30/03/2018

Crimes against humanity


I need to share this.

And I'm Waiting for the same kind of documents to be gathered on France, Spain, Portugal and of course the USA. 
Did you know British taxpayers' money was used to pay off the loan to former slave owners, until 2015? When I started my book...

When will Britain face up to its crimes against humanity?

On 3 August 1835, somewhere in the City of London, two of Europe’s most famous bankers came to an agreement with the chancellor of the exchequer. Two years earlier, the British government had passed the Slavery Abolition Act, which outlawed slavery in most parts of the empire. Now it was taking out one of the largest loans in history, to finance the slave compensation package required by the 1833 act. Nathan Mayer Rothschild and his brother-in-law Moses Montefiore agreed to loan the British government £15m, with the government adding an additional £5m later. The total sum represented 40% of the government’s yearly income in those days, equivalent to some £300bn today.

You might expect this so-called “slave compensation” to have gone to the freed slaves to redress the injustices they suffered. Instead, the money went exclusively to the owners of slaves, who were being compensated for the loss of what had, until then, been considered their property. Not a single shilling of reparation, nor a single word of apology, has ever been granted by the British state to the people it enslaved, or their descendants.

Today, 1835 feels so long ago; so far away. But if you are a British taxpayer, what happened in that quiet room affects you directly. Your taxes were used to pay off the loan, and the payments only ended in 2015. Generations of Britons have been implicated in a legacy of financial support for one of the world’s most egregious crimes against humanity.

The fact that you, and your parents, and their parents in turn, may have been paying for a huge slave-owner compensation package from the 1830s only came to public attention last month. The revelation came on 9 February, in the form of a tweet by HM Treasury: “Here’s today’s surprising #FridayFact. Millions of you have helped end the slave trade through your taxes. Did you know? In 1833, Britain used £20 million, 40% of its national budget, to buy freedom for all slaves in the Empire. The amount of money borrowed for the Slavery Abolition Act was so large that it wasn’t paid off until 2015. Which means that living British citizens helped pay to end the slave trade.”

The tweet, which the Treasury says was prompted by a Freedom of Information Act request submitted in January, generated a storm of anger and crowdsourced corrections. First, the British slave trade was not abolished in 1833, but in 1807. Second, slavery was not abolished in all parts of the British empire in 1833. The new law applied to the British Caribbean islands, Mauritius and the Cape Colony, in today’s South Africa, but not to Ceylon (now Sri Lanka) or British India, for instance. Third, no freedom was “bought” for plantation slaves in 1833, as the enslaved were compelled to work in unfreedom, without pay and under the constant threat of punishment, until 1838. Most importantly, the Treasury’s tweet did not mention that generations of British taxpayers had been paying off a loan that had been used to compensate slave owners, rather than slaves.
The tweet, which was hastily deleted, had the stench of British historical amnesia and of institutionalised racism. A few days later, the historian David Olusoga wrote: “[This] is what happens when those communities for whom this history can never be reduced to a Friday factoid remain poorly represented within national institutions.”

The tweet was no aberration. It was emblematic of the way legacies of slavery continue to shape life for the descendants of the formerly enslaved, and for everyone who lives in Britain, whatever their origin. The legacies of slavery in Britain are not far off; they are in front of our eyes every single day.

We can only begin to understand slavery’s influence on Britain today by first allowing 500 years of human history to flash before our eyes. Beginning in the last decades of the 1400s, we see African people kidnapped from their families, crammed into the dark pits of slave forts, and then piled into the bowels of ships. We see voyagers and traders, such as John Hawkins in the 1560s, becoming some of the first British men to make massive fortunes from this trade in kidnapped Africans. By the late 17th century, we see the British coming to dominate the slave trade, having overtaken the Portuguese, Spanish and Dutch. We see tens of thousands of merchant ships making the “middle passage”, the voyage across the Atlantic that transformed captives from Africa into American slave commodities. Half of all the Africans transported into slavery during the 18th century were carried in the holds of British ships.

From the 15th to the 19th centuries, more than 11 million shackled black captives were forcibly transported to the Americas, and unknown multitudes were lost at sea. Captives were often thrown overboard when they were too sick, or too strong-willed, or too numerous to feed. Those who survived the journey were dumped on the shores and sold to the highest bidder, then sold on again and again like financial assets. Mothers were separated from children, and husbands from wives, as persons were turned into property. 
Slaves were raped and lynched; their bodies were branded, flayed and mutilated. Many slave owners, in their diaries, manuals, newspaper writings and correspondence, readily admitted the punishments and violations they exacted on black people on the cane fields and in their homes. Take, for example, the unapologetic recollections of violence and predation that comprise the diary of Thomas Thistlewood, a British slave owner in Jamaica in the mid-1700s. Thistlewood recorded 3,852 acts of sexual intercourse with 136 enslaved women in his 37 years in Jamaica. In his 23 July 1756 entry, he described punishing a slave in the following manner: “Gave him a moderate whipping, pickled him well, made Hector shit in his mouth, immediately put a gag in it whilst his mouth was full and made him wear it 4 or 5 hours.”
Slave trade routes in the 17th century.
Slave trade routes in the 17th century. Photograph: Alamy
In Barbados, the British established one of the first modern slave societies. Slavery had certainly been practised in many parts of the world since ancient times. But never before had a territory’s entire economy been based on slave labour for capitalist industry. Beginning in 1627, the enslaved were put to work in the intense cultivation of sugar cane, working in chain gangs in shifts that covered a 24-hour production cycle. In one of the greatest experiments in human terror the world has ever known, this system of plantation slavery expanded over the following centuries across the Caribbean, South America and the southern United States. Fear and torture were used to drive black workers to cut, mill, boil and “clay” the sugar, so it could be shipped to Britain as part of a lucrative “triangle of trade” between the west coast of Africa, the Americas and Britain. The trade in slaves, and the goods they were forced to produce – sugar, tobacco and eventually cotton – created the first lords of modern capitalism.

