Showing posts with label racism. Show all posts
Showing posts with label racism. Show all posts

Saturday, February 23, 2019

Ghost Town racism and resistance - The Specials play Coventry 1981

The Specials classic 'Ghost Town' single was released in June 1981. In the same month the band played an anti-racist gig in their home city of Coventry in a period of murderous racist attacks by far right-affiliated skinheads.


This report is from 'The Leveller' magazine, 26 June 1981, written by Chris Schüller with accompanying photos by Alastair Indge:

'The Precinct is a large modern shopping centre in the middle of Coventry, a warren of split level consumerism, fountains, pubs, car parks and lightbites. Last Saturday morning it was business as usual, thousands of shoppers, bored kids milling around, a number of skinheads. The only unusual things about it were the number of police on patrol in pairs and stationed in vans near every main entrance. And the fact that, for a city with an Asian population of 22,000, there are remarkably few to be seen.

Two months ago, Satnam Singh Gill, a student at Henley College, was beaten, kicked and stabbed to death by a group of skinheads in broad daylight within 50 yards of the Precinct. It wasn’t the first racist attack to take place in Coventry. Just two weeks earlier, 17 year old Susan Cheema was minding her father;s grocery shop when she was attacked about the face, arms and hands with a scythe, losing one of her fingers. But it was the worst so far, focusing attention on the growing racial violence in the city, and prompting local Asian groups to organise anti racist campaigns and set up self defence groups [...]

The day after Satnam Singh Gill died, a meeting was called by Asian and West Indian community leaders. Attended by over 400 people, it’s set up the Coventry Committee against Racism, a broad based organisation to which 37 community associations, temples and political groups are associated. They range from the Supreme Council of Sikhs through to the Communist Party to the Anglo-Asian Conservative Association. On May 23, they held a march to the city centre to protest at the death of Satnam Singh Gill. As the 10,000 strong procession reached Broadgate, a large group of ‘seig heiling’ skinheads began to hurl missiles and abuse from behind the police lines. As the young Asian marchers attempted to retaliate, some of them shouting, 'Brixton! Brixton!', 74 arrests were made. Many felt that the arrests were made far from impartially, and that the police had acted in defence of the right-wingers [...]

May 23 also provided the first concrete evidence that racist activity in Coventry was being coordinated by fascist organisations. Rumours had circulated before that the British Movement had moved some members into Coventry in January, that on May 9, four or five members of the BM and New National Front were seen in the city centre, but on May 23, hundreds of unorganised skinheads who had gathered to abuse and attack the marchers were met by Robert Relf and Leicester BM organiser Ray Hill [...]

Despairing of fair treatment and protection from the police, many members of the Asian community are organising their own defence. Harjinder Sehmi told me that his temple are providing judo and karate classes. 'We’re not out to revenge anything' he says, 'just out to defend ourselves'. Some of the more militant groups and individuals in the Coventry Committee against Racism have formed the Committee for Anti-racist Defence Squads under the umbrella of the larger organisation.


Meanwhile the attacks have intensified. On May 17, arson attempts took place at the Krishna temple and the Indian and Commonwealth Club. A woman of 50 was stabbed by skinheads while out shopping; a bus driver was attacked with a broken bottle, and another, who attempted to defend himself again skinheads was charged with actual bodily harm and with carrying an offensive weapon [...]  At the Coventry Carnival on May 13, the carnival queen, a West Indian, had to ride in a closed car because of stoning threats, and when a group of West Indian youths intervened to help an Asian boy who was being roughed up by skinheads, the police chased them off […]

Then on June 7, Dr Amal Dharry was stabbed in the heart by a 17-year-old skinhead as he left the chip shop in Earlsdon. He staggered to his car, where he locked himself in before collapsing. He died in hospital after 10 days on a life support machine. His attacker gave him self up immediately. He’d done it for a £15 bet that you wouldn’t “get a p*ki that night”.

It was against this background of racist violence that the Coventry-based two tone group The Specials decided to hold a festival for racial harmony in the Butts Stadium last Saturday. They asked other popular Coventry bands to perform for free – and put up the £13,000 it cost to put on the festival. The profits were to go to local anti racist groups [...]

On the day, barely 1000 people turned up. Perhaps they were scared away by rumours of trouble, perhaps they found the £3.50 entrance fee too expensive [...] Things livened up when The Specials came on. They seemed to turn the tension and frustration and disappointment into musical energy, and the small passive crowd suddenly became a big, excited one, and the songs never sounded so urgent, so relevant. But perhaps the high point of the whole set was a guest appearance by Rhoda Dakar who used to be with the Bodysnatchers. 'This is a song about another kind of violence, sexual violence'. It was called The Boiler and was about rape'.

[Hazel O'Connor also played at the festival. A few weeks later riots swept the country - see previous posts on the 1981 Summer Uprisings]



See also:


Monday, November 04, 2013

The Octoroon Ball, from WEB Du Bois' The Crisis

One of the most exciting sites I have come across recently is the Modernist Journals Project, a joint project of Brown University and the University of Tulsa that is digitising key early 20th century English language magazines. There's some astounding material there, not least numerous issues of 'The Crisis: A Record of the Darker Races', the ground-breaking journal of the National Association for the Advancement of Colored People edited by W.E.B. Du Bois.

From Issue no.5 (March 1911), here's a poem by Rosalie Jonas entitled Ballade des Belles Milatraisses. Its subject matter is the Octoroon Balls of 19th century New Orleans where white men would meet 'mixed-race' women (octoroons were defined as one-eighth black, quadroons as one-quarter), and from which black men were excluded - or almost. As often in the history of American music and dance, black people were both excluded from fully participating as equals while simultaneously being central to it as musicians and performers. In this instance it is the fiddler who is "the one man of 'colour' admitted" but with the instruction "Play on! Fiddler-man, keep your eyes on your bow".


Sunday, February 10, 2013

Join the EDL and BNP

No I don't mean the racist idiots of the English Defence League and the British National Party... they are yesterday's news. I refer of course to the anti-racists of the English Disco Lovers and the Bass National Party.



