Making a New World (English Wikipedia)

Analysis of information sources in references of the Wikipedia article "Making a New World" in English language version.

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  • Brewis & Brewis 2020a, 30:27–31:03 David Brewis: "We started the research in earnest in September 2018. And in between then and the shows which were at the end of January 2019, we wrote all the music, wrote all the lyrics, Kev did all the visuals and we refined the text, we had to find archive photography to use with the visuals, and we had to rehearse it and be ready to play it, all 42 minutes or whatever it was, in one go, so it was an incredibly condensed process for us." Brewis, David; Brewis, Peter (29 January 2020a). "Rough Trade Edit Podcast 2 with Field Music" (Podcast). Rough Trade Edit Podcast. Rough Trade. Retrieved 23 March 2020.
  • Brewis & Brewis 2020a, 29:07–29:47 David Brewis: "And also we composed the whole thing really quick. And the quickest way is us to work is to do music that sounds like Field Music and use the Field Music band. And that was quite like a liberating process. Because quite often when we're making Field Music records we'll come up with something and I'll show it to Peter and say 'I've done this but it sounds too much like Field Music so I'm going to ditch it. Whereas with this record it was like, 'This one sounds like Field Music, but that's OK because we also have to write 15 more songs in the next three weeks.'" Brewis, David; Brewis, Peter (29 January 2020a). "Rough Trade Edit Podcast 2 with Field Music" (Podcast). Rough Trade Edit Podcast. Rough Trade. Retrieved 23 March 2020.
  • Brewis & Brewis 2020a, 31:18–31:47 David Brewis: "I think by like Christmas of 2018 I think we started to go around our head, 'You know, these songs are good, maybe this isn't just the commission, maybe this could be an album.'" Peter: "Maybe. I don't think we even thought that it should be an album until we actually, well it wasn't in my mind, until we'd actually recorded the first run-throughs and I thought, 'Yeah this sounds quite good, let's finish this off.'" Brewis, David; Brewis, Peter (29 January 2020a). "Rough Trade Edit Podcast 2 with Field Music" (Podcast). Rough Trade Edit Podcast. Rough Trade. Retrieved 23 March 2020.
  • Brewis & Brewis 2020a, 18:08–18:34 Peter Brewis: "It's fairly esoteric, I think. We're writing song about the aftermath of the First World War and the repercussions of those things that lasted 100 years, so it's quite a specific thing. ... I think we realized that it was going to be even more niche than usual." Brewis, David; Brewis, Peter (29 January 2020a). "Rough Trade Edit Podcast 2 with Field Music" (Podcast). Rough Trade Edit Podcast. Rough Trade. Retrieved 23 March 2020.
  • Brewis & Brewis 2020a, 18:43–18:56 David Brewis: "It's been a really fun project to do. Fun to record with the band. Fun to do songs which are based on researching things, which is not how we would usually approach writing a song." Brewis, David; Brewis, Peter (29 January 2020a). "Rough Trade Edit Podcast 2 with Field Music" (Podcast). Rough Trade Edit Podcast. Rough Trade. Retrieved 23 March 2020.
  • Brewis & Brewis 2020a, 31:51–32:52 David Brewis: "We were both in a state of mind then where I don't think we could have written normal songs about our lives." ... Peter: "I think our personal lives were in such a mess that it was probably a better idea to write about something else." David: "Take some time to digest the other things in our lives. Our mom passed away in March 2018, just after Open Here came out, and it just affected us in a way that it affects people. And it was the only thing that I wanted to think about, the only thing that I could seriously think about, but couldn't make sense of it ... So actually doing things like this where we were looking at different subjects from a different angle was ideal." Brewis, David; Brewis, Peter (29 January 2020a). "Rough Trade Edit Podcast 2 with Field Music" (Podcast). Rough Trade Edit Podcast. Rough Trade. Retrieved 23 March 2020.
