From SS Orbita to Orbital: Essays on the musical impact of the Windrush generation.

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SSORBI T A TO

ORBI T AL ESSAYSONTHEMUSI CALI MPACT OFTHEWI NDRUSHGENERATI ON EDI TEDBY EMYONOURAANDMADELI NEHENEGHAN

From

SS Orbita to

Orbital

Writing on the Wall Toxteth Library Windsor Street, Liverpool L8 1XF Published by Writing on the Wall, 2020 Š Remains with authors and photographers Design and layout by Katrina Paterson All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior permission of the publishers.

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Contents Emy Onoura & Madeline Heneghan Introduction

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Carl Keneally Calypso: Birth of Black British Music

3

Addae Gaskin The Mighty Sparrow

5

Karen Fletcher History of Carnival

10

Irene Stuart Parallel Lives

12

Gary Gornell Black Artists in Liverpool

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Janet Gardiner Rock Against Racism

16

Olivia Currie Get Up! Stand Up!

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Debbie Williams Shirley Thompson

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Emy Onuora Britfunk

22

Claire Brumby Unfinished Sympathy

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Brian Wharton ‘A Diva and a Soul Gentleman!’’ – Britain’s Best Kept Secret!

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Lauren Buxton Children of The Windrush Generation

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Afterword

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Introduction This stunning collection of work is taken from twelve essays by writers from Writing on the Wall’s heritage project From SS Orbita to Orbital which set out to explore and document the impact of the Windrush generation and their descendants on the British Music Scene. This collection preview demonstrates the profound influence that those arriving in the Windrush period and their children continue to have on the development, vibrancy and success of the British music industry, not only within black music scenes but across all genres, from the pop music of the Beatles to the electronica of Orbital The docking of the SS Empire Windrush at Tilbury Docks on 22nd June 1948, carrying over 500 men, women and children from the West Indies, followed 4 months later by the arrival in Liverpool of the SS Orbita from the Caribbean, signified the start of immigration to the UK from British colonies that sparked a social, economic and cultural revolution, that would change the face of the UK forever.

Economically, Britain drew upon its colonial citizens as a source of cheap labour in order to rebuild it’s war-torn economy, and that labour contributed appreciably to the post-war economic boom. Socially, profound changes to Britain’s towns and cities, workplaces, schools, communities and social spaces, occurred with the arrival of black British citizens, who augmented long-established black communities, V

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based mainly in port cities to change the landscape of British society forever.

The cultural impact of the Windrush Generation proved to be profound, most acutely in the music that was fashioned and developed from within black communities. This music proved to be highly influential on British popular music and played a critical role in the development of the UK as possessing perhaps, the most vibrant and influential music scene in the world.

The experiences of racism, discrimination, harassment and violence all contributed to the development of black British music. However, at the same time, the absence of de facto Jim Crow segregation, meant that black musical styles would be keenly adopted by white youth and this sometimes easy, sometimes difficult cultural mix would contribute to the vibrancy and popularity of many black musical styles. Black British music has continuously punched above its weight and these essays provide just a small taste of the styles, personalities and influence of black British music that demonstrate why this has been the case.

The essays previewed here were written in the wake of the Windrush scandal which broke in the media in 2017. The scandal revealed that people who has contributed so much to British culture, the economy and the care and welfare of our nation were being wrongly detained, refused the right to work, denied access and support from the welfare system that they had paid for through their taxes and VI

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which many helped to build. Most alarmingly an unknown number of people were illegally deported to countries with which they had no real ties. In many instances countries that they had not returned to since arriving in the UK as children. Some died before these illegal decisions could be overturned.

Many lost their homes, their jobs and were forced to live in poverty as illegal aliens and they continue to suffer acute ill health and mental distress.

Following a public outcry and the treatment of black citizens Amber Rudd was forced to resign, while Prime Minister Theresa May, the architect of a ‘hostile environment’ towards those deemed be immigrants merely apologised. Her government promised compensation to those whose lives had been wrecked yet three years on only a handful of claims have been settled and the ‘hostile environment’ remains.