Britain could not have become the most powerful economic force on earth by the turn of the 19th century without commanding the largest slave plantation economies on earth, with more than 800,000 people enslaved. And the legacy of such large-scale, prolonged slavery touches everything that is familiar in Britain today, including buildings named after slave owners such as Colston Hall in Bristol; streets named after slave owners such as Buchanan and Dunlop Streets in Glasgow; and whole parts of cities built for slave owners, such as the West India Docks in London. The cultural legacy of slavery also infuses British tastes, from sweetened tea, to silver service, to cotton clothwork, to the endemic race and class inequalities that characterise everyday life.



Britain’s central role in 500 years of the slave trade and plantation slavery is often dissolved like a bitter pill into the much more palatable tonic of the nation’s role in the story of abolition. This narrative often begins in the pews of Holy Trinity Church in Clapham, where the cherubic William Wilberforce worshipped. Today, he can be seen on the stained glass above the altar of that church, giving the news of the 1807 abolition of the slave trade to a black woman who kneels before him. Around Wilberforce coalesced a group of Church of England social reformers, known as the Clapham Saints, who led the campaign against the slave trade, and then pressed onward to fight for the abolition of plantation slavery in 1833. Over the past few decades, scholars have also stressed the ways in which the antislavery movement depended on expanding democratic participation in civic debate, with British women and the working classes playing a crucial role in the abolitionist ranks. British parliamentarians were inundated with thousands of petitions from ordinary people pressing them to pass laws that eventually brought slavery to an end.
Abolitionists in Britain maintained that slavery was a violation of God’s will. Since every human being possessed a soul, they argued that no human being could be made into another man’s possession without also perverting the divine plan. To encourage their fellow citizens to look into the face of the enslaved and see fellow human beings, British abolitionists distributed autobiographies of people who had experienced slavery, such as works by Ignatius Sancho, Olaudah Equiano and Mary Prince. If only the British public could hear the voices of black people through their writing, then they could empathise with their oppression. It would then become possible to look into the eyes of the enslaved and see a person staring back.

But narratives of abolition cannot be reduced to a story of angelic white benefactors gifting freedom to their black wards. (There are 32 images of William Wilberforce in the National Portrait Gallery, but just four images of black abolitionists and antislavery activists from the same period.) In Britain, the popular narrative too often ignores the fact that blacks on the plantations were convinced of their own personhood long before anyone else. Rebellions were endemic to slavery, and by the 1810s and 20s, many slave societies in the British Caribbean were experiencing insurgencies. Enslaved people rebelled in Barbados in 1816, and Demerara (today’s Guyana) in 1823. Shortly after Christmas 1831, an audacious rebellion broke out in Jamaica. Some 60,000 enslaved people went on strike. They burned the sugar cane in the fields and used their tools to smash up sugar mills. The rebels also showed remarkable discipline, imprisoning slave owners on their estates without physically harming them.

The British Jamaican government responded by violently stamping out the rebellion, killing more than 540 black people in combat, and later with firing squads and on the gallows. The uprising sent shockwaves through the British parliament and accelerated the push for the abolition of slavery. Henry Taylor, head of the West India division of the British Colonial Office, later commented, “this terrible event [of the rebellion]… was indirectly a death blow to slavery”.

Not only did blacks mobilise for their own liberation, but by the 1820s slavery was also beginning to clash with an economic principle that was becoming an article of faith for British capitalists: free trade. Eric Williams, a historian of slavery who also became the first prime minister of independent Trinidad in 1962, has argued that slavery in the British empire was only abolished after it had ceased to be economically useful. Many British merchants involved in selling Cuban, Brazilian and East Indian sugar in Britain wanted to see an end to all duties and protections that safeguarded the West Indian sugar monopoly. British capitalists also saw fresh possibilities for profit across the globe, from South America to Australia, as new transportation and military technologies – steamships, gunboats and railways – made it possible for European settlers to penetrate new frontiers. The economic system of British slavery was moribund by 1833, but it still needed to be officially slain.



By 1830, debates were raging in the British parliament, and in the public sphere, about ending slavery. The powerful West India interest – a group of around 80 MPs who had ties to Caribbean slavery – opposed abolition. They were joined by an additional group of some 10 MPs who did not possess slaves themselves, but still opposed any proposal to tamper with slave owners’ right to property – that property, in this case, being human beings. The faction presented “compensated emancipation”, or the payment of money to slave owners at abolition, as a way of upholding property rights. Beyond parliament, many thousands of Britons across the country – slave owners, West India merchants, sugar refiners, trade brokers, ship owners, bankers, military men, members of the gentry and clergymen – actively championed the principle of compensation by attending public rallies organised by various West India Committees.

This notion of “compensated emancipation” was relatively new. When slaves were emancipated in northern US states in the years before 1804, no compensation to their owners was paid. Only in the 1810s did the British government take the unprecedented step of paying compensation to Spain, Portugal and some West African states to solicit their cooperation in the suppression of the slave trade. The attempt failed, however, as Spain and Portugal pocketed British money and continued their slave trading until the later 19th century. British slave owners nonetheless demanded, in the 1830s, that this international precedent be applied to them.

