Adele’s Adoption of Black Style Is In a Long Tradition of White Anti-Racism and ‘Allyship’

One of the controversies that has now broken out in the wake of Black Lives Matter has been over the dress and hairstyle Adele adopted yesterday. She was hoping, like many folks, to attend the Notting Hill carnival. But it was cancelled due to the restrictions on large gatherings imposed by the Coronavirus. I’ve heard that they held a Virtual one online instead. Adele decided to signal her support for the carnival by posting a picture of herself in a bikini showing the Jamaican flag and with her done in a Black hairstyle. So the league of those wanting to find any excuse to be offended have accused her of ‘cultural appropriation’.

I really don’t accept this. I believe that she wore the bikini and the hairstyle as a genuine gesture of support to the Carnival and the Black culture that created it. And moreover, without people like Adele adopting Black fashions and Black music, Black culture would not have the acceptance it does among Whites and the racism Black people experience would be much, much worse.

Real Appropriation of Black Music and Culture

I am very much aware that cultural appropriation has occurred. Black people have complained for a long time that ‘the White man stole the Blues’. One of the great stars of the Big Band era, Benny Goodman, is a case in point. Goodman was a White man, but all his hits were written by Black Jazzers. One of the most notorious cases is that of ‘Tar-ra-ra Boom-de-ay’ in the 19th century. It’s credited to a White musician, but he heard it from a Black lad singing it on the streets. And cultural appropriation also doesn’t just apply to Blacks. Native Americans are also uncomfortable when Whites adopt their traditional culture, like some of the New Agers and pagans, who have adopted aspects of their religion. And I can’t say I blame them. But what Adele has done is the opposite, and goes right back to the 1920s and before when White youths began adopting Black fashion and music.

The ‘White Negroes’ of Jazz and Rock-n’Roll and Anti-Racism

One of the first in the 1920s was ‘Mezz’ Mezzrow. He was a White kid, who first immersed himself in the emerging Jazz scene. He adopted Black culture to such an extent that he has been called ‘the first White Negro’. Later on, one the ‘White Negroes’ – I’ve forgotten which one, painted himself with melanin in order to see what being Black in America was really like. I think he got an unpleasant surprise. But this didn’t stop him writing a book pleading for reconciliation between Whites and Blacks. And after Jazz faded with changes in youth culture, it’s place was taken by rock’n’roll. The books on music I’ve read state clearly that it’s a hybrid musical genre – a mixture of White Country music and Black barrel house Jazz. I’ve got a feeling that the primacy given to the guitar in rock and pop, rather than the piano or keyboard, comes from the old Blues master Howlin’ Wolf when he was performing in Chicago. Little Richard, who passed away recently, once claimed in an interview that it was thanks to him Blacks and Whites started dancing together. Before he started performing, he noticed that White the dance floors were full of Blacks tripping the light fantastic, the Whites just stood around the edges watching. ‘White spectators, we used to call ’em’, he reminisced. Then he started playing and they suddenly joined the Blacks on the floor. ‘So a decade before Dr. Luther King, we had integration’.

Nazi Hatred of the  White Adoption of Black Culture

And those Whites that did adopt Black music got real hate for it from the real racists. It comes from the old biological determinism that sees culture as the product of biology. By this standard, Whites are somehow betraying their race and degrading themselves by adopting Black music and fashion. Back in the 1980s there was a book, The Best of Signal, which published articles from the big popular Nazi mag of the Third Reich. It was published by a mainstream publisher as I think one of the very many titles on the Nazis, the Third Reich and World War II that appear every year. I found a copy in a secondhand bookshop. One of the articles in it was an explicit attack on the contemporary Jazz scene in America. It showed a groups of American youths – I can’t remember whether they were White or Black – wearing the characteristic ‘Zoot suits’ and made it very plain what the writer and the vile regime he served thought of them. When White kids in the 1950s started listening and dancing to rock’n’roll, Conservative voices accused them of taking over ‘Negro sensuality’.

And the same criticisms was still being voiced in the 1990s. That was the decade that saw the emergence of the Militia movement in the US and the gathering of various neo-Nazi outfits in the Hayden Lakes area, where they started building communes and compounds. These are real Nazis, not the casual racists who are often simply called it for their vile opinions. I think Louis Theroux went to one of them in his Weird Weekends. It was built like an armed fort or concentration camp, complete with watchtowers and barbed wire fencing. The obergruppenfuhrer Theroux interviewed proudly showed him the stack of greeting cards he’d had printed for his storm troopers to send. For most people, it would have been blasphemy, as it showed Adolf Hitler as Santa coming down a chimney bringing presents. In the interview I read, the writer tried to tackle one of these Nazis on the subject of Whites. The reply they got was that contemporary White culture had been corrupted by Black. They listened to Black music, wore Black fashions and danced like Blacks. Except he didn’t say Blacks. He said ‘N***ers’. It’s the same sentiments David Starkey got rightly panned for in 2012 or so when he was asked what was responsible for the riots. He blamed Black music. When it was pointed out to him that a fair proportion, at least, of the rioters were White, he stated that ‘they have become Black’. I don’t doubt that same White racists would condemn Adele for her choice of dress and hairstyle yesterday.