We preview this collection at what feels like an incredible historic juncture. The murder of George Floyd by police in America has provoked world-wide condemnation and demands for an end to institutional racism. We hope that this collection however small supports these demands and highlights the benefits of immigration and cultural diversity historically and today.

We would like to thank those musicians, writers and music and history specialists and who contributed their time and knowledge to the Ray Quarless, James McGrath, Stuart Borthwick, Dave Randle, VII

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Kevin McManus, and Phil Hartnoll. Thanks also to The Church Urban Fund for funding the initial project and finally a huge thanks and congratulations to all of the writers featured in this collection preview.

Emy Onoura & Madeline Heneghan

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Calypso in Britain: The birth of Black British Music Carl Kenneally

The Windrush generation has had a profound impact on British culture: from the reggae sounds of the 1970s to the more recent grime style that made its presence felt in the early 2000s. However, the first music to be performed and recorded in Britain following the docking of the Empire Windrush in 1948, which brought the first wave of West Indian immigration to Britain, was the Trinidadian music: calypso. On board the Empire Windrush were the calypso singers Lord Kitchener, Lord Beginner and Lord Woodbine. Alongside other key players these Calypsonians had a major influence on British culture in the first decade following their arrival from the Caribbean.

Calypso played a significant role in creating a cultural space for West Indians in their new homeland and paved the way for subsequent Black British music. It was the pre-eminent music of West Indian immigrants during the 1950s and the music’s practitioners found a way to infiltrate many areas of British society. Whilst calypso held sway during the 1950s as the first popular music of Black Britain post-Windrush, its significance has been largely underplayed, but it was fundamental in laying the groundwork to enable Black British music to flourish in later 3

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decades. Nonetheless, though the decade following the first wave of West Indian immigration was dominated by calypso it has now been overshadowed by the influence of Jamaican culture and is an almost forgotten sound of the time when the first Caribbean immigrants arrived on the Windrush.

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The Mighty Sparrow Addae Gaskin

Via his late 50s/early 60s singles, the Mighty Sparrow staked out a claim as the greatest English-speaking Caribbean pop artist of the 20th century. Exhibit A, this album. Melodies abound and Sparrow; Slinger Francisco; can sing them all with grace, style, and humour. The brass horns are of surpassing brilliance, “No Money No Love” being an excellent example. The rhythm sections propel forcefully and rhythmically without ever taking the focus away from the composition. Lyrically, he’s by turns incisive and amusing, but usually both. His genius as a writer lustres as he melodiously spells out the title of a children’s tale in perfect cadence.

On first listen the song presents silly nursery rhymes that would cause one to wonder what Sparrow going on about. With rhymes about Twisty and Twirly, Puss in Boots and Humpty Dumpty; one is left to wonder what possessed the calypsonian to write music for adults in such a childish manner. However, on deeper examination one realizes the extent of the social commentary in this song. Francisco scrutinises the education system in Trinidad & Tobago and, indeed, the greater English-speaking Caribbean at that time.

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Writing on the Wall

According to the education you get when you small, You will grow up with true ambition and respect from one and all.

But in my days in school, they teach me like a fool, The things they teach me ah should be ah block-headed mule.

Dey teach mih: pussy has finished his work long ago an’ now he resting an’ ting.

Solomon a Gundy was born on ah Monday, de ass in de lion skin.

Winkin, Blinkin and Nod, sail off in ah wooden sloop, De ‘gouti lose he tail an’ de alligator fighting, to make monkey-liver soup!

An’ Dan, is the man, in the van!

De poems an’ de lessons dey write an’ sen’ from England Impress me dey were trying to cultivate comedians!

Comic books made more sense: you know it’s fictitious, without pretence.

Cutteridge wanted to keep us in ignorance!

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Tell me if dis eh chupidness: Humpy-Dumpty sat on a wall!

Humpy-Dumpy did fall!

Goosey, Goosey Gyander?

Where shall I wander?

Ding, dong, del!l pussy in de well!