This EDL launched on facebook last September, with the following statement:

'The English Disco Lovers is a counter movement to the English Defence League. We aim to promote equality, respect and disco. We intend to be more popular that the English Defence League. This involves replacing them as the top result when "EDL" is searched on Google, as well as having more like than them on Facebook.

Earn Baby Earn, the respect of others by respecting them, Earn Baby Earn, Disco Inferno.

It's fun to practice the e-qua-li-ty, it's fun to practice e-qua-li-ty (to the tune of YMCA by the Village People).

But if you're thinking' about my baby, it don't matter if you're black or white.

People all over the World (everybody), join hands (join), start a love train, love train.

Who the funk is James Brown? He's a Soul Man.

Hate Racism, Love Disco'

They have already generated lots of international press coverage (including this Guardian article) and overtaken one of the main  EDL pages on facebook. Now up to nearly 25,000 facebook followers, people are talking about taking it out into the material world with t-shirts and club nights.


Now, inevitably, the Bass National Party has been launched on a similar 'Bass trascends race' basis:





Saturday, May 19, 2012

Malcolm X and Lindy Hop

Malcolm X was born Malcolm Little on this day, 19th May 1925.


The Autobiography of Malcolm X, written by him with Alex Haley, was published shortly after his assassination in 1965. Much of the book concerns his involvement with, and later break from the Nation of Islam. But the earlier part of the book contains some fascinating memories of nightlife in Boston and New York in the early 1940s.

In Boston, Malcolm worked as a shoeshine boy at the Roseland Ballroom and was clearly a big fan of the music played there. He talks approvingly of seeing Peggy Lee, Benny Gordman, Duke Ellington, Count Basie and many others, and recalled the fierce dancing competitions:

'"Showtime" people would start hollering about the last hour of the dance. Then a couple of dozen really wild couples would stay on the floor, the girls changing to low-white sneakers. The band now would really be blasting, and all the other dancers would form a clapping, shouting circle to watch that wild competition as it began, covering only a quarter or so of the ballroom floor. The band, the spectators and the dancers would be making the Roseland Ballroom feel like a big rocking ship. The spotlight would be turning, pink, yellow, green, and blue, picking up the couples lindy-hopping as if they had gone mad'.

Before long, he was a zoot suit wearing dancer himself (and indeed had progressed from shining the musicians' shoes to dealing them 'reefers'), and describes with evident relish lindy-hopping to Duke Ellington: 'Laura's feet were flying: I had her in the air, down, sideways, around: backwards, up again, down, whirling... Laura inspired me to drive to new heights. Her hair was all over her face, it was running sweat, and I couldn't believe her strength. The crowd was shouting and stomping'.

Still for all its liberation, nightlife was completely racialized. At the Roseland, some white dancers attended the black dances, but no black people were allowed to dance at the white dances, even if the music was provided by black musicians. Moving to New York, black Harlem had been catering since the 1920s for wealthier whites looking for thrills but not genuine social equality. I was surprised to read the word 'hippies'' dates back to that period: 'A few of the white men around Harlem, younger ones whom we called 'hippies', acted more Negro than Negroes. This particular one talked more 'hip' than we did'.

During the war, resentment against racist treatment grew. 'During World War II, Mayor LaGuardia officially closed the Savoy Ballroom. Harlem said the real reason was to stop Negroes from dancing with white women. Harlem said no one dragged the white women in there'.  In his recent biography, Malcolm X: A Life of Reinvention (2011), Manning Marable provides some background:

'Since its grand opening in 1926, the Savoy, located on Lenox Avenue between 140th and 141st streets, had quickly become the most significant cultural institution of Harlem. The great ballroom contained two large bandstands, richly carpeted lounges, and mirrored walls. During its heyday, about seven hundred thousand customers visited each year... In a period when downtown hotels and dancehalls still remained racially segregated, the Savoy was the centre for interracial dancing and entertainment. On April 22nd 1943, the Savoy was padlocked by the NYPD, on the grounds that servicemen had been solicited by prostitutes there. New York City's Bureau of Social Hygiene cited evidence that, over a nine-month period,  164 individuals has "met the source of their [venereal] diseases at the Savoy Ballroom". These alleged cases all came from armed services or coast guard personnel. Bureau officials offered absolutely no explanation as to how they had determined that the servicemen contracted diseases specifically from Savoy hookers... The Savoy remained closed throughout the summer of 1943' (it reopened in October).

During the period of the closure there there was a major riot in Harlem on 1 August 1943 after a black soldier was shot by a white policeman. 6 people died and 600 were arrested.

Marable reveals an interesting detail that Malcolm does not mention in the Autobiography - that under the stage name Jack Carlton, he performed as a bar entertainer at the Lobster Pond nightclub on 42nd street in 1944, dancing and sometimes playing the drums on stage.

Sadly it was another ballroom, the Audobon in Harlem, where Malcolm was murdered in February 1965 as he rose to speak at a public meeting there.

There's a great recreation of the Lindy Hop scene at the Roseland Ballroom in Spike Lee's film Malcolm X (1992).




Sunday, May 06, 2012

We are Luton

The racist idiots of the English Defence League held a demonstration in Luton yesterday, on the day they announced that they were joining up with the British Freedom Party - another extreme right wing outfit led by ex-British National Party activists. 

Around 1,000 people joined the anti-EDL 'We are Luton' demonstration from the town's Wardown Park (I didn't see the EDL, but Luton on Sunday reports that they had a around 500).



The police mounted a huge operation to keep the two demonstrations apart, with metal barriers to prevent the 'We are Luton' march getting into the town centre. There was a brief flurry of action here, where the police deployed their horses to stop an attempted break out of the police cordon:



Good to see Leviticus sound system at the start of 'We are Luton', playing some Bob Marley as usual! Leviticus is a successor to the Exodus Collective who famously put on massive free parties and festivals in Luton and surrounding area in the 1990s and early 2000s:  'The Leviticus (formerly Exodus) Collective are a Luton based Sound System and Social Movement who see ‘Leaving Babylon’ as re-building our community on the principles of oneness, sharing and co-operation, instead of those of greed, competition and hoarding which underpin the ‘Babylon System’. So we re-claim disused lands and properties in our town to create our own tribal dances, free festivals, workplaces and homes...building an alternative ‘way of life’ right here in Luton'. 