The argument for slave-owner compensation relied on perverse logic. Under English law, it was difficult to claim compensation for the loss of chattel property, since rights to movable things – such as household possessions, or tools, or livestock – were considered inherently unstable, expendable and ambiguous. So, the West India interest in parliament, led by the likes of Patrick Maxwell Stewart, a rich London merchant who owned slaves in Tobago, made fanciful arguments to align the enslaved more with land or buildings, or even with body parts, than with human beings. According to one line of argument, because the government paid money to landowners when it took over fields for public works such as docks, roads, bridges and railways, so too it had to pay slave owners for taking over their slaves. According to another argument, because the government paid soldiers for the injury to organs or the loss of limbs during war, so too it had to provide slave owners aid for cutting them off from their slaves, which maimed slave owners’ economic interests.

Many mainstream abolitionists felt uncomfortable about the compensation of slave owners, but justified it as a pragmatic, if imperfect, way to achieve a worthy goal. Other abolitionists, especially a vanguard group within the Anti-Slavery Society called the “Agency Committee”, railed against the idea. “It would reconcile us to the crime,” wrote one contributor to the Anti-Slavery Monthly Report in 1829. “It would be a sap on public virtue,” wrote another the following year. Some activists even demanded that compensation be paid to the enslaved. “To the slave-holder, nothing is due; to the slave, everything,” said an antislavery pamphlet in 1826. Many antislavery members of parliament, such as Thomas Fowell Buxton and William Clay, spoke out vociferously against slave-owner compensation. Hundreds of petitions were also sent in by the corps of abolitionists beyond the ramparts of the political elite, insisting that no money go to the perpetrators of crimes against God’s will.

The decision to compensate slave owners was not just an inevitable expression of the widespread beliefs of those times. Political decisions reflect who is in the room when the decisions are being made. The Reform Act of 1832 drastically transformed the British electoral system and extended the franchise, to the detriment of the West India interest. But even in the reformed House of Commons, scores of MPs still had close financial or family ties to slave ownership. On the other hand, it bears remembering that the first black Britons were not elected to the House of Commons until near the end of the following century, more than 150 years later.

Other slave-owning states, including France, Denmark, the Netherlands and Brazil, would follow the British example of compensated emancipation in the coming decades. But the compensation that Britain paid to its slave owners was by far the most generous. Britain stood out among European states in its willingness to appease slave owners, and to burden future generations of its citizens with the responsibility of paying for it.

The owners of slaves in British society were not just the super-rich. Recent research by historians at University College London has shown the striking diversity of the people who received compensation, from widows in York to clergymen in the Midlands, attorneys in Durham to glass manufacturers in Bristol. Still, most of the money ended up in the pockets of the richest citizens, who owned the greatest number of slaves. More than 50% of the total compensation money went to just 6% of the total number of claimants. The benefits of slave-owner compensation were passed down from generation to generation of Britain’s elite. Among the descendants of the recipients of slave-owner compensation is the former prime minister David Cameron.



The decision to emancipate slaves by treating them like property, and not like persons, was no mere theoretical exercise. Rather than putting a sudden end to their suffering, the process of emancipation marked a new phase of British atrocities and the terrorisation of blacks.

The emancipation process was minutely orchestrated by government bureaucrats. In September 1835, less than a month after the government received its loan, slave owners began their feeding frenzy as they obtained compensation cheques at the National Debt Office. Payment amounts were determined based on application forms that asked claimants to itemise the number and kinds of enslaved people in their possession, and to provide certificates from the slave registrar. There were some 47,000 recipients of compensation in total.

In addition to money, slave owners received another form of compensation: the guaranteed free labour of blacks on plantations for a period of years after emancipation. The enslaved were thus forced to pay reverse reparations to their oppressors. At the stroke of midnight on 1 August 1834, the enslaved were freed from the legal category of slavery – and instantly plunged into a new institution, called “apprenticeship”. The arrangement was initially to last for 12 years, but was ultimately shortened to four. During this period of apprenticeship, Britain declared it would teach blacks how to use their freedom responsibly, and would train them out of their natural state of savagery. But this training involved continued unpaid labour for the same masters on the very same plantations on which they had worked the day before.

In some ways, the “apprenticeship” years were arguably even more brutal than what had preceded them. With the Slavery Abolition Act, the duty to punish former slaves now shifted from individual slave owners to officers of the state. A state-funded, 100-person corps of police, jailers and enforcers was hired in Britain and sent to the plantation colonies. They were called the “stipendiary magistrates”. If apprentices were too slow in drawing water, or in cutting cane, or in washing linens, or if they took Saturdays off, their masters could have them punished by these magistrates.

Punishments were doled out according to a standardised formula, and often involved the most “modern” punishment device of those times: the treadmill. This torture device, which was supposed to inculcate a work ethic, was a huge turning wheel with thick, splintering wooden slats. Apprentices accused of laziness – what slave owners called the “negro disease” – were hung by their hands from a plank and forced to “dance” the treadmill barefoot, often for hours. If they fell or lost their step, they would be battered on their chest, feet and shins by the wooden planks. The punishment was often combined with whippings. The treadmill was used more during the apprenticeship period than it ever was under slavery, precisely because it was said to be a scientific, measurable and modern form of disciplinary re-education, in line with bureaucratic oversight. One apprentice, James Williams, in an account of his life published in 1837, recalled he was punished much more after 1834 than before. Indeed, it is likely that slave-owners sweated their labour under apprenticeship, in order to squeeze out the last ounces of unpaid labour before full emancipation finally came in 1838.