  • Brewis & Brewis 2020a, 22:05–22:19 David Brewis: "Rather than do an album about the war – like we don't say the word gun in it or ... any of those things – we looked at things like the first gender reassignment surgery." Brewis, David; Brewis, Peter (29 January 2020a). "Rough Trade Edit Podcast 2 with Field Music" (Podcast). Rough Trade Edit Podcast. Rough Trade. Retrieved 23 March 2020.
  • Brewis & Brewis 2020a, 27:39–28:23 David Brewis: "It was something that I felt angry about, and then wrote a song about it from my angry point of view. And then had to show it to my wife. I was like, 'I'm embarrassed by this. And the song's about me being embarrassed by this. If I put this on a record are you still going to be my friend?' And she was like, 'No, yes, do it. You must do it.' And I showed it to Liz in the band, and again she was like, 'Yeah do it.' And then I felt better. And I still feel embarrassed by it, but in a way, because the song is about my embarrassment, it feels like an authentic admission of uselessness." Brewis, David; Brewis, Peter (29 January 2020a). "Rough Trade Edit Podcast 2 with Field Music" (Podcast). Rough Trade Edit Podcast. Rough Trade. Retrieved 23 March 2020.
  • Brewis & Brewis 2020a, 27:07–27:33 David Brewis: "I was trying to figure out which point of view to tell this story from, and was amazed and kind of disgusted to see that the advertising around it then is almost exactly the same as the advertising for that product is now, where it's like, 'There's something unmentionable, girls. So let's not mention it, but you can live a full life too, with Kotex.'" Brewis, David; Brewis, Peter (29 January 2020a). "Rough Trade Edit Podcast 2 with Field Music" (Podcast). Rough Trade Edit Podcast. Rough Trade. Retrieved 23 March 2020.
  • Brewis & Brewis 2020a, 26:17–26:32 David Brewis: "We didn't want to moralise with the record, we didn't want to like base it all on our opinions about things, but I think our choices of the stories shows where our sensibilities lie." Brewis, David; Brewis, Peter (29 January 2020a). "Rough Trade Edit Podcast 2 with Field Music" (Podcast). Rough Trade Edit Podcast. Rough Trade. Retrieved 23 March 2020.
  • Brewis & Brewis 2020a, 23:13–23:41 Peter Brewis: "We found more stories and then decided on the ones..." David: "We could write songs about..." Peter: "Well we didn't write a song about everything, but what we found were the most interesting stories, we decided to do something. And then it was also about how the music fit it together, because we wanted to ... have the whole thing as a live-show, basically one piece. So everything runs into everything else." Brewis, David; Brewis, Peter (29 January 2020a). "Rough Trade Edit Podcast 2 with Field Music" (Podcast). Rough Trade Edit Podcast. Rough Trade. Retrieved 23 March 2020.
  • Brewis & Brewis 2020a, 23:59–24:08 Peter Brewis: "And no gaps so nobody had to worry whether they needed to applaud or not. 'I've never heard this before, should I clap?' So there weren't any gaps to clap until the end." Brewis, David; Brewis, Peter (29 January 2020a). "Rough Trade Edit Podcast 2 with Field Music" (Podcast). Rough Trade Edit Podcast. Rough Trade. Retrieved 23 March 2020.
  • Brewis & Brewis 2020a, 30:00–30:25 Peter Brewis: "I suppose it was the first record where we really included the rest of the band in putting the whole thing together and recording it as well. Usually it's just me and Dave and we'll get people in and out as and when. But when we're putting it together it was like, 'Right we need the whole band to be here to figure out how we're going to play it." Brewis, David; Brewis, Peter (29 January 2020a). "Rough Trade Edit Podcast 2 with Field Music" (Podcast). Rough Trade Edit Podcast. Rough Trade. Retrieved 23 March 2020.