Luton is generally portrayed in the media as a town dominated by the racist EDL on the one hand, and hardcore islamists on the other, but obviously most people have no time for either of these tiny factions. Leviticus offer a different vision of  'Revo-luton'. I went to one of their dances last year at the Carnival Arts Centre in Luton, with reggae in one room and drum'n'bass in the other - and a crowd with White UK, African-Caribbean and Asian people partying together. Over the years Exodus/Leviticus have mobilised many more people in Luton than the EDL have ever managed.


See Malatesta and Inayat's Corner for report of EDL antics in Luton yesterday.


Monday, February 27, 2012

Black Panther Records

From the 'Black Panther' newspaper, January 17, 1970, adverts for Black Panther Party records.

Seize the Time was a collection of songs by Elaine Brown released in 1969, with song titles including Seize The Time, The Panther,  And All Stood By, The End Of Silence, Very Black Man and Poppa's Come Home among others.



'songs are a part of the culture of society. Art, in general, is that. Songs, like all art forms, are an expression of the feelings and thoughts, the desires and hopes, and so forth, of a people. They are no more than that. A song cannot change a situation, because a song does not live and breathe. People do.

And so the songs in this album are a statement – by, of, and for the people. All the people. A statement to say that we, the masses of the people have had a game run on us; a game that made us think that it was necessary for our survival to grab from each other, to take what we wanted as individuals from any other individuals or groups, or to exploit each other. And so, the statement is that some of us have understood that it is absolutely essential for our survival to do just the opposite. And that, in fact, we have always had the power to do it. The power to determine our destinies as human beings and not allow them to be determined by the few men who now determine them. That we were always human and always had this power. But that we never recognised that, for we were deluged, bombarded, mesmerised by the trinkets of the ruling class. And this means all of us: Black, Mexican, White, Indian, Oriental, Gypsy, all who are members of the working class, of the non-working class (that is, those who don’t have jobs), all who are oppressed.

This means all of us have the power. But the power only belongs to all of us, not just some or one, but all. And that was the trick. That was the thing we never understood. And that is what statement these songs make. All power to the people, seize the time’ (Elaine Brown, Deputy Minister of Information, Southern California Chapter, Black Panther Party)


Dig featured a recording of  a speech given by Eldridge Cleaver, Minister Of Information for the Black Panther Party at Syracuse University in July 1968.


(I found this amongst a number of issues of the paper at the South London Black Music Archive, an exhibition in Peckham)

Sunday, August 14, 2011

Riots in The Sun, 1981 and 2011

Two front covers from The Sun thirty years apart. The first from 1981 during riots, an image of police behind riot shields in Liverpool 8 and the headlne 'To think this is England' (note also bottom of the page 'Fury in the Ghetto'):


The second from last week's riots declaring 'England is Sick' (note bottom of the page 'Anarchy in the UK'):
The similarities are obvious, a pervading sense of a post-colonial melancholia (Gilroy), dreaming of some imagined homogenous England free of social conflict that never existed. The choice of England as the frame of reference rather than the UK was particularly significant in 1981 since elsewhere in the disunited Kingdom - in the north of Ireland - scenes of rioting and urban violence had been commonplace for more than 10 years. The implicit assumption was that the 'heartland' should be kept untainted while its forces unleashed water cannons, CS gas, plastic bullets and indeed live ammunition in Derry and Belfast.

If the imagined English rose garden is an acardia, any disruption must be borne by foreign bodies. There is a direct line from Margaret Thatcher's infamous 1978 comments about being 'swamped by an alien culture' to royalist historian David Starkey's complaint this week about the riots being partially the result of white youths 'becoming black'. Inevitably, others have specifically pointed the finger at black music, with Paul Routledge in the Daily Mirror blaming 'the pernicious culture of hatred around rap music, which glorifies violence and loathing of authority (especially the police but including parents), exalts trashy materialism and raves about drugs'.

But there have been changes. The woman on the front page of the Sun in 2011 is a Polish migrant rescued from a burning building in Croydon. England is more diverse than ever, and the dream/nightmare of an all-white Anglo-Saxon nation has receded into the past. Even the fascists like the BNP have stopped publically talking about forced repatriation and have opted instead for positioning themselves as a pressure group for white ethnicity - a begrudging acceptance, whether they admit it or not, of multicultural reality. Darcus Howe saw the 1981 riots as one factor leading to an 'ease of presence' for black people. Well it hasn't always been easy, but up until the 1970s, a significant proportion of white people believed that it was both desirable and possible to 'send 'em all back'. That England is thankfully dead, however much racism continues to exist in various forms.

Still the Polish woman leaping from her flat, the Asian families mourning those killed in Birmingham, the black women at my work complaining about the unruly youth, also pose a problem for any future 'left' or 'radical' movement. The problem is not so much how to overcome cultural barriers but the difference between the rage of those who feel they have nothing to lose, and other working class people who feel - and sometimes are - threatened by this anger. A working class consituency of all ethnicities that can be mobilised by papers like The Sun behind calls for more police and harsher sentences. A New England where overt official racism is marginalised, but marginalised young people - and especially young black people - have a tougher time than ever.

(best thing on musical aspects of the riots so far is Dan Hancox's article in The Guardian, Rap responds to the riots: 'They have to take us seriously')

Monday, July 18, 2011

Rock Against Racism Documents, 1979

Rock Against Racism was a significant cultural force in Britain during the late 1970s, mobilising some of the best punk, post-punk and reggae bands of the periods to perform and publically condemn the far right National Front (predecessors of today's British National Party).