While the British state, even after emancipation, still failed to see black people as persons, the enslaved themselves inhabited a complex society of their own creation. Enslaved people called the experience of slavery “barbarity time”. And during the barbarity, they developed their own internal banking and legal systems. They created extensive trading relations between towns and villages, and across plantation enclaves. They had their own spiritual practices, such as Obeah, an Afro-centric repertoire of divination and social communion cultivated alongside the religion bestowed by the Christian missionaries. Slaves had their own rich musical forms and traditions of storytelling. They were engineers, chemists and medics on the plantation fields they inhabited. Many of their innovations contributed to making life under slavery livable, such as the architectural design of the tapia house in Trinidad. Even if the official white gaze could not see the 800,000 persons that lived in the plantation colonies, those persons still persisted.



Benjamin Disraeli, the great Tory prime minister of the late 19th century, once described the “forlorn Antilles”, or Caribbean, as millstones around the neck of Britain. Here in Disraeli’s remark, is the British habit of externalising the problem of slavery as playing out in some distant place, rather than within Britain’s own heart of darkness. Today, evading the question of British slave legacies takes the form of celebratory national narratives about British abolition, and in the nervous reflex of switching the topic to “modern slavery” whenever the history of British slavery is raised for discussion. Slavery becomes comfortable for the British nation if it can be situated “out there”, among the dark-skinned peoples of the earth, in countries far away.
It is hardly surprising, then, that the British establishment has been so resistant to hearing calls for reparations for slavery. In 1997, manacled human remains were found on a beach in Devon. It was soon determined that the bones were those of enslaved blacks who had probably been kept in the hold of The London, a vessel shipwrecked in 1796. The enslaved people, who were probably from the Caribbean, were supposed to be sold on the British slave market. Labour MP Bernie Grant, a reparations advocate and one of the first black members of parliament, took the occasion to make a pilgrimage to Devon, and to renew the call for reparations.

Grant’s programme began with the demand for an apology from the British state for the legacies of British slavery. “I am going to write to the Queen,” Grant had said in a speech in Birmingham in 1993. “I know she is a very reasonable woman.” He died in 2000 without ever receiving that very reasonable apology.
In 2013, a powerful renewed call for reparations arose among representatives of Caribbean nations, stimulated by the publication of the book Britain’s Black Debt. The following year, its author, Hilary Beckles, vice-chancellor of the University of the West Indies, and chair of the Caribbean Reparations Commission, gave an address to a group of British MPs and peers in the UK parliament’s British-Caribbean all-party group. His voice booming across Committee Room 14, Beckles argued that Britain has a “case to answer in respect of reparatory justice”.
British prime minister David Cameron on a visit to Kingston, Jamaica
British prime minister David Cameron on a visit to Kingston, Jamaica. Photograph: Stefan Rousseau/PA
He anchored his demand for reparations in the need for the British state to admit its role in forcefully extracting wealth from the Caribbean, impeding industrialisation and causing chronic poverty. The Caribbean, by the late 20th century, became one of the largest centres of predatory lending, orchestrated by the IMF and World Bank, as well as by European and American banks. Even today, the economies of Jamaica, Barbados and Antigua find themselves dangling precariously between life and debt, suspended by their historically enforced dependence on foreign finance.

The legacies of slavery and racism are no less present in Britain, where black workers are more than twice as likely than white workers to work in temporary or insecure forms of employment. While 3% of Britain’s general population is black, black people comprise 12% of the incarcerated. And people of colour are still hugely underrepresented in positions of power in Britain – in politics, academia and the judiciary, in particular.
Six months after Beckles’ speech, the Treasury finally finished repaying the debt on its Abolition of Slavery Act loan. And a further six months after that, in July 2015, then-prime minister David Cameron travelled to Jamaica on an official visit. There, on behalf of the British nation, he took a big leap backwards. It is time to “move on from this painful legacy and continue to build for the future,” he stated glibly.

But how can you move on from something that has not yet stopped happening? Neither the history of British slavery, nor the process of emancipation that re-enacted slavery, nor the bones of the enslaved that wash up on British shores, nor the debt for slave-owner compensation that continued for so long to cycle through British national accounts, seem ever to be able to bring the nation’s representatives to acknowledge its crimes against humanity and to provide restitution.

The scholar Christina Sharpe has written about the “residence time” of black bodies thrown into the dark sea during the “middle passage”. This is the span of time, measured in thousands of years, that it takes for the atoms of jettisoned slaves’ bodies to pass out of the oceanic system. The Atlantic is one kind of vault of slavery’s aftermath. But so too is the ocean of British national debt, through which the ghosts of the enslaved circulated for centuries, waiting for their moment of due reckoning; waiting for an apology from the British state, and for its commitment to redress what British slavery sought to obliterate: the personhood of black folk who emerged out of this empire, like me and my ancestors.

 This article was amended on 29 March 2018. An earlier version stated incorrectly that the Wills Memorial Building in Bristol was named after slave-owners. It was named after a merchant whose family’s business profited from the slave trade.



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29/03/2018

Marx in North London - May 14:



On 14 May, The North London branch of the British Communist Party will be screening 'The Young Karl Marx' in Clerkenwell: 






27/03/2018

About our planet Earth


I think it's worth watching. Currently on the National Geographic Channel:


One Strange Rock - Trailer | National Geographic




Darren Aronofsky, Will Smith, and experienced astronauts join forces to tell the extraordinary story of why life as we know it exists on Earth. Premieres March 26 on the National Geographic Channel.

26/03/2018

Marx in the UK: May 2018


More dates for our Marx film in London: released on May 4th:


The Young Karl Marx

4 May 2018 – 10 May 2018

The Young Karl Marx

Summary: 

At the age of 26, Karl Marx embarks with his wife Jenny on the road to exile. In Paris in 1844 they meet young Friedrich Engels, son of a factory owner, who has studied the sordid beginnings of the English proletariat. Engels, somewhat of a dandy, brings Marx the missing piece to the puzzle that composes his new vision of the world.