R-I-K-K-I-T-I-K-K-I-Ah-T-Ah-V Ah Rikki Tikki Tikki Tikki Tavi!

Dan, is de man, in de van!

Ah say, Cutteridge was plenty times more advanced dan dem scientist, I en believe dat no one man could write so much stupidness.

Aeroplanes didn’ come so soon, scientists used to make de grade in balloon.

Cutteridge make a cow jump over the moon!

An’ then he tell dem: Tom, Tom de piper’s son!

Teef ah pig an’ away he run!

Once dere was a woman who lived in ah shoe, She had so many children she didn’ know what to do! hickory a-dickory dock!

De mouse ran up de clock!

De lion and de mouse, 7

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Ah woman pushing ah cow To eat grass on top of ah house!

Ah an’ Dan, is de man, in de van!

How I happen to get some education my friends, me eh know!

All dey teach me is about Beer Rabbit an’ Rumpelstilskin-o.

Dey wanted to keep me down indeed, dey try dey best, but didn’ succeed You see, mih head was duncee an’ up to now ah cyar read!

Who cares about: Peter, Peter was ah pumpkin eater?

Some little, little people tie Gulliver?

When I was sick an’ lay a-bed I had two pillow at my head?

De goose lay de golden egg?

De spider catch a fly?

Morocoy with wings flapping in de sky?

Dey beat me like ah dog to learn dat in school, If me head was bright ah woulda be a dahm fool!

With Dan is de man in de van Can a pig dance a jig for a fig?

Twirly and Twisty were two screws!

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Mister Mike, goes to school, on a bike!

Dan is de man, in de van!

Dan is de man, in de van!

Yeah! Dan is de man, in de van!

“Dan Is The Man” (1963) Slinger Francisco. The Mighty Sparrow. Calypso King of the World!

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Windrush & Carnival Karen Fletcher

The Windrush generation are integral to the origins of carnival in Britain. The most famous and biggest being Notting Hill Carnival, a significant event of Black British culture, led by members of the British West Indian community.

The roots of the Notting Hill Carnival began as a response to the racial tensions at the time. In 1958 vicious race riots had erupted across London with violent attacks on newly arrived ‘Windrush’ migrants throughout the summer, the culmination

© Madeline Heneghan 10

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of a decade of escalating racial tension and attacks on black men. The riots were fueled by fascist organisations, including Oswald Moseley’s Union League.

In January 1959, a community ‘Mardi Gras’ event took place in St Pancras Town Hall – the brainchild of Trinidadian, Claudia Jones, who hoped to transplant the Trinidadian tradition of carnival to Britain to forge unity between Britain’s West Indian community and reach out to White Britain. She saw the carnival as a unifying force of hope and reconciliation, its joyful spirit captured by the slogan that decorated the hall: ‘A people’s art is the genesis of their freedom’.

1964 saw the first outdoor carnival in Notting Hill. A street party for neighbourhood children, turned into a carnival procession when Britain’s first steel band went on a walkabout. Sound systems were introduced between 1973-75 and carnival began to attract thousands of people from all over London and further afield, including coaches from Liverpool 8.

The Windrush generation has greatly enhanced British culture by bringing the diversity of music from the Caribbean. Notting Hill carnival attracts around one million people annually, making it one of the world’s largest street festivals.

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Parallel Lives Irene Stuart

As a teenager growing up in the 1960’s I was under the impression that Merseybeat had put Liverpool on the music world stage, but I have since learned that there was a thriving cultural and music scene which stemmed from the 1800’s. I therefore began to question as to why I was unaware of the existence of this culture a mere few miles from where I lived. The answer would appear to be because the said community was comprised of a number of races including those of African, West Indian and Caribbean descent. Were myself and many of my generation therefore knowingly and deliberately kept away from Liverpool 8 and the surrounding areas?

Roy Stephens who opened the extremely popular Palm Grove in Smithdown Lane said at the time. “We can’t get in clubs in town because of the colour of our skin, so we might as well do it here.”