Here's a few RAR internal documents from 1979 (click to enlarge). First up is the RAR constitution: 'RAR is rockers against racism and the shit conditions that create it. We are against the National Front, the British Movement, all racist politicians and racists everywhere. We are for multi-racial roots unity, forward sounds and militant gigs. We are politically and financially self-supporting but we gig with anyone who shares our aims… Although we are called ‘Rock Against Racism’ we support the struggle against other forms of oppression. There is no way we will allow women, gays or Irish people to be put down or made the butt of dumb jokes from a RAR stage. While RAR is a deadly serious political message, we are also a bunch of loonies dedicated to keeping Britain Dayglo’.




Organisation was based around ‘RAR Locals’ sending delegates to an annual Dub Conference, as well as RAR Quarterlies. National co-ordination was by an elected ten person 'RAR Central'. Obviously one risk was that local groups using the RAR brand would not adhere to the values of the movment - the consitution stipulates that 'RAR Locals must keep the faith with RAR tradition of good gigs, militant entertainment and a fair deal to fans'.



This November 1979 internal newsletter includes a report of a quarterly ‘RAR remix’ conference held in London, with 50 delegates.

It gives an idea of some of the practical concerns, such as dealing with Councils and commercial agents for bands when putting on gigs. RAR developed a Standard gig contract to deal with this that ‘protects you against being ripped off and will give bands confidence in your organisational abilitiies’.

In 1979, the Dance and Defend tour had included 20+ gigs ‘as a response to the police riots in Southall, West Brom and Leicester’ (all involved clashes with police on anti-National Front protests). The biggest event was ‘Southall Kids are Innocent’ at the Rainbow in London, two nights featuring The Pop Group, Misty, The Ruts, Pete Townsend, Aswad, The Enchanters, The Members and The Clash.




Some RAR Locals had put out records as well as putting on gigs ‘Tyneside record sold out… Alternative Paisley Mk. 1 nearly sold out and Stevenage RAR EP sold out almost’. Groups were also being formed in other countries ‘Active RAR groups across Canada, USA, Sweden, Norway, West Germany, Belgium and Holland’ .


RAR Central put people in touch with each other who wanted to start a local group. When I was at school in Luton in this period I wrote off to RAR for information, and got this letter back:




I knew absolutely nothing about putting on gigs and didn't get any further with Luton RAR. But I did start to get involved with going on anti-NF protests, which was the start of a great adventure...

The letter was signed Irate Kate, who I now know to have been Kate Webb: 'In 1977 I dropped out of college and started working for Rock Against Racism. I was seventeen and called myself (I wince at the thought) Irate Kate. I began as a volunteer but soon became RAR’s first paid worker and the youngest member of its national executive... I left RAR in 1981 as the central collective was tearing itself apart over differences about the way we should proceed (an argument, as I recall, between becoming more corporate and professional, or returning to the grass roots and staying outside the mainstream – and inflamed as these things often are by personal animosities). I had organised a benefit with UB40 at the local fleapit in Brixton; sensing RAR had run its course, and wanting to get into film, I went to work in this cinema, then known as The Little Bit Ritzy'.

Kate's brief account at her blog New Mills has links to some other RAR resources, but as she notes there's still a lot about that time that has never been properly documented.

See elsewhere: Deptford RAR poster from 1978; Lewisham '77 (site on the anti-NF movement in SE London).

Sunday, July 03, 2011

Short Hot Summer 1981: Southall

The first of a series on the 1981 July uprisings/riots in Britain. Night number one was in Southall:

On Friday 3 July 1981, several 'Oi' punk bands were set to play a gig in Southall, an area of west London with a large South Asian population. The line up at the Hambrough Tavern included the 4-Skins, The Last Resort and The Business. Oi was not a fascist movement as such, and not all its bands and adherents were racist. It was quite distinct from the White Power music scene around bands like Skrewdriver (see: Misunderstood or hateful? Oi!'s rise and fall by Alexis Petridis, Guardian, March 18 2010). But it is true that gigs by such bands did attract skinheads with neo-nazi sympathies, and their presence in an area like Southall was asking for trouble. 

This was after all where Blair Peach had been killed by police in anti-National Front demonstration in 1979, and where in 1976 Gurdip Singh Chagger, a teenager, had been murdered by racists - prompting the formation of the Southall Youth Movement. In July '81, reports of racist incidents involving people heading to the gig in the Hambrough prompted Asian youth to take to the streets. Skinheads were said to have broken shop windows and abused an Asian shopkeeper, among other things. The police formed a cordon around the pub, and deployed riot shields. Clashes intensified as the police attempted to disperse the crowd. Petrol bombs were thrown and the pub was set on fire. Cars and police vehicles were overturned, and a police coach was burnt out. Walls were demolished to provide bricks for ammunition. 61 policemen were injured and at least as many civilians; there were 21 arrests.



Here's a contemporary report from Socialist Worker (11 July 1981), written by Balwinder Singh Rada - a long term Southall activist:

'The invaders of  Southall got more than they bargained for. They began the evening by terrorising some local Asians and ended by fleeing with their tails between their legs, protected by lines of police. The pub in which they had gathered was in flames.

Nazis started arriving in Southall at about 7 pm: 300 of them in four coaches and cars. Sine unfurled a banner in the Southall Broadway and started distributing leaflets advertising a “white nationalist crusade“ demonstration. Then they smashed the shop window and attacked Mr Nirmal Kalhan who was at the till. That led to a rampage through the Broadway smashing Asian shop windows and onto the Hambrough Tavern about 250 yards away.

At this time few Asians were about. Some newspapers have claimed that the Asians “lay in weight“ for the skinheads. Harsev Singh Bains, secretary of the Indian Youth association, said “if we knew they were coming we would not have let them anywhere near Southall“.

But the word spread quickly and the youth started to gather near the pub. By this time the police had also arrived. For an hour and a half people argued with the police that they should arrest the fascists who attacked the people and smashed the shop windows and put the rest of them on coaches and send them away. But the police kept telling the Southall people to go away.