  • Brewis & Brewis 2020a, 33:40–34:12 Peter Brewis: "We knew that we weren't going to tour it all that much because for the most part we're touring it with the projections and we're going to go out and play the whole thing in February and then with a few greatest hits tacked on. So we're not dedicated a year to... David Brewis: "No, I think we'll be sick of playing, because we can't really mix it up really, so I think we'll be sick of playing it by, I don't know, maybe in a few weeks. Brewis, David; Brewis, Peter (29 January 2020a). "Rough Trade Edit Podcast 2 with Field Music" (Podcast). Rough Trade Edit Podcast. Rough Trade. Retrieved 23 March 2020.
  • Brewis & Brewis 2020a, 24:45–25:43 David Brewis: "For the full tour in February we're only playing venues where we can play along to the visuals that we made. That Kev our guitarist made for the show, and there's quite a lot of, there's quite a lot of, there's a text story associated with each track that runs along the screen as we play, and the instrumental sections. I think I was quite worried that we wouldn't be able to play any of these songs without the clicking clacking percussion and visuals. So we had to figure out how to do it for these in-stores. And it's been good, and has worked, but it is a little bit too dependent on us saying..." Peter: "What the songs are about." David: "'Hey, this song is about, um, the invention of ground-to-air radio!'" Brewis, David; Brewis, Peter (29 January 2020a). "Rough Trade Edit Podcast 2 with Field Music" (Podcast). Rough Trade Edit Podcast. Rough Trade. Retrieved 23 March 2020.

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  • Hilton & Thompson 2020, 23:53–24:08 Hilton: "Nineteen tracks that are largely chronological. It starts with the end of the war, then looks at, like, soldiers returning home to a world they don't recognize, and then like how some of the discoveries and advances made during the war end up being used in the civilian world." Hilton, Robin; Thompson, Stephen (10 January 2020). "New Music Friday: Jan. 10" (Podcast). All Songs Considered. NPR. Retrieved 23 March 2020.
  • Hilton & Thompson 2020, 23:29–23:53 Thompson: "This one kind of uses the past as a prism into which to view the present. It starts out shortly after World War I and, man, the list of what these songs are about heads off in a lot of different directions, but you also hear musically how many different directions this band is coming from. Really inventive group." Hilton, Robin; Thompson, Stephen (10 January 2020). "New Music Friday: Jan. 10" (Podcast). All Songs Considered. NPR. Retrieved 23 March 2020.
  • Hilton & Thompson 2020, 24:20–24:22 Hilton: "A really ambitious record from them. Lots of interesting hooks and orchestrations throughout this. I thought a really fantastic listen." Hilton, Robin; Thompson, Stephen (10 January 2020). "New Music Friday: Jan. 10" (Podcast). All Songs Considered. NPR. Retrieved 23 March 2020.

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  • Graff, Gary (10 January 2020). "New Music: Selena Gomez, Ronnie Dunn, Apocalyptica, Poppy and more..." The Oakland Press. Archived from the original on 19 March 2020. Retrieved 19 March 2020.

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  • Brewis & Hemmings 2020, 1:03:20–1:04:28 Brewis: "We kind of had the ball rolling for the commission, we started doing our research in September 2018, and started putting together little snippets of music which we thought might become songs. We finished those songs and recorded demo versions of them and rehearsed them with the band, put together visuals which is something Kev from the band took charge of, with little stories interwoven into the visuals, all ready for these two performances right at the end of January 2019. And then the next week we came into the studio and ran through the whole performance. The kind of 45-minute performance, twice, and that's the basis for like 80% of what's on the record." Brewis, David; Hemmings, Jeff (1 January 2020). Brightonsfinest Radio Show // 1 Jan 2020 (YouTube). Brightonsfinest Radio Show. totallyradio. Retrieved 24 March 2020.