This would explain why there were no black faces at the youth clubs I attended nor at the city night clubs I attended from around the age of fifteen.

So what of today’s generation, are they excluded as I was? It would appear not as today’s generation does not own a culture/identity as for example the 1960’s Mod/Rockers. The rise of ‘dance and house music’ in the 1990’s led to a decline in racism as the followers of this genre began to embrace different 12

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ethnicities and social classes resulting in a more inclusive club culture. Also, the internet has given access to a broad range of music and in turn to a broad range of culture which I can only hope transcends the colour of one’s skin.

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Black Artists in Liverpool Gary Gornell

Liverpool is often regarded by outsiders as a city of rebels, where national trends and expectations are forever bucked and ignored. Look at politics, clothes, trainers, hair and music. Even the city’s black musical history and heritage refuses to obey the ‘normal ‘ rules. When it comes to music originating in the Black communities of Liverpool, closer scrutiny shows three main features.

Firstly, Liverpool produces more than its fair share of successful Black musicians. Secondly, the city bucks the trend re. musical genres and styles

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which are popular nationally. Instead, the black musical heritage of Merseyside originates from a unique vocal harmony tradition which has developed in Liverpool’s and particularly Toxteth’s Black community. Thirdly ,and as a consequence of the above, Reggae , with sizeable scenes in London, Birmingham and Bristol through the 70s and 80s was largely noticeable by its absence in Liverpool and even today, the profile of rap and grime artists is lower than in even its Northern neighbours Manchester.

Liverpool may not have produced a Little Richard, a James Brown or a Bob Marley in the 20th Century, however, all of these artists originated from cities and towns where the black population were in the majority. Might it be more useful to compare the apparent lack of prominent black artists (with some obvious exceptions) from Liverpool, with other British towns and cities, such as London, Manchester, Leeds, Bristol, Birmingham , Sheffield and Nottingham?

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Rock Against Racism Janet Gardiner

‘Own up, half your music is black. Where would you be without the blues and r&b?’ Were the words of Red Saunders, one of the founders of Rock against Racism (RAR), taking Eric Clapton to task, after the latter’s notorious comments on stage, at a concert in Birmingham in 1976. Clapton’s racist tirade was shocking, and came at a time when the right-wing National Front were making significant electoral gains. As a musician who was heavily influenced by blues music and whose recent hit had been a cover version of Bob Marley’s ‘I shot the sheriff’, his diatribe offended and angered fans. Inadvertently,

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Clapton’s outburst became one of the catalysts for the emergence of a movement, that encouraged and inspired greater integration and collaboration between musicians. At concerts organized by RAR and attended by thousands of people, performances by bands such as Steel Pulse, The Clash and The Specials fought back against the racism and bigotry of the National Front, under the slogan , ‘Black and white unite and fight.’

The success of the movement reflected a sea change within the British music scene, both socially and politically. From today’s vantage point, it is inconceivable that it took over 20 years from when The Windrush docked, for black bands and white bands to share the same stage. Decades may have passed since Saunders’ original letter to the music press, but in an era of a government’s ‘hostile environment’, its central tenet echoes with added resonance.

However, what if his question was expanded, in other words, to ponder on where would British music be without the Windrush Generation and their descendants?

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Get Up! Stand Up! How the politics of Reggae Soundsystems shook up music in Britain Olivia Currie

The late 1970s and early 1980s was a period of simmering social and political tensions in Britain’s urban centres. For the children of the Windrush generation, this was reflected in the music that they listened to and made. In particular, British Reggae came into its own as a genre and the conscious lyrics and booming bass of local soundsystems revolutionised the way that music was made and utilised.

The Roots Reggae of the 1970s, originating in

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Jamaica, was so overtly political that it caught the attention of the mainstream and fostered an awareness of race among many young white Britons. As Black British music increasingly ceased to be a private affair and made its way into popular culture, it was evident that the second Windrush generation had made their mark on British society. Both white and black musicians began to experiment and fuse Reggae with other genres such as Rock and Punk.