Mohan Singh who saw the shop being attacked said “I said to chief inspector that I can recognise the troublemakers, why don’t you go into the pub with me and arrest them? But he told me to “buy a beer, go home and watch it on the TV“.

When enough reinforcements plus the special patrol group arrived, the police decided to move the Southall people by attacking them with riot shields and truncheons. The fascists poured  out of the pub and from behind the police lines started throwing stones and petrol bombs at the Asians.

The people of Southall fought  back. They pushed the police and the fascists down the road. The whole community joined in the defence. Old men and women were coming out of their homes with stones and bottles in their hands and handing them over to the younger people. The youth, Asians, West Indians and some white, fought bravely against the police and the fascists and the pub was set on fire. Since then there has been a feeling of victory throughout the community.

On Saturday groups of people gathered in the Broadway chatting about how the fascists and the police have been taught a lesson. It was a lesson as well for the racist pubs in the area.

Many people believe that the police knew before about the fascists invasion. That they wanted a riot to help their case in the Scarman enquiry about the Brixton right. On Friday, as usual the police arrested about 25 Asians and only about five fascists. The Anti-Nazi League together with many other organisations are launching a defence campaign for  the arrested'

An item on the same page argues that not all skinheads are racists: ' Skinheads are rapidly becoming identified in the public eye as racist and Nazis. But this is not the case. Plenty of skinheads are not racists. Four weeks ago 500 black and white skinheads  marched together in Sheffield with the slogan ‘job not jails’ demanding an end to police harassment. And last Saturday there were hundreds of skinheads at the Leeds Anti-Nazi League carnival not only enjoying the music but also acting as stewards to protect the carnival from threatened  Nazi attacks'.


The report contrasted newspaper reports of the Southall events with the muted press response to the deaths of four members of the Khan family in a fire in Walthamstow in the same week, believed to have been caused by a racist arson attack.


There's some footage of the riot on youtube in the course of an old documentary about Oi

Some similarities between the Southall events and the riots in Luton a week later, also sparked off by the presence of racist skinheads - see The Luton Riots of 1981 - Brixton comes to Bedfordshire

[post updated July 2021]

Tuesday, June 28, 2011

Promised Land

Last week in Iowa, Michele Bachmann launched her bid to become the Republican candidate in the nex US presidential election. On the Tea Party far right of American politics, she has a long, lamentable history of anti-gay and anti-abortion activism not to mention whitewashing the history of slavery.

As she made her way to the podium in Waterloo at the weekend 'Elvis Presley's Promised Land belted out'. Well the notion of manifest destiny and Americans as the new chosen people is a hardy right wing trope, and at one level there is a connection between the idea of the Promised Land and the American frontier.

But we cannot leave the Promised Land in the hands of US Conservatives. The name itself derives of course from the Book of Genesis where God promises Moses the land of milk and honey, not a metaphysical utopia but the actual land of Israel. Over the millennia that tribal foundation myth of a people in the prehistoric Middle East has taken on a universal appeal, holding out the hope of a better world somewhere, some place, some time

It's hardly suprisizing that Bachmann chose Elvis Presley's version of the song, rather than the original by its black songwriter. When Chuck Berry sings it there is no doubt that the songs works on at least two levels. On the surface it is simply a description of a journey from Norfolk, Virginia to California, part of the 1950s/early 1960s mythologisation of travelling across the USA (Route 66, Highway 61, On the Road).



But at another level, the journey retraces a moment in the mass migration of black people from the segregated Southern states. Surely it can't be a coincidence that he 'bypassed Rock Hill' where in 1961 Freedom Riders had been beaten for fighting against racism on Greyhound buses. And at the time Berry was writing the song in prison in 1962/63 Birmingham, Alabama was the front line of the civil rights movement - no wonder the narrator can't get away quick enough once 'stranded in downtown Birmingham'.

A few years later, Martin Luther King brought the Promised Land into the heart of the struggles of the period. In his final speech in 1968 during the Memphis sanitation workers strike, King famously declared: 'I don't know what will happen now; we've got some difficult days ahead. But it really doesn't matter with me now, because I've been to the mountaintop... And I've looked over, and I've seen the Promised Land. I may not get there with you. But I want you to know tonight, that we, as a people will get to the Promised Land'. The next day he was murdered.



It is this semi-utopian Promised Land that Joe Smooth (and Anthony Thomas) sings of in the early Chicago house classic: 'Brothers, Sisters, One Day we will be free. From Fighting, Violence, People Crying in the Streets... as we walk, hand and hand, sisters, brothers, we'll make it to the promised land'



In Bruce Springsteen's take on this, from the 1978 album Darkness on the Edge of Town, the Promised Land features only as a hazy image of a better life. The singer professes 'I believe in the Promised Land' but he is unclear about what or where this is. It is simply the negation of a life spent 'Working all day in my daddy's garage', a place that can seemingly only be reached on the other side of the destruction of all that stands:

'I've done my best to live the right way
I get up every morning and go to work each day
But your eyes go blind and your blood runs cold
Sometimes I feel so weak I just want to explode
Explode and tear this whole town apart
Take a knife and cut this pain from my heart...
Gonna be a twister to blow everything down'.



(see also Springsteen's Thunder Road with its line 'Oh-oh come take my hand, Riding out tonight to case the promised land').

In its Rastafarian and Garveyite inflection, the Promised Land is firmly located in Africa. Dennis Brown's 1979 song, produced by Aswad, pictures Africa as a land of abundance and freedom: 'There's plenty of land for you and I, By and By, Lots of food to share for everyone, no time for segregation in the Promised Land'.



Dennis Brown's song is the starting point for last year's 'Land of Promise' by Nas and Damian Marley. This is a track that bring the Promised Land song cycle full circle, dropping the names of American states just like Chuck Berry but comparing them to African places: 'imagine Ghana like California... Lagos like Las Vegas'.



