When this movement began, the Stalinists were opposed to it, but as Josef Škvorecký writes in his "The Bass Saxophone", “Its name was Dixieland. A type of the cannibal-music with roots so patently folkloristic and often (the blues) so downright proletarian that even the most Orwellian falsifier of facts would be hard put to deny them”. Similar to the situation during World War II, jazz was developed by Africans and as such, regarded as trash. As this movement grew, it became increasingly intertwined with the growth of the dissident movement.