  • Brewis & Hemmings 2020, 1:08:19–1:09:29 Brewis: "We started with online research, we did it in a very amateurish way, literally typing into search engines, 'Hmm, technological advancements from World War I,' and there's so much interesting stuff online that finding those starting points was really easy. And then we both ended up going down wormholes where you get more and more information about a thing. I got to the point where I knew far too much about the development of ultrasounds. It's like, 'David, this is going to be a minute-and-a-half long song.'" Brewis, David; Hemmings, Jeff (1 January 2020). Brightonsfinest Radio Show // 1 Jan 2020 (YouTube). Brightonsfinest Radio Show. totallyradio. Retrieved 24 March 2020.
  • Brewis & Hemmings 2020, 1:07:41–1:07:54 Brewis: "There's text in the artwork, which will relate to each of the songs and puts that in the context of this 100 years of aftermath." Brewis, David; Hemmings, Jeff (1 January 2020). Brightonsfinest Radio Show // 1 Jan 2020 (YouTube). Brightonsfinest Radio Show. totallyradio. Retrieved 24 March 2020.
  • Brewis & Hemmings 2020, 1:03:04–1:03:20 Brewis: "By the time we'd written the songs, we just thought, 'These songs are as good as normal Field Music songs, and if we record it right, it kind of has to be an album,' even though that wasn't any part of the initial intention." Brewis, David; Hemmings, Jeff (1 January 2020). Brightonsfinest Radio Show // 1 Jan 2020 (YouTube). Brightonsfinest Radio Show. totallyradio. Retrieved 24 March 2020.
  • Brewis & Hemmings 2020, 1:07:30–1:07:42 Brewis: "Because of the way we researched the stories, rather than tell one story in a really dense and convoluted way, we've been able to tell stories that are really spread out." Brewis, David; Hemmings, Jeff (1 January 2020). Brightonsfinest Radio Show // 1 Jan 2020 (YouTube). Brightonsfinest Radio Show. totallyradio. Retrieved 24 March 2020.
  • Brewis & Hemmings 2020, 1:02:24–1:03:04 Brewis: "So we started working on a commission, which was going to be a performance, and probably initially we thought we'd do some moody instrumental music with maybe a song ... but when we kind of came up with our concept, which was that we were going to try to find stories from across the next 100 years, which we could tie directly back to something that happened in the war, we ended up writing more of the songs because the stories were just so interesting and it turned into something kind of bigger and more interesting than we imagined we'd end up doing." Brewis, David; Hemmings, Jeff (1 January 2020). Brightonsfinest Radio Show // 1 Jan 2020 (YouTube). Brightonsfinest Radio Show. totallyradio. Retrieved 24 March 2020.
  • Brewis & Hemmings 2020, 1:09:46–1:10:23 Hemmings: "Because it's not just all about World War I, is it?" Brewis: "I mean, directly, it's hardly about World War I at all. There's like two or three of the songs where the story by singing is set in the war and immediately after the war. But because of that approach it's just finding things that tie back in one way or another you could really stretch out and write about all sorts of things. But with the idea that we'd want to feel like the consequences of that war are still kind of present. The reparations one really makes that explicit. Brewis, David; Hemmings, Jeff (1 January 2020). Brightonsfinest Radio Show // 1 Jan 2020 (YouTube). Brightonsfinest Radio Show. totallyradio. Retrieved 24 March 2020.
  • Brewis & Hemmings 2020, 1:09:29–1:09:46 Brewis: "Most of the songs are kind of personal stories. Peter listened to quite a bit of Radio 4, so he by chance ended up catching a documentary about one of the photographers who took pictures of the students standing in front of the tanks at Tienanmen Square." Brewis, David; Hemmings, Jeff (1 January 2020). Brightonsfinest Radio Show // 1 Jan 2020 (YouTube). Brightonsfinest Radio Show. totallyradio. Retrieved 24 March 2020.