Speaking from Africa, Nigerian reggae singer Majek Fashek wonders whether the Promised Land is to be found anywhere in the world as it stands: 'Promised Land is not America, is not Asia, Promised Land is a state of mind, Promised Land is a state of mind, Promised Land is not Europia, is not Africa, Promised Land is a state of mind, Promised Land is a state of mind':



So Michele, leave the Promised Land well alone. You wouldn't recognise it if you found it.

(OK just one more... I love Johnny Allan's 1971 cajun verson of Berry's song, which I always associate with the late great Charlie Gillet thanks to whom I first heard it)


Saturday, May 14, 2011

Common Controversy

Controversy in the States about the participation of Common in a poetry night at the White House this week.

The usual Fox News right wing pundits lined up, with Karl Rove denouncing Common as a 'thug' advocating 'violence against police officers' and 'killling the former President of the United States, George W Bush' and Sarah Palin ranting 'You know, the White House's judgment on inviting someone who would glorify cop killing during Police Memorial Week, of all times, you know, the judgment, it's just so lacking of class and decency and all that's good about America'.

New Jersey cops have also been wheeled out to stir up outrage about Common's A Song for Assata from 2000. Assata Shakur was convicted of murder following a 1973 shoot out in New Jersey in which both a police officer and a member of the Black Liberation Army were killed. She protested her innocence and later escaped from prison, gaining political asylum in Cuba. The FBI still has a price on her head as 'a domestic terrorist' on the run. I don't believe the US authorities are chasing up FBI and police officers for their involvement in the murderous Cointelpro operation against the Black Panthers and others in that same period.



In the Spirit of the Black Panthers.
In the Spirit of Assata Shakur.
We make this movement towards freedom
Police questioned but shot before she answered
One Panther lost his life, the other ran for his
Scandalous the police were as they kicked and beat her
Assata had been convicted of a murder she couldna done
Medical evidence shown she couldna shot the gun
She untangled the chains and escaped the pain
How she broke out of prison I could never explain
And even to this day they try to get to her
but she's free with political asylum in Cuba.

Incidentally that Cee Lo Green singing 'I'm thinkin' of Assata... Your power and pride, so beautiful."

The strategy of the Republican Right is to present President Obama as a dangerous black radical. Would that it were true... in reality, Obama is clearly petrified of making any move that would provide ammunition for this, so historic injustices continue on his watch. Sundiata Acoli has again been refused parole after 38 years in prison for the 1973 New Jersey incident that Shakur was convicted. Mumia Abu-Jamal is still on death row.

I guess KRS-One won't be performing Free Mumia on the White House lawn anytime soon.

Sunday, April 10, 2011

Brixton Uprising 1981

Thirty years ago this weekend Brixton exploded in the middle of Operation Swamp 81 - a police operaation that saw almost 950 mainly black young people stopped and searched in the area. It was the start of a period that saw uprisings up and down the country, reaching a peak in July 1981.

It was April 1981,
Down in the ghetto of Brixton,
That the babylon cause such a friction,
That it bring about a great insurrection,
And it spread all over the nation
It was truly an historical occasion
It was the event of the year
And I wish I had been there
When we ran riot all over Brixton
When we mash up plenty police van...
When we mash up the Swamp '81

Linton Kwesi Johnson - Di Great Insohreckshan



Great new version of this released last week produced by Hiatus (featuring LKJ):



From back in the day, Roy Rankin & Raymond Naptali - Brixton Incident



Prince Hammer - Brixton Trial and Clashes ('we never stop fight until we black nation free, from Bablyon wicked pain and misery'):



Thursday, March 24, 2011

Justice for Smiley Public Meeting

An electrifying event at Lambeth Town Hall tonight, the first public meeting of the Campaign for Justice for Smiley Culture. By 7 o'clock, when the meeting started, the hall was packed. The 300+ seats were all filled, and the sides and back full of people standing. Many more people were outside the hall unable to get in - no idea of the crowd size but it was more than 500. As it was only last week that the great reggae MC died during a police search of his house, the turn out was particularly impressive. The meeting was chaired by Lee Jasper, joined on the platform by the speakers and members of Smiley Culture/David Emmanuel's family, including his brother, son and daughter. After a minute's silence Bishop John Francis of Ruach Ministries launched the proceedings with the statement that 'Smiley's blood is crying out for justice' (incidentally Francis is a man with a musical history himself, as a member of the Inspirational Choir which sang on Madness's Wings of a Dove among many other things). Mike Franklin of the Independent Police Complaints Commission, who is overseeing the investigation, outlined the current state of play. He confirmed that the only witnesses were four Metropolitan Police Officers with no independent witnesses at all. His claim that the most sophisticated resources would be available for the investigation was met with a cry of 'Lie detector' from the floor, which got a huge cheer. Franklin has some local credibility as a former black community activist, so was received politely if not with enthusiasm. Later a speaker from the United Friends and Families Campaign, which has supported other families of people who have died in custody, denounced the IPCC for helping the police cover up. Merlin Emmanuel, Smiley Culture's nephew, gave a powerful speech. Without speculating on exactly what happened last week, he was clear that David Emmanuel would be alive today if police hadn't searched his house, and if, having raided the house they had followed their own guidelines of keeping the person secure while they carried out the search. Like most of the speakers, he was clear that this wasn't an isolated incident but formed part of a pattern of racism and injustice. He mentioned the Brixton uprising and the New Cross Fire of thirty years ago, and described his own family's experience of moving from Brixton to Thamesmead at the time of the murders in that part of London of Rolan Adams (in 1991) and Stephen Lawrence. He offered his condolences to the family of Iain Tomlinson, killed by police on the G20 protest in 2009 - 'The people of South London and the wider community stand with you in solidarity' - and mentioned that around 400 people have died in police custody in last 10 years. He confirmed that a demonstration was planned on April 16th from Wandsworth Rd (where David Emmanuel grew up in Stockwell) to Scotland Yard police headquarters and proclaimed that 'Unity is free and by far the most potent weapon we have at our disposal'. Asher Senator, Smiley Culture's orginal lyrics partner and like him a Saxon Sound System MC, recalled that their first photo interview, with Black Echoes magazine, had actually taken place in the very building where the meeting was held tonight. He mentioned that a couple of Smiley Culture tribute tracks were already being recorded, one a song written by Maxi Priest with possible guest singers, the other a track called Smiley Culture's Character Reference which he recorded last night at Commander B's studio. He performed some of that tonight and it was amazing, weaving his own lyrics and memories around some of Smiley Culture's lyrics from tracks like Cockney Translation, Police Officer and Slam Bam. It got a desrvedly good response, with people banging the wooden panels of the meeting room. There was an emotional speech from the mother of Wayne Hamilton, found dead in a canal in Sheffield last year after being chased by police. Many other families have suffered like David Emmanuel's family are suffering now, the difference is this time the dead man is known throughout the world. This is one death the police and the IPCC aren't going to be able to sweep under the carpet.