Together, between censorship and police raids, riots and political upheavals, they preside over the birth of the labour movement, which until then had been mostly makeshift and unorganized. This grows into the most complete theoretical and political transformation of the world since the Renaissance – driven, against all expectations, by two brilliant, insolent and sharp-witted young men from wealthy families. 

The Young Karl Marx tells the story of these extraordinary events.

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The Young Karl Marx, dir. Raoul Peck, France/Germany/Belgium 2017, 118 mins

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The ICA Cinemas are completely ad-free. Please note the feature will start following a selection of trailers and information relevant to the ICA programme. All films are 18+ unless otherwise stated

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25/03/2018

Rappel : "Comment Bristol est devenue la ville la plus créative d'Europe"


Reminder...

As my book's English version has been postponed to after the summer by the publishers, a note to say you still have time to learn French.


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Trip-hop, street art… comment Bristol est devenue la ville la plus créative d'Europe

Entretien

Massive Attack, Portishead, Banksy… 
La prolifique scène de Bristol a enfanté d'artistes extrêmement talentueux. Nous avons rencontré la journaliste Melissa Chemam, auteure d'un livre qui décrypte le phénomène. 

Avec En dehors de la zone de confort – De Massive Attack à Banksy, la journaliste Melissa Chemam a récemment consacré un ouvrage aux artistes qui ont fait de Bristol l’une des villes d’Europe les plus foisonnantes en matière culturelle. A travers le parcours du groupe Massive Attack et de son leader Robert Del Naja, alias 3D (surtout), mais aussi du street artiste Banksy, et de ceux qui les ont précédés ou accompagnés, elle met en lumière une création artistique singulière qui raconte un pan de la société britannique et une cité à l’histoire aussi riche que mouvementée. Du punk au trip-hop en passant par le reggae, Bristol la rebelle a révolutionné la musique en mettant sur le devant de la scène une histoire de la colonisation avec un état d’esprit militant.
A l’occasion d’une rencontre en librairie où elle abordera le rôle social de la musique depuis les années 1960, nous avons demandé à Melissa Chemam de nous expliquer le phénomène Bristol et de nous raconter les « coulisses » de son livre, l’une des rares (le seul ? ) « biographies » d’un groupe britannique par un auteur étranger.

Pourquoi avez-vous consacré un livre à la scène artistique de Bristol ?
Je me suis totalement reconnue dans cette ville qui rassemble beaucoup de mes centres d’intérêt : la culture, l’Angleterre — un pays que j’adore et où j’ai vécu —, et la société multiculturelle, car j’ai grandi dans une banlieue métissée. En 2014, alors que la bande de Gaza était bombardée, Massive Attack, qui a toujours milité pour les droits des Palestiniens et contre la guerre en Irak, est allé jouer au Liban puis à la Fête de l’Humanité. Ils m’ont alors semblé incarner un mouvement artistique engagé à une époque où peu de musiciens le sont encore. Ils ont transformé toute leur musique de façon à transmettre un message. C’est assez unique. J’ai donc eu envie de raconter leur parcours, sous un angle plus journalistique que biographique, en le mettant en perspective avec l’histoire de la ville que Massive Attack a contribué à faire exister sur la carte du monde.

“Banksy avait dix ans lorsqu’il a vu la première expo de 3D”

Qu’est-ce qui distingue, selon vous, Bristol d’autres villes d’Angleterre ?
C’est une ville relativement petite, ce qui a permis aux habitants de ses différents quartiers de se croiser. En outre, l’histoire de Bristol est étroitement liée à la traite des esclaves et à la colonisation de l’Amérique. La population s’est diversifiée très tôt, avec, notamment l’installation d’anciens esclaves. Et depuis le XVIIe siècle, la ville a toujours cultivé un esprit rebelle. Elle est peu industrialisée. Ses habitants n’ont pas été détruits par le poids d’un travail harassant. Ils ont donc, de tout temps, trouvé, plus qu’ailleurs, l’énergie nécessaire à la révolte. Grèves et manifestations ne sont pas de vains mots pour eux. Durant les années Thatcher, par exemple, les jeunes du quartier antillais de St Paul étaient sans cesse harcelés par la police qui venait y chercher un peu de drogue. Dans les années 80, la situation a provoqué des émeutes pendant des jours auxquelles a participé une bonne partie de la population, Anglais "de souche" et Irlandais allant défendre leurs copains jamaïcains.

Musique, street art, mais aussi cinéma : comment expliquer l’effervescence de la scène culturelle de Bristol depuis la fin des années 1970 ?
Ce mélange des populations et cette solidarité se sont déclinés dans la scène underground, favorisé par le fait que la ville était une sorte de cocon avec seulement trois clubs où les jeunes se retrouvaient quelque soit leur origine. De là est né la créativité de Bristol. D’autant que ces gens, souvent au chômage, avaient une culture très développée. Passionnés de musique, ils étaient aussi de grands amateurs de cinéma. Ils passaient plus de temps à regarder des films à la télévision qu’à fumer en bas des immeubles. Dans les soirées, ils pouvaient passer un morceau d’Ennio Morricone entre une chanson de Bob Marley et un titre punk. Le premier sound system des membres de Massive Attack s’appelait d’ailleurs Wild Bunch (La Horde sauvage) d’après le titre du film de Sam Peckinpah. A Bristol, les punks adhéraient au message anti-système du reggae, et les jeunes noirs se reconnaissaient dans le côté rebelle du punk. Aujourd’hui ce serait difficile pour un jeune noir de s’identifier à une telle musique. Bref, tous les éléments étaient rassemblés pour qu’il se passe quelque chose.
Et la musique électronique a facilité l’éclosion d’un mouvement…
A force de se dire qu’il est possible de faire quelque chose, ces futurs artistes ont rendu la chose possible. Ils ont effectivement profité de l’arrivée de la musique électronique et de ses outils bon marché qui permettaient à ceux qui ne savaient pas jouer d’un instrument de composer, il se sont affranchis de toute limite, au-delà même de la musique. Cela a créé une émulation. Les uns à côté des autres, ils ont bâti une énergie de contact. Geoff Barrow (fondateur de Portishead) s’est mis à sampler après avoir entendu Massive Attack mixer l’album Blue Lines. Banksy avait dix ans lorsqu’il a vu la première expo de 3D, qui était déjà un mini héros de la ville à 18 ans grâce à ses graffs. Tricky, qui avait connu une enfance difficile, a pu devenir DJ à l’âge de 15 ans.

