatest right now is barely totally different from the 1939 unique, which started with a easy scale and the road: “Let’s say goodbye with a smile, expensive.” This was ultimately edited into an ideal three-minute pop track, immediately recognisable from the Roland Shaw Orchestra’s swinging intro, with the principle lyric coming in earlier than the 10-second mark. On this simplification, there’s an echo of how the which means of the track has advanced over the many years.

Like all good pop songs, We’ll Meet Once more grew to become one thing greater than itself. It undoubtedly meant a lot to tens of millions of men and women, uniformed or in civvies, as they confronted conditions which might be unimaginable to us even right now. That hottest model of the track is redeemed within the deeply affecting part by which Lynn’s voice is joined by a massed choir of servicemen.

But because the era who fought the struggle have died, so a romantic view of the battle has turn into weaponised within the building of the parable of a plucky Britain, combating alone in opposition to Nazi foes. Britain in 1940 wasn’t alone in any respect, with the sources of an empire behind it, however that hardly serves the war-evoking narrative that shaped the core of a lot discourse around Brexit and today’s culture war. The examples are quite a few: Matt Hancock, now the UK’s bumbling well being secretary, invoked D-day in a speech to launch his abortive Tory management marketing campaign, and on “Brexit day” in January the Every day Mail printed a entrance web page picture of Dover’s white cliffs, immortalised in one other of Vera Lynn’s wartime hits. In current weeks, the tediously polarised argument over Churchill’s legacy has turn into tied up with discussions over monuments to our imperial past.

This jingoism has incessantly been deployed as a smokescreen for presidency ineptitude over coronavirus and Lynn, the “forces sweetheart”, hasn’t been immune. On 28 Could, the Solar printed a entrance web page with the headline “Ale Meet Once more” above an image of Boris Johnson brandishing a pint. On the identical day, it was introduced that the official demise toll from Covid-19 had reached 37,837 – greater than the variety of Londoners killed by German motion in the whole second world struggle.

I’m wondering now, reflecting on Vera Lynn’s life, if she was at all times solely snug with the track that adopted her by means of to the tip of her 103 years. In spite of everything, when she appeared on the Morecambe & Sensible 1972 Christmas particular (and Morecambe bought her confused with Gracie Fields), she refused to sing. As comic Barry Cryer later recalled, Sensible stated: “Vera doesn’t know we would like her to sing. How can we get her to sing?” with Morecambe replying: “In need of beginning one other struggle, I’ve no concept.” A comedy sketch, sure, however inside it there would possibly lie a kernel of fact. For Lynn, and for Britain, the struggle was by no means over.

In 1952 she grew to become the primary Briton to have a US No 1 with Auf Wiederseh’n, Sweetheart; 30 years later her single I Love This Land was launched when martial fervour was as soon as once more stoked by the Falklands struggle. In 2009, as Britain reeled from austerity, she grew to become the oldest dwelling individual to have a No 1 album with a compilation of her hits referred to as, in fact, We’ll Meet Once more. Because the UK thrashed round in post-Brexit turmoil in November 2018, the choral group D-Day Darlings – finalists on Britain’s Obtained Expertise – reached No 5 with an album that includes a canopy of We’ll Meet Once more, illustrated the singers wearing 1940s RAF uniforms. Any honouring of the useless had tipped right into a cheesy, nostalgic martial fetish.

All through her postwar profession, Lynn’s fame was trapped in symbiosis with the anxiousness of a nation in decline, perpetually doomed to look into the previous, to the time when Britain had its “best hour”. Coincidentally, her demise comes 80 years to the day since Churchill made the speech by which he coined that time period.

Pop nearly as good as We’ll Meet Once more will at all times have a presence – it gives gravitas to any trigger. Maybe probably the most highly effective use of the track is in Stanley Kubrick’s ever-timely Dr Strangelove, when within the ultimate scene it drifts out, with savage irony, throughout a world disappearing into atomic hearth. The model utilized by Kubrick additionally includes a troopers’ refrain and as I hearken to it now, I believe not simply of the lengthy lifetime of Vera Lynn, however these tens of millions of women and men from Britain and past to whom it gave a lot hope, and whose reminiscence we now see being so terribly abused.

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