Wednesday, February 16, 2011

Dancing in the Dark - Bert Williams

'These were bright new monied times in which society people were encouraged to enjoy the primitive theatrics of those who appeared to be finally understanding that their principal role was now to entertain. Listen. The wail of a trumpet as it screeches crazily towards heaven and then shudders and breaks and falls back to earth where its lament is replaced by the anxious syncopated tap tap tapping of clumsily shod feet beating out their joyous black misery in a tattoo of sweating servitude. Performative bondage'

Dancing in the Dark (2005) by Caryl Phillips is a fictionalised account of the life of Bert Williams (1874-1922), a Bahamas-born performer who became famous on the American stage in the era when black actors were expected to wear 'blackface' to conform to white audience's expectations.

As such it is a beautifully-written reflection on the role of the black performer in a racist context, whose very achievements come at high personal and collective cost. Williams was in some ways a groundbreaking figure - co-writer of the first black production on Broadway (In Dahomey, 1903); the only black performer in Ziegfeld's follies before the First World War; helping to spread the cakewalk dance craze across the USA and then to England on a visit here; and a singer in the early days of the record industry. But his success was predicated on him continuing to play the stereotypical role of the dim-witted 'darky' and when he attempted to step beyond this the response was hostile. Williams was one of the first black film actors in the now lost Darktown Jubilee (1914), but the sight of a zoot suit wearing black leading man provoked near riots among white audiences.


'Others will come after me to entertain you, and they will happily change their name and put on whatever clownish costume you wish them to wear, and dance, and sing, and perform in a manner that will amuse you, and you will mimic them, and you will make your money, but know that at the darkest point of the night, when no eyes are upon them, these people's souls will be heavy, and eventually some among them will say no, and you will see their sadness, and then you will turn from them and choose somebody else to place in the empty room, or nudge onto your empty stage'


Friday, December 17, 2010

St Pauls Uprising, Bristol 1980

One year after the election of Margaret Thatcher as Conservative Prime Minister, the uprising in the St Paul's area of Bristol in April 1980 was the precursor to the inner city riots that swept the country in 1981. The riot was sparked by a police raid on a cafe in the context of broader conflicts about racism, black sociality and licensing laws. In the ensuing uproar police cars and a Lloyds Bank were set on fire. 134 people were arrested, 88 black and 46 white so it is misleading to describe it as a 'race riot' (as the media tended to label such events at the time) even if police racism was a major factor. Remarkably, in the most serious trial arising from the riot, the jury failed to convict 16 people charged with 'riotous assembly'. The collapse of the trial in March 1981 was followed a month later by rioting in Brixon and then the wave of summer uprisings. 

The first document is an extract from the book Uprising! The Police, the People and the Riots in Britain's Cities by Martin Kettle and Lucy Hodges (London: Pan Books, 1981): 

 'St Paul’s is an area to which black people from all over the city come for parties, shebeens (illegal drinking clubs) and to play ludo, dominoes and pinball machines at the Black and White Café, the premises where the spark for the riot was lit. They come because there is nowhere else to go. Much of the activity is perfectly lawful and, even where it is not, it involves behaviour such as illicit drinking and cannabis-smoking which does other people no harm. If the district is the focus for black social life in the city, the Black and White Café in Grosvenor Road, the ‘frontline’, is its nerve centre. When the riot broke out, it was the only black café (it,is in fact run by a black and white husband—and-wife team) which had not been forced out of business for contravening local authority health regulations or for similar reasons. But it had had its licence to sell alcohol removed. A seedy joint created out of the ground floor of a terraced house, the café was of great importance to the black community. It was the only bit of territory they had left and they were prepared to fight for the right to do what they liked there... 

 What brought hundreds of black and eventually white Bristolians up against the law on 2 April, 1980, a day when the schools closed at midday, was a police raid on the Black and White Café. This had happened many times before but serious violence had never broken out though it had in London in connexion with the Mangrove and Carib clubs). On the Second, as the occasion become known, thirty-nine policemen armed with search warrants for drugs and illegal consumption of alcohol moved in; the majority were to go into the café and the rest were to be held in reserve...

 What they could not have known was that tension was high in the Black and White that day. There was much talk about a St Paul’s youth who had been arrested on ‘sus’ in London and was appearing in court the following day. Young blacks were angry about the ‘police harassment’ and talked of going to London to protest. At about 3.30 p.m. the officers, the drugs squad in plain clothes and the rest in uniform, raided the café. They searched the place and questioned the twenty customers, searching some of them as well. Bertram Wilks, the café’s owner, was arrested and taken away in handcuffs, protesting loudly, to be charged with possessing cannabis and allowing it to be smoked on his premises. The police found large quantities of alcohol, including brandy, vodka and 132 crates of beer which they proceeded to load into a van in front of a growing crowd outside. 

The loading took a long time because there was so much liquor. As each crate was humped into the van, the crowd grew more restless, and when the van left a bottle was thrown, but there was no real violence as yet. A man complained that his trousers had been torn by a police officer in the café, an allegation which was later canvassed as the reason for the riot, and drugs squad officers made a run for it clutching their booty. This was what really seemed to annoy the crowd. ‘Let’s get the dope, let’s get the drugs squad,’ they are reported to have shouted. Missiles were thrown in earnest at a police car and at officers, and the riot had begun. 