Vous a-t-il été difficile d’approcher Robert Del Naja (alias 3D), peu réputé pour se livrer ?
Je ne voyais pas comment m’y prendre. Le groupe n’avait pas fait de promo depuis des années et je n’avais pas d’intermédiaire. J’ai donc jeté de nombreuses bouteilles à la mer. Mon email a fini par lui parvenir grâce à l’un de mes contacts et il a dit oui tout de suite. Je suis donc partie à Bristol pour le rencontrer. Là, je me suis rendu compte qu’il était quasiment inaccessible. Même des musiciens qui travaillaient avec lui depuis des années ne pouvaient pas le voir. Je suis restée dix jours et l’ai revu quelque temps plus tard, puis j’ai passé tout le printemps 2015 à Bristol pour rencontrer ses collaborateurs. Et nous avons beaucoup échangé par mails afin d’approfondir certaines questions sur l’engagement ou l’enregistrement de l’album Mezzanine qui fut très compliqué.

Quel type de personnage est-il ?
Il est perfectionniste et s’autocritique beaucoup. Les journalistes ont peut-être d’ailleurs tendance à ne voir que cet aspect dans ses rares interviews. Ce qui lui vaut une image de personnage ambigu et sombre alors qu’il est lumineux, gentil, bavard et positif. Il a l’énergie d’un ado alors qu’il a 52 ans. Il est boulimique créativement. Il a une idée à la seconde, est toujours en mouvement. Il est obsédé par les nouvelles technologies et la réalité virtuelle. Il crée lui-même ses applis, fait des choses incroyables et, à côté de çà, peut, de la peinture sur les mains, réaliser un collage de façon artisanale pour la pochette d’un disque.

Massive Attack a-t-il encore une influence sur Bristol ?
Oui, le groupe a un poids énorme d’autant qu’il est resté sur place ; il n’a jamais déménagé à Londres. Une soirée à célébré les 25 ans de leur premier album Blue Lines. A l’occasion de leur concert à Bristol en septembre dernier, le premier depuis dix ans, les 27 000 places se sont vendues en une heure. Mais ils sont si populaires que certains musiciens plus jeunes ne veulent pas y être affiliés en se démarquant du trip-hop. Politiquement, Massive Attack prend aussi position. Ils ont, par exemple, toujours refusé de jouer au Concert Hall, l’auditorium  de la ville, car il porte le nom d’un marchand d’esclaves. Et lors de certaines élections, Robert Del Naja a également signé des tribunes dans les journaux.

“Certains ont Ã©crit que 3D et Banksy ne faisaient qu’une seule et même personne, c'est faux”

Comment voyez-vous l’avenir du groupe ?
Selon moi, il sera multidimensionnel. Je vois bien 3D retravailler avec des documentaristes. Mais ce qui fait avant tout tenir Massive Attack, c’est la scène. Elle demeure capitale pour faire passer ses messages, politiques ou environnementaux, à son public à travers des spectacles audio-visuels. Quoi qu’on en dise, il y a un vrai groupe derrière Massive Attack avec le même guitariste depuis 1995, le même batteur depuis 1997. Outre 3D et Daddy G, beaucoup de gens font vivre le projet derrière. Mais il est vrai que leur stratégie de publier peu de choses leur fait courir le risque d’être oubliés. Je pense toutefois que leur prochain disque, sur lequel ils travaillent depuis 2015, paraîtra d’ici la fin de l’année. Même si pour 3D, l’album est un objet du passé, c’est toute leur vie et ils y sont très attachés.

Malgré le sous titre de votre livre, « De Massive Attack à Banksy », ce dernier n’intervient pas dans votre ouvrage. Pourquoi ?
On a évoqué l’idée qu’il s’exprime. Mais finalement ça ne s’est pas fait. Je ne l’ai pas rencontré même s’il est proche de 3D. Certains ont même écrit qu’ils ne faisaient qu’une seule et même personne, ce qui est faux. Il existe déjà beaucoup de livres sur Banksy, donc je n’ai pas insisté. S’il est mentionné dans le titre, c’est parce que le livre parle autant de street art que de musique. 3D est un pionnier du graffiti à Bristol, et beaucoup de gens ne savent pas que Banksy est aussi de Bristol.