The result was a uniquely British sound that not only documented the mood of the times but also worked to bring about social cohesion.

The revolutionary mid-1970s was a golden age for Reggae. The tumultuous post-colonial period of independence in Jamaica gave way to a host of conscious reggae artists who spoke out against the government and provided the island’s masses with their political education. This included The Wailers, Culture and Burning Spear, as well famed toasting deejays like Big Youth and I-Roy. Their popularity spread to an international stage and the African diaspora came alive to the sounds of Jamaica’s rebel music. Peter Tosh’s ‘Get Up, Stand Up’ is telling of the mood that soundtracked black people’s mobilisation and inspired revolutions from Grenada to Angola and Zimbabwe.

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Shirley Thompson Debbie Williams

The cultural legacy of the Windrush and the subsequent generations named after it, is as varied and unique as the people themselves. In terms of musical heritage, many of the people on board brought to Britain’s grey and reserved shores, a musical exuberance that alluded to a sunnier, less formal place. The pulsating rhythms and beats of Socco, Minto, Calypso and Ska, were the musical roots from which soul, and rhythm & blues grew in America; and reggae, two tone, and lovers’ rock flourished in the UK. From the Jamaican Rude Boy’ and the ‘skinheads’ who emulated them, to the ‘Mods;’ black culture was seen as ‘cooler’ and

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‘hipper’ than the home grown British offerings, with artists such as the, The Rolling Stone, The Kinks, The Jam, and The Specials (to name but a few) drawing on their musical styles. But they were not alone, this music also formed the musical heritage of a young girl called Shirley Thompson, but she decided to take the unprecedented and distinctly less well trodden path through the classical music landscape. Jasmine Dotiwala in an article for the Metro in 2017 entitled,‘14 of the most inspirational British women of colour you should know about,’ stated that Thompson is: “a ground-breaking classical music leader who walks alone.” This is not an innocuous statement, it is one loaded with unanswered questions, most pertinent of which is why has Shirley Thompson had such a lonely journey through the classical landscape? As a black female classical composer she does seem to have few peers.

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The Story of Britfunk – From JazzFunk to Acid Jazz Emy Onoura

While British reggae had found its expression in sound systems and in emerging pirate radio, Britfunk was born out of the British Jazz Funk scene which unlike its American counterpart was based within club culture in London and the Home Counties and was later to find a receptive audience within black communities and beyond. The significance of the club scene meant that the music that powered Britfunk was produced not just for listening to, or for critical appreciation, but for dancing, and it was this emphasis that gave the music its distinct feel.

The scene coalesced around clubs such the Goldmine and Lacy Lady in Essex and in particular, Crackers in the West End of London, which in its diversity in the 1970s, represented something bold and new. DJ, Norman Jay, a Crackers regular, said of it; It was the first (London) meeting place of black, white, straight, gay. The clientele originally was very gay. It wasn’t a gay club per se, but it was hip and fashionable. Yes, the music was brilliant, but it was the coming together of different social groups and races.

That was what was groundbreaking.

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The emphasis on producing a sound for the dance floor was epitomised by North London band, Hi Tension, whose dance-friendly sound was more up-tempo and percussive than the more radiofriendly US Jazz Funk. Driving this dancefloor sound, was the jazz dance scene, that emerged alongside Britfunk, whereby ‘crews’ would participate in competitive ‘battles’ to produce the best moves and steps.

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Unfinished Sympathy Clare Brumby

This anti-establishment mindset would be difficult to avoid for three young men growing up in the city during the 1970’s and 1980’s, times of extreme economic, political and social inequality in both Bristol and the UK as a whole. Add into the mix the emergence of countercultures such as punk and hip-hop in response to these conditions, and no wonder Bristol became such a fertile breeding ground for these very opinionated musicians. Both scenes provided a generation of young, culturally diverse Bristolians the opportunity to come together

© Clare Brumby, Massive Attack headling British Summer Time, Hyde Park, London, July 2016.