The violence spread quickly: officers outside the café took refuge inside under a steady hail of bricks, bottles and stones from the crowd of black and white youths which had grown to about 150 (others were looking on) on the grassy area opposite. The police radioed for help and at about 5.30 p.m., two hours after the raid began, reinforcements arrived, assembling down one end of Grosvenor Road and marching down the road to rescue their besieged colleagues. This was a hazardous operation, with officers coming under a terrific barrage and being forced to take cover under crates and behind dustbins. It was the start of the really serious violence. As a black prostitute told the Sunday Times: ‘They came down the road, left right, left right, like they were on parade. They had dogs with them. When they came in front of the café, we let them have, it.’ The mistake the police may have made was to try to impose control with too few men. The marching column contained only 100 police and, on this interpretation, was a positive incitement to the angry crowd.,, Defence counsel at the riot trial months later suggested that the police had provoked the crowd by their military- style tactics. The police said, in turn, that they hoped this show of strength would disperse the crowd. It did no such thing'.

 
The second document comes from The Leveller magazine in 1980, a very radical piece from a member of its collective who later became... well I won't spoil it, read it first before you skip to the end to see who wrote it: 

'Just when it had become fashionable for world-weary, elitist, metropolitan lefties to claim that class struggle was somehow ‘old-wave’, the Bristol race riots have put it triumphantly back on the political agenda in its most classic form - urban insurrection. The riots confirmed that the front-line is still where it has always been, which is not in animal liberation groups or whatever happens to be the current O.K. cultural preoccupation. The front-line is located where people are in struggle; where working people under all types of pressure, racism, capitalism in crisis, clash with the forces of the state. The riots are probably the most politically progressive thing that will happen all year. 

But because they are difficult to assimilate into conventional political thinking they run the risk of being dismissed as almost a sideshow. The ‘New Statesman’, at a loss as to quite what to say about them, chose to say nothing at all. Paradoxically the state probably has a clearer idea of their significance than the white left establishment. Social workers, vicars, race relations officers, local councillors — in other words the whole structure of social control - wrung its collective hands and wailed ‘How could this have happened in Bristol, it had such good community relations?’ Someone ought to tell them that the race relations industry has increasingly little to do with the reality of life as it is lived by most black people and as such is not a barometer of anything, still less a cure or even a palliative. 

They could try asking black people from St. Pauls. They are scathing about ‘community leaders’ who are unknown to the community, black social workers who are primarily concerned with holding down their jobs and the local Community Relations Council. This body has allegedly been involved in deals with the police which would involve handing over lists of names of rioters in return for police promises to confine prosecutions to names on the list. In parliament politicians tried to incorporate the riots into their own sterile Westminster games. Labour MPs blamed Tory policies for the riots, ignoring not only the fact that Geoffrey Howe and Willie Whitelaw are carrying out monetarist and law-and-order policies which were initiated under Denis Healey and Merlyn Rees, but that the Labour party record on fighting racism is just as bad as the Tories.  The extra-parliamentary left has followed its traditional opportunism towards black struggles. At the march commemorating the anniversary of the death of Blair Peach the ANL [Anti Nazi League]— ever sensitive to fashion — had a black youth from Bristol on the platform. 

 The response of the state to Bristol has been more considered. It is clear that the other big city police forces are very cross indeed with the Avon and Somerset force for failing to stand and fight it out in St. Pauls. The Metropolitan police — in a novel exercise in community relations — has called in key black activists to warn them against following the Bristol example. The significant thing is that the people of St. Pauls were able to hold it for five hours against the police, not just because they technically outnumbered them but because a whole system of police control, which includes surveillance had broken down. They won’t be caught like that again. The lesson of Bristol for the police is not only the need for bigger and better SPG type units in all the big cities but the need to strengthen the whole submerged infra-structure of police control: surveillance, phone-tapping etc. 

Black people in St. Pauls dislike talk of the riots as a defeat for the police. They say the police victory is only just beginning. Over a 140 people have been arrested on charges connected with the riots — the first batch of them came up in court on May 1st. It seems there will be extensive use of conspiracy charges and the community is having great difficulty co-ordinating its defence because of the lack of grass-roots organisations and committed lawyers in Bristol. 

 The riots have had interesting reverberations within the black community as a whole. My mother is a black working class lady nearing 60. Eminently respectable and conservative-minded, she was pleased and excited by the ITN film of policemen running away from black youth and said firmly: ‘It shows they can’t push us around any more’. The riots politicised my mother and others like her and the state is well aware they posed a direct threat to its power — the more so because they were entirely spontaneous. But those on the white left who won’t learn the lessons of Bristol and insist on incorporating what happened into their own world-view may well find that the revolution happens without them'. (The Leveller, no.38, March 1980 - written by Diane Abbot, later Labour MP)

   

So what about music? There is actually a direct line between the Bristol riots and the Bristol music scene that exploded later in the 1980s and early 1990s. Quite a few people from that scene were amongst the estimated 2000 on the streets that night. More to the point the riot carved out a social space in which music flourished. According to the excellent Port Cities: 'In the early 1980s competing ‘crews’ like The Wild Bunch (who later became Massive Attack), 2Bad, City Rockers, UD4 (Roni Size’s brother) and FBI Crew were battling it out on home-built speaker systems, modelled after those in Jamaica in the Caribbean. The Wild Bunch became legendary for their much-attended parties at which their music sets combined punk, reggae and Rhythm and Blues. They played at local events, such as St Pauls Carnival and in disused or empty buildings in or close to the St. Pauls area. After the St. Pauls riots in 1980, the police avoided the area, which made such gigs possible'. Clifton Mighty, brother of Ray Mighty of 'Smith and Mighty' fame, was one of those acquitted in the riot trial (though he was still facing hassle from the police twenty years later).