Comment vit Bristol aujourd’hui, à l’heure du Brexit ?
La population à voté à 75% contre. Après le résultat, elle était atterrée. Il y a eu, et il y a encore, de nombreuses manifestations pour appeler à un nouveau référendum sur le Brexit. La ville a été élue capitale européenne de l’environnement en 2015 et il existe un partenariat très fort avec le continent. Bristol est à la fois une ville artistique et de l’industrie culturelle avec, entre autres, les studios d’animation Aardman (Wallace et Gromit – NDR) qui s’y sont consolidés. Sans l’Union Européenne, la situation va se compliquer pour tous ces acteurs culturels. Bristol est aussi une ville très écolo. Elle a mis en place sa monnaie locale, la Bristol pound, qui marche très bien (beaucoup d’établissements l’acceptent) et est gérée par des instituts financiers sociaux. Une partie de la paie des employés municipaux et celle du maire sont versées en Bristol pounds. La ville compte aussi de nombreux commerces indépendants. En 2011, eurent lieu des manifestations contre la construction d’un grand centre commercial. Alors, face à toutes ces questions (Brexit, rapports avec les Etats-Unis, politique du gouvernement conservateur…) qui vont à l’encontre de la logique globale adoptée par la ville, les Bristoliens vont certainement réagir, comme toujours.

24/03/2018

Chimamanda Ngozi Adichie on writing and core social issues


One of my inspiration. Her name is mentioned in my first novel, still unpublished in France :



Chimamanda: A writer who evades core social issues is a waste of time 

FRIDAY MARCH 23 2018


In Summary

  • Chimamanda called on us to appreciate the human universality while acknowledging there are differences that affect each of us in different ways.
  • Finally, she revealed that she was not on social media.
Fiction author Chimamanda Ngozi Adichie poses with her book "Half of a Yellow Sun". 
PHOTO| FILE| NATION MEDIA GROUP 

On March 10, award-winning Nigerian author Chimamanda Ngozi Adichie was in conversation with her British counterpart, Reni Eddo-Lodge at WOW 2018. Here is some of what she had to say.
“We talk about colonialism as something that happened. Not only does it shape the shapeless form of our government. All the countries that were colonised were not set up to succeed. And so, the expectation that you survived colonialism and you flower into this growing democracy does not make sense. Colonialism was a dictatorship.”
In her view, it was not surprising that former colonies have not done well: “But, the extent of the failure is something we have to take responsibility for. If we had governors who stole a little less money we might be a little bit better.” 
Chimamanda went on to describe what colonialism had done to African minds. We are not teaching our children our languages and we are telling them we have shrouded the idea in shame!
So, it is uncool and remarkable when you speak your mother tongue. Yet, this should be expected, not shocking. When we think of things that are native to us, “we use the language of the coloniser. Words like ‘tribal’; we borrow the language of other people and use it for yourself,” Chimamanda admonished. Does that make Africans free or is colonialism ever present?
NO CHOICE
Conversely, Chimamanda acknowledged there is a sense in which identity is forced on the individual. One has no choice but to pick the identity one is given with all its history, baggage and preconceived notions whether one likes it or not. Given the option, how many of us would choose a different identity? Yet whichever one picks, it will have its own burdens for one to grapple with. In the same vein, the problem with self-imposed identity is the social meaning given to it rather than the identity itself.
Initially, Chimamanda did not identify as or indeed want to be black in America because it came with baggage. She recalled recoiling after an African-American man called her sister. She thought it was an indictment of racism.
“Why was I running away from blackness if blackness is benign?” Chimamanda wondered. To overcome this, she started reading about black history and to embrace this new identity, by recognising not being a descendant of slaves made her experience different. And therein lay the lesson that if the different communities of Kenya were to embrace this wisdom, they, too, would be more inclusive of each other and ethnicity would be a thing of the past.
Chimamanda admitted she did not think of herself as being black until she went to the US.
“Nigeria didn’t need me to think of myself as black. We have problems but race in that sense is not one of them. So, in Nigeria we are busy saying Yoruba! Igbo! We don’t do race,” Chimamanda said. How this rings true for most of Africa! We view everything from the environment, water and social media from the lenses of ethnicity, yet when one goes abroad they are suddenly black and their ethnicity becomes immaterial.
This realisation was a learning experience.
“I had come from a place where authority figures were black. Where black achievement was normal.” In contrast, in the US, Chimamanda quickly learnt black achievement was remarkable and extraordinary. How we sometimes take this for granted.
Despite being a fiction writer, she was keen to talk about issues she cares about. Here lies a call for Kenyan writers, do you speak on ongoing social issues or is your goal only to publish a bestseller?
“Some fiction writers don’t want to talk about social issues and that’s fine. Some just want to focus on the art,” said Chimamanda. But is that enough? If you have a platform and an audience, shouldn’t you use it for the greater good and quell the ongoing negative rhetoric?
Chimamanda also wants to talk about love and emotion; how complex this is and how flawed we are.
“Often you are looked at and people see what you represent; they are not really seeing you,” she said. Oh, how often you are a community or a generation and seldom an individual.
But even when writers are free to choose, society burdens them. Chimamanda said when an author writes on an issue, he or she is suddenly expected to have all the answers and solutions.
“And while you are having the solution you are supposed to cater to the emotional needs of people who are listening to you,” she said. How does she deal with it? She smiles, puts on her sunglasses and walks away. Sometimes. She tries to remember that a lot of the people are anxious, uncertain and come from a place of fear. She also makes a concerted effort to be honest. If people project what she does not believe in she will tell them she does not agree.
STRATEGIC AND DELIBERATE
In her book, Americanah, she says she was strategic and deliberate about race. She wanted to convey her message with clarity and without the cloud of nuance taking away the intended meaning. Nuance often in the subject of race negates honesty and truth, and she was conscious the norm for writing about race in America required nuance.
“Things aren’t said, they are subtle, often becoming unrecognisable,” she remarked.
To get the honest truth about race in the book, she thought of having her character become a newspaper columnist. But, she would have an editor who would remove those things. She opted for a blogger instead saying: “There is an immediacy to blogging, you have a platform and you have an audience.” Through the blogger, Chimamanda could talk about race from the point of view of a person who is black but not American. In the absence of nuance, the blog would freely talk about blackness, its diversity and how to embrace it.
Ongoing debate
There has been an ongoing debate on writers having sensitivity to readers in the US. Chimamanda considers this to be terrible for art. “We should have a certain kind of honesty and not sugar coat,” she said. As readers, we should also know a writer’s stand on issues. 
An evening with Chimamanda would not be complete without an offering of feminism.
“There is a certain kind of youthful social media feminism that comes with a certain kind of jargon that does not feel organic,” she said. Don’t get swept away by academic arguments. Instead, concentrate on how to make changes even if they are incremental. For example, how do we ensure women have full autonomy of their bodies? Chimamanda called on us to appreciate the human universality while acknowledging there are differences that affect each of us in different ways.
Finally, she revealed that she was not on social media.
“Some people are suited to these media things, I am not,” she remarked. She acknowledged while social media can be useful, there is an undertone of ugliness. “People say things they would never say to you. Sometimes thing they do not even believe,” she observed.