  • Brewis & Hemmings 2020, 1:07:31–1:07:41 Brewis: "And I hope we've done something you can enjoy it on one level, like just the sound and the melodies, and then you can keep digging down into it." Brewis, David; Hemmings, Jeff (1 January 2020). Brightonsfinest Radio Show // 1 Jan 2020 (YouTube). Brightonsfinest Radio Show. totallyradio. Retrieved 24 March 2020.
  • Brewis & Hemmings 2020, 1:10:56–1:11:29 Brewis: "So there were groups of artists who fled to Switzerland, and started to cover it all there, their response to the horror of the war was to say 'This is absurd, what is happening is absurd. So we're going to really display all of this absurdity.' And that was the start of the Dada movement. Brewis, David; Hemmings, Jeff (1 January 2020). Brightonsfinest Radio Show // 1 Jan 2020 (YouTube). Brightonsfinest Radio Show. totallyradio. Retrieved 24 March 2020.
  • Brewis & Hemmings 2020, 1:11:01–1:12:19 Brewis: "Peter found a story of an artist named Chris Burden who inspired in a similar way by what was happening with the Vietnam War, and the images that were coming back on the television which he felt were desensitising people to real violence, he asked his friend, in the name of art, to shoot him in the arm. ... It got Peter off on writing this thing about desensitivity to violence infiltrates society, and he's kind of written a song about kids bringing toy guns into school and playing violence, because the real horror of it isn't present. And I think that ties in with what Chris Burden was trying to do when he asked his friend to shoot him in the arm. It's a record about unforeseen consequences. Brewis, David; Hemmings, Jeff (1 January 2020). Brightonsfinest Radio Show // 1 Jan 2020 (YouTube). Brightonsfinest Radio Show. totallyradio. Retrieved 24 March 2020.

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  • Brewis & Brewis 2020b, 8:21–9:03 David Brewis: "I didn't have any experience with the Imperial War Museum at all, and in all honesty those words 'Imperial War Museum' are things which I initially would instinctively think, 'Oh that's my kind of place.' But actually one of the first things we did was go to visit the IWM North and to realize what museums were really about and to have a really powerful experience just being there to see some of the films and see some of the objects, and understand it away from the name was huge for me." Brewis, David; Brewis, Peter (10 January 2020b). How we wrote Making a New World | Field Music (YouTube). Imperial War Museum. Retrieved 24 March 2020.
  • Brewis, David (6 January 2020). Money is a Memory (Behind the Music) (YouTube). Memphis Industries. Event occurs at 0:05–1:34. Retrieved 24 March 2020. In our research, our very amateurish research, we were amazed to discover that the final repayment of debts related to war reparations was made in 2010. ... The song imagines someone in 2010 working in a back office at the German treasury having to go through this boring bureaucratic process of making sure this payment is made, but the payment relates to this massive and really important thing which has had all these horrific consequences for the 20th century. Just the idea that we haven't been able to escape this kind of bureaucratic decision, and just the idea that these consequences follow you around, consequences from war especially, consequences of diplomatic relations, they are going to follow you around.
  • Brewis & Brewis 2020b, 2:04–2:50 David Brewis: "Realizing that to try and tell a very big story in broad strokes is not something which pop music does very well. So even when we've been writing our own songs, when we want to make a point we tend to focus on a smaller story. And in a way that approach worked perfectly for this, because we can't tell the story of the First World War, we certainly can't tell the story of a century after the first World War and everything that came from it, but we can pick little stories, and find ways that maybe they can express something much bigger." Brewis, David; Brewis, Peter (10 January 2020b). How we wrote Making a New World | Field Music (YouTube). Imperial War Museum. Retrieved 24 March 2020.
  • Brewis & Brewis 2020b, 9:03–9:20 Peter Brewis: "Looking at the objects, looking at the stories, I thought, 'God, these are like the real small, human, everyday stories within these things, but they're part of like this massive picture, this tapestry of everything that's gone on before and since and it's like these things are really, really important.'" Brewis, David; Brewis, Peter (10 January 2020b). How we wrote Making a New World | Field Music (YouTube). Imperial War Museum. Retrieved 24 March 2020.
