Thursday, November 27, 2003

poet lays smackdown on Blair, Queen & filthy collaborators

Benjamin Zephaniah is my new fucking hero.

Apparently the "done thing" when refusing an OBE is to do so privately, so this may well cause a bit of a row - which I'm sure he intended to do, and good on him. Righteous anger has rarely been so righteous. Zephaniah's explanation for his refusal starts, brilliantly, like this:

I woke up on the morning of November 13 wondering how the government could be overthrown and what could replace it, and then I noticed a letter from the prime minister's office...

...and just gets better from there. Here are the highlights:


I am not one of those who are obsessed with their roots, and I'm certainly not suffering from a crisis of identity; my obsession is about the future and the political rights of all people.

...

I have begged [Tony Blair] to come out and meet me; I have been longing for a conversation with him, but he won't come out, and now here he is asking me to meet him at the palace! I was there with a million people [at the anti-war demo] on February 15...

...

There are many black writers who love OBEs, it makes them feel like they have made it. When it suits them, they embrace the struggle against the ruling class and the oppression they visit upon us, but then they join the oppressors' club. They are so easily seduced into the great house of Babylon known as the palace. For them, a wonderful time is meeting the Queen and bowing before her presence.

I was shocked to see how many of my fellow writers jumped at the opportunity to go to Buckingham Palace when the Queen had her "meet the writers day" on July 9 2002, and I laughed at the pathetic excuses writers gave for going. "I did it for my mum"; "I did it for my kids"; "I did it for the school"; "I did it for the people", etc. I have even heard black writers who have collected OBEs saying that it is "symbolic of how far we have come". Oh yes, I say, we've struggled so hard just to get a minute with the Queen and we are so very grateful - not.

I've never heard of a holder of the OBE openly criticising the monarchy. They are officially friends, and that's what this cool Britannia project is about. It gives OBEs to cool rock stars, successful businesswomen and blacks who would be militant in order to give the impression that it is inclusive. Then these rock stars, successful women, and ex-militants write to me with the OBE after their name as if I should be impressed. I'm not. Quite the opposite - you've been had.

...

You can't fool me, Mr Blair. You want to privatise us all; you want to send us to war. You stay silent when we need you to speak for us, preferring to be the voice of the US. You have lied to us, and you continue to lie to us, and you have poured the working-class dream of a fair, compassionate, caring society down the dirty drain of empire.


You can also read Zephaniah's poem 'Bought and Sold' by following that link, which indicates that whoever decided to offer him this 'honour' had either failed to do their research or was smoking a lot of crack.

I think this is fantastic. What's striking about Zephaniah's stance here is the ferocity of his feelings not only about Blair etc, but also about his more compromised peers. Quite right too. "No use staying on the margins, I'm going to change the system from within!" - sometimes, as indicated elsewhere within the above article, this can have a point, but all too often it's an excuse mouthed to cover up enjoying the luxuries of status while one cosies up to the establishment and slowly forgets whatever plans if any one ever had to change anything... So well done, Mr Z, for this big "FUCK YOU".

(Andrew Motion, please do the decent thing, and kill yourself.)

Wednesday, November 26, 2003

Looking at this cover, I can't help but wonder whether Justin Timberlake's next move will be to sign to Def Jux.

Beardy.
So I'm thinking of adding Cowboyz 'n' Poodles to my permalinks based on just this one entry on hip-hop/r&b liner notes:

Magoo does one of my favorite things --communicates a message to someone via liner notes, that would be more efficiently/expediently accomplished by simply using a telephone or the internet. In this case, he tells Ginuwine aka Santiago, "I need your 2way." So Ginuwine, if you happen to pick up this album and read the extensive liner notes (your thank you is halfway through a long paragraph), please, give Magoo a call. Dude needs your 2way.

(Via S/FJ.)
Fanon
You are Franz Fanon! The father of postcolonialism,
you were a prominant French academic until you
resigned your post and joined the Algerian
resistance. Your works are surprisingly
readable for a major theorist, although you
only have two of them. You died in 1961 of
Lukemia.


What 20th Century Theorist are you?
brought to you by Quizilla

So I reckon this might be the only one of these tests ever devised that's actually useful and educational, because like myself, many of the people I know who've taken it have then decided they need to find out exactly who the hell this person is that they have "so much" in common with... (Hey, I even wanna know more about a couple of people I'm not, cuz Julia Kristeva? Seems tres cool.)

Thus, Franz Fanon.

Tuesday, November 25, 2003

your life as album covers

Yesterday/today:


Monday, November 24, 2003

whatchu know 'bout boilin' a kettle for a bath?

I know, I know, the RZA thing. Yeah, I wasn't really in the mood at the weekend - broke, at a bit of a loose end for most of it, the rain pissing down and making my beloved KX, London look ugly as hell.

But. But can I just talk about how fucking obsessed I am right now with 'Lucky Star' by Basement Jaxx? It's like being beaten up by God. Scratch that, it's like being beaten up by Horus/Dane McGowan. And then fucked by him. That's the chorus, the sex bit. The verses are like the most insane kung-fu/guncarta fights scenes ever. The chorus is like getting head from Kali. Gives me chills ever time.

"I would just like to say I feel fine."

And the drama when the strings first come in, and the scorn when Dizzee Rascal says "don't make me laff, whatchu know about havin' no money for a trim?" - yeah you fucking rich kids, don't mess with Dizzee - and the way the sound is all about the treble, all about the high-pitched noises, like someone drilling a hole in yr skull IN A GOOD WAY, and the "jump up, jump up" bit, and the reprise of "round, round, round we go"... YESSSSSS.

Then if we dig deeper into the lyrical content of the song, we find much the same sentiment as on RZA's 'Grits', except with added aggression: RZA is just reminiscing about growing up poor, Dizzee sounds like he's looking for someone to punch because of it. I've been thinking a lot recently about generalised/metaphorical struggle vs. specific/literal class-based experience in hip-hop and elsewhere - because I've always said that you don't need to have gone through exactly what an artist is talking about going through to understand and relate to the emotions expressed in a song as a result. And yet... something in 'Grits' moves me and makes me want to claim that anyone who never wanted for anything as a child cannot understand this song the way I do. And when Dizzee hits on something so exact as having to boil the kettle to get hot water for a bath - I'm right there with him, yelling "what do YOU know about it?" Chip on the shoulder? Don't make me laugh...

"I would just like to say I feel great."