--

Naomi Wadler



I can't believe we're in 2018 and I'm still hearing this. My heart is aching right now.

Listen to Naomi and open your eyes, you blind people.

Our world is more wrong than ever. America, I'm so ashamed of what you have become.

"11 year-old student Naomi Wadler speaks at March For Our Lives Rally" 




About George Orwell


Complete hero.

We should re-read him or read about him every day.



LITERATURE - George Orwell




By The School of Life

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George Orwell is the most famous English language writer of the 20th century, the author of Animal Farm and 1984. What was he trying to tell us and what is his genius?  

If you like our films, take a look at our shop (we ship worldwide): https://goo.gl/vSiVRh


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"A scrupulous writer, in every sentence that he writes, will ask himself at least four questions, thus: What am I trying to say? What words will express it? What image or idiom will make it clearer? Is this image fresh enough to have an effect? And he will probably ask himself two more: Could I put it more shortly? Have I said anything that is avoidably ugly? But you are not obliged to go to all this trouble. You can shirk it by simply throwing your mind open and letting the ready made phrases come crowding in. They will construct your sentences for you — even think your thoughts for you, to certain extent — and at need they will perform the important service of partially concealing your meaning even yourself."

- George Orwell, on the point of simplicity in writing


"You can't hurt me, I found peace within myself."


Nostalgia.

"You can't hurt me, I found peace within myself."

For sure.


Michael Jackson - 'Jam' (Official Video)





Shot on location in Chicago, the "Jam" short film paired Michael Jackson and NBA superstar Michael Jordan for a one-of-a-kind one-on-one match of basketball and stunning dance moves.

About Dangerous: Dangerous is Michael Jackson's eighth studio album, released on November 26, 1991 as his fourth studio album released under Epic Records. Dangerous has sold over 30 million copies worldwide, 7 million albums were shipped in the United States alone, and has been cited as one of the best-selling albums of all time. The album produced four top ten singles on the Billboard Hot 100, including the number-one hit ""Black or White"".


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Lyrics

Nation to nation, all the world must come together,
Face the problems that we see,
Then maybe somehow we can work it out.
I asked my neighbor for a favor, she said, later.
What has come of all the people, have we lost love of what it's about?
I have to find my peace cause no one seems to let me be.
False prophets cry of doom, what are the possibilities?
I told my brother there'll be problems, times and tears for fears,
But we must live each day like it's the last.
Go with it, go with it.
Jam. It ain't, it ain't too much stuff,
It ain't too much, it ain't too much for me to jam.
It ain't, it ain't too much stuff,
It ain't, don't you, it ain't too much for me to
The world keeps changing, rearranging minds and thoughts,
Predictions fly of doom, the baby boom has come of age, we'll work it out.
I told my brother, don't you ask me for no favors,
I'm conditioned by the system, don't you talk to me, don't scream and shout.
She pray to God to Buddha, then she sings a Talmud song.
Confusions contradict the self, do we know right from wrong?
I just want you to recognize me, I'm the temple,
You can't hurt me, I found peace within myself.
Go with it, go with it.
Jam. It ain't, it ain't too much stuff,
It ain't too much, it ain't too much for me to jam.
It ain't, it ain't too much stuff,
It ain't, don't you, it ain't too much for me to
Uh, huh, it ain't too much stuff, it ain't too much
It ain't too much for me to jam.
It ain't, it ain't too much stuff, it ain't, don't you,
It ain't too much for me to
Jam, jam, here comes the man, hot damn,
The big boy stands, movin' up a hand.
Makin' funky tracks with my man Michael Jackson,
Smooth criminal, that's the man, Mike's so relaxed.
Mingle, mingle, jingle in the jungle, bum rushed to door 3 and 4's in a bundle.
Execute the plan, first I cooled like a fan,
Got with Janet, then with Guy, now with Michael 'cause it ain't hard to
Jam. It ain't, it ain't too much stuff,
It ain't too much, it ain't too much for me to jam.
It ain't, it ain't too much stuff,
It ain't, don't you, it ain't too much for me to
Uh, huh, it ain't too much stuff, it ain't too much
It ain't too much for me to jam.
It ain't, it ain't too much stuff, it ain't, don't you,
It ain't too much for me to
Jam. It ain't, it ain't too much stuff,
It ain't too much, it ain't too much for me to jam.
Uh, huh, it ain't too much stuff, it ain't, don't you,
It ain't too much for me to


Jam lyrics © Music & Media Int'l, Inc, BMG Rights Management US, LLC