  • Brewis & Brewis 2020b, 4:17–4:35 Peter Brewis: "They took out loans throughout the course of the last 100 years and they've only just finished paying off, it was 2010. 'Wow, that's mad. We could write a song about that.' And I said: 'Well actually, I can't write a song about that. I don't think I'd be very good at that. Dave do you fancy doing a song about that?'" Brewis, David; Brewis, Peter (10 January 2020b). How we wrote Making a New World | Field Music (YouTube). Imperial War Museum. Retrieved 24 March 2020.
  • Brewis & Brewis 2020b, 5:48–6:20 Peter Brewis: "The story about the impact the war had on the influenza epidemic and vice versa, we thought, 'You know what, we should really that,' but it's like, we can't really express that sort of thing in a couple of verses and a chorus or a melody or something like that, so I thought, 'You know what, we just need to do some music for that.' It's still a kind of interesting story but it's a wider one. Really I didn't want to just find a story or story within that." Brewis, David; Brewis, Peter (10 January 2020b). How we wrote Making a New World | Field Music (YouTube). Imperial War Museum. Retrieved 24 March 2020.
  • Brewis, David (17 March 2020). Sound Ranging (Behind the Music) (YouTube). Memphis Industries. Event occurs at 0:15–1:24. Retrieved 24 March 2020. The first two tracks are called "Sound Ranging" and "Silence". So for the first minute we tried to create a piece of music that in a way represented the idea of the guns still kind of going off. We tried to represent that by having different musical elements, almost in slightly different time signatures, to kind of give that feeling of things being irregular, being slightly chaotic as well. Then the next short track is just something to represent this idea of the silence after the guns stopped at 11 o'clock on the 11th of November 1918. We didn't want to do birdsong and all those things that you might associate with that. We just wanted something that felt calm but uncertain.
  • Brewis, David (17 March 2020). Coffee or Wine (Behind the Music) (YouTube). Memphis Industries. Event occurs at 0:05–1:25. Retrieved 24 March 2020. 'Coffee or Wine' is the first proper song on the album and it's also the only song which deals directly with the end of the First World War. I suppose I was trying to write it from the point of view of a soldier after the armistice has been signed, and suddenly you're confronted with this reality which in a way is a huge relief, but also has this huge uncertainty about what are you going home back to. The world's changed, and yet you've been stuck in a trench for years. And the whole thing's been finished, not with a battle but by this signature on a piece of paper. There's a little detail in there about the Allied commander Ferdinand Foch ... how he was actually quite informal with his men, but there was one thing he was very insistent upon, and that was the regularity of his meals. So things could be very informal ... but he had to have his meals at 12 noon and 7 PM. And I just thought it was a very funny little detail about this person who was in charge of ending the war.
  • Brewis, David (18 February 2020). Do You Read Me? (Behind the Music) (YouTube). Memphis Industries. Event occurs at 0:03–1:12. Retrieved 24 March 2020. The song 'Do You Read Me?' is kind of about the development of radio transmissions in the first World War, obviously because we had this new airplane technology that also had to be a technology where you could send radio signals from the ground to an object moving in the sky. I suppose I imagined an ace pilot, the best guy in whatever the Royal Air Force was called then, and had been having these moments of freedom. Really dangerous, but free, up above the fighting. But in order to make it safe, in order to make it work, he has to be liked tied down by these radio transmission from the ground. He kind of has to join the club. So it's a bit of kind of wishful thinking, but that's where the idea for the song came from.