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and escape the tribalism and racism that defined the time, but it was the Caribbean music scene, and in particular, reggae sound system culture, itself emerging from the anti-colonial struggles arising from the Atlantic slave trade, that bound these influences together and shaped Massive Attack’s music and approach to political activism.

Characterised by its traditional anti-establishment roots, its focus on upholding a strong message of unity through the concept of the ‘collective,’ and the innovative and progressive spirit of the soundclash, where crews battled to stay one pioneering step ahead of everyone else, it’s in this scene that The Wild Bunch, including Vowles, Marshall and Del Naja, came together, using the power of music to bring people from different backgrounds together as an antidote to the fragmentation of the time, through a radical approach so clearly reflected throughout Massive Attack’s work.

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‘A Diva and a Soul Gentleman!’ – Britain’s Best Kept Secret!

Brian Wharton

David McAlmont, the son of a Nigerian law student and a Guyanese nurse, was born in Croydon, Surrey in 1967, the year that homosexuality in Britain was partially decriminalised for men over the age of 21 years. McAlmont returned to his mothers’ homeland in 1978, leaving behind a miserable Britain which was in political mayhem and still experiencing the residues of punk. In Georgetown, the capital of Guyana, where he lived, local radio played superstars like Stevie Wonder, Michael Jackson,

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Whitney Houston and Prince, who came to be huge influences on the young McAlmont.

Like many black singers before him, McAlmont discovered his voice in church, though at first, he sang quietly so as not to draw attention to himself. However, his teacher was curious about this ‘beautiful’ sound and encouraged him to develop his talent. Although, McAlmont knew his voice was unusual and made him standout, he was unprepared for the homophobia that came with the whispers of ‘batty man,’ the derogatory term for homosexuals, which was uttered in a country where gay men could face life imprisonment

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How the Children of The Windrush Generation: Paved the Way for UK Dance Music?

Lauren Buxton

It’s clear to say without the immeasurable contribution of the Windrush generation and their descendants the musical landscape of what we know as British Dance Music would cease to exist. As I reiterated earlier within this essay the significance of the Jamaican sound system culture is intrinsically linked to the development and musical evolution of UK Dance Music, as Phil Hartnoll from the pioneering electronic band Orbital explained to me

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in a recent Skype interview; The Windrush generation and their descendants completely enriched the UK Dance Music scene, British culture is amalgamated to Jamaican culture particularly in England.

They have influenced the whole of the UK. Additionally the influence of the sound system culture can still be felt today transcending not just the musical culture of Britain, but also within causes such as the environmental movement, as Orbital’s Phil Hartnoll declared over Skype he is in the process of building a sound system called Ravers in Disguise for the ‘Extinction Rebellion’ movement.

In addition to this as the Windrush generation revitalised the infrastructure of a post war Britain, so too did the children of the Windrush generation lay the foundations of the UK electronic music scene.

Without which we wouldn’t have the technological and musical innovations that permeate throughout every genre of UK Dance music, most notably being the continued rise and prominence of DJ’s within the Dance Music scene, as this can still be seen today in festivals, and even ‘sound clashes’ thanks to the influence of the Jamaican sound system culture.

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Afterword Congratulations to all those who participated in From SS Orbita to Orbital, for producing such high-quality writing and being generous enough to share their work with us.

Writing on the Wall is a dynamic Liverpool-based community organisation, which celebrates writing in all its forms. We hold an annual festival and a series of year-round projects, working with a broad and inclusive definition of writing that embraces literature, creative writing, journalism and nonfiction, poetry, song writing and storytelling. We work with local, national and international writers whose work provokes controversy and debate, engaging all of Liverpool’s many diverse communities in order to promote and celebrate both individual and collective creativity.

Our creative writing projects support health, wellbeing and personal development, and if you have a story to tell and would like to take part in one of our writing projects, or perhaps work with us to develop a new initiative, please do get in touch.

We’d love to hear from you.

Madeline Heneghan and Mike Morris, Co-Directors info@writingonthewall.org.uk www.writingonthewall.org.uk 0151 703 0020 @wowfest 30

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