  • Brewis, David (17 March 2020). A Change of Heir (Behind the Music) (YouTube). Memphis Industries. Event occurs at 0:07–1:24. Retrieved 24 March 2020. It's written from the point of view of Michael Dillon, who was one of the first people to go through female-to-male gender reassignment surgery. This surgery was performed by a plastic surgeon named Harold Gillies who had performed facial repair operations on British soldiers returning from the front, and he used this experience to do some of the very first gender reassignment surgeries. And Laura Dillon became Michael Dillon. The title of the song, 'A Change of Heir', I'm pretty sure I took from a newspaper headline which was about Michael Dillon, because he was now a man was heir to the Dillon baronetcy. And then to get away from the fuss, he decided to leave Britain and he went to India.
  • Brewis, David (17 March 2020). Only In a Man's World (Behind the Music) (YouTube). Memphis Industries. Event occurs at 0:09–1:22. Retrieved 24 March 2020. During the war, an American company called Kimberly-Clark had this material called cellu-cotton, which they thought would be good for dressings for wounds, and then it ended up being used by nurses on the front for sanitary protection. So I started looking into this and was amazed to discover that basically that the basically adverts for Kotex, which is what it became at the time, haven't really changed all that much. The whole conversation around mensuration hasn't really changed all that much. It's still something which is really hidden away. And especially for men, you just don't know about it, people don't talk about it, so this thing which is just a totally normal occurrence is something which we don't have proper language for. And I think it's kind of an indicator that we live still in a male-dominated society where this is just kind of swept under the rug and pretended that this 'terrible, shameful thing' doesn't really happen. I'm sure that if men had to go through it, then we probably would have language to deal with it.
  • Brewis & Brewis 2020b, 6:58–7:03 David Brewis: "And on the other hand there are some things where we could approach it in a really light-hearted way." Brewis, David; Brewis, Peter (10 January 2020b). How we wrote Making a New World | Field Music (YouTube). Imperial War Museum. Retrieved 24 March 2020.
  • Brewis, Peter (17 March 2020). Between Nations (Behind the Music) (YouTube). Memphis Industries. Event occurs at 0:09–1:05. Retrieved 24 March 2020. It is about the setting up of the League of Nations at the Paris Peace Conference in 1919. It's from the point of view of the people who were kind of putting it together, including people like the President of the United States Woodrow Wilson, who had this idea that if we put together a League of Nations, then that's all we'll need for countries to start cooperating and to prevent another World War. But Woodrow Wilson, although he was one of the main architects of the League of Nations, when he took it to his own Senate, they voted not to join and it was one of the reasons the League of Nations didn't work and ultimately led to the outbreak of the Second World War.
  • Brewis & Brewis 2020b, 4:49–5:16 Peter Brewis: "Dave did it, you did it in a different way, in a way that I hadn't imagined." David: Yeah, I ended up writing a story basically imagining somebody in a back office in the German Treasury whose job it is to make sure the paperwork is right for this final payment 92 years after the end of the War. It was an angle to write the song from." Brewis, David; Brewis, Peter (10 January 2020b). How we wrote Making a New World | Field Music (YouTube). Imperial War Museum. Retrieved 24 March 2020.
  • Brewis & Brewis 2020b, 4:35–4:49 Peter Brewis: "It's kind of a song about money and how these financial sort of transactions, and the repercussions of reparations can affect people." Brewis, David; Brewis, Peter (10 January 2020b). How we wrote Making a New World | Field Music (YouTube). Imperial War Museum. Retrieved 24 March 2020.
  • Brewis & Brewis 2020b, 6:21–6:45 David Brewis: "Likewise, when we looked at how some of the treaties and agreements made during the war affected the Middle East, again it's quite shocking to see the very direct effect that had on the kind of continuing conflict in the Middle East for 100 years, but it's too big a story to make into a song." Brewis, David; Brewis, Peter (10 January 2020b). How we wrote Making a New World | Field Music (YouTube). Imperial War Museum. Retrieved 24 March 2020.
  • Field Music (6 January 2020). Field Music – Money is a Memory (YouTube). Memphis Industries. Archived from the original on 22 March 2020. Retrieved 30 March 2020.