Blacks and Musical Apartheid

And these sentiments are contributing to apartheid in music. One of the complaints that has been voiced in the wake of the Black Lives Matter has been by Black musicians about the racism in their industry. I remember reading newspaper interviews 25-30 years ago by Black British musicians complaining about the musical apartheid they found when they toured America and parts of the continent, like Austria. They found there that music was strictly compartmentalised between ‘White’ and ‘Black’. One section dealt with Black performers another with Whites. I can’t remember who the Brit muso was, but she was really shocked because back here in Blighty she performed for people of all colours. But when she went to America, there was an expectation in the record company that she’d only perform for Blacks. At the same time, she and other Black musos, when they toured Austria, found their CDs and records put in the section of the music stores devoted to Black music.

I’ve also heard since then about the racism and abuse Black artists have had to face when they’ve tried performing in ‘White’ genres. A friend of mine told me a little while ago about the amount of hate the founder of the Heavy Metal band, Living Colour, got. Living Colour was an all-Black band, who wanted to produce awesome Rock. And apparently they got a lot of hate from both sides, Blacks as well as Whites, for daring to play a ‘White’ style of music. A month or so ago Radio 4 one started broadcast a piece about a Black American Country and Western performer. I can’t remember who he is, but I think he’s pretty old and has been playing it for a long, long time. And he’s suffered the same kind of abuse from the same type of people. It’s hard for me not to think that by accusing Adele of cultural appropriation, her critics are supporting the same kind of racist attitudes that would keep Whites and Blacks from appreciating and performing music outside very strict racialised boundaries.

Whites and Black Fashions and Hairstyles

As for Whites adopting Black hairstyles, I’m old enough to remember the ’70s and the big Afros that were in style then. From what I understand, they did so as part of the ‘Black is beautiful’ movement. Instead of adopting White hairstyles, Blacks in America and Britain wanted to wear their hair more naturally. And because of the influence of Black musical culture, so did many Whites. Leo Sayer had one, and when I was child I honestly thought he was Black. I don’t know if anyone from the Black community complained, but as this was also when the NF were back on the rise over here, along with organisations like the ‘Anti-Paki League’ – that’s what they called themselves – I think people had colour had worse to worry about.

I only came across the accusations of cultural appropriation for Whites adopting Black culture in the 1990s, and that was only in the American satirical comedy, Spin City. This starred Michael J. Fox in one of his last roles, as the head of the communications team for a fictional New York senator. In one episode, his Black co-workers are upset because one of the Whites has moved into a Black neighbourhood. And to fit in, he’s started wearing stereotypically Black clothes. Like turning up in an African robe. Fox’s character tries to explain that the man isn’t trying to be racist. He’s just trying to identify with the people of his new community. He also tries to explain to the man that he is, inadvertently, causing offence. The next day the guy comes in very obviously wearing a hat. Fox whips it off to reveal that the guy’s had his hair dressed in dreadlocks.

At roughly the same time that was on, I knew White people with dreads. As there still are. And the Black people I’ve known and worked with had absolutely no problem with it. They told me they had White friends, who looked good with it. Victor Lewis Smith, the satirist, TV critic and practical joke responsible for such shows as TV Bile and Inside Victor Lewis Smith, used to wear dreadlocks. Now I’ve got very mixed views about Smith. Some of his material I found funny, but in other ways he could be anything but. And he was an ex-public schoolboy, and so could be accused of cultural appropriation. But I don’t think anyone did.

Western Black Traditional Culture, Hip Hop Fashion and Ethiopian Dreadlocks

It seems to have begun with some Black Americans claiming Whites were stealing Black culture when they took over Hip Hop fashion in the 1990s. But I also remember one Black celeb scornfully pointing out that expensive trainers and the designer accessories also aren’t a traditional part of Black culture. And then a few years ago there was a video clip going round on YouTube of any angry Black female student haranging a young White lad in an American university because he had his hair in dreads. It was clipped and repeated in posts by Conservative Whites attacking the aggressively intolerant anti-racist culture in parts of American academia. And now that same attitude appears to have crossed the Atlantic.

But what was said about Hip Hop style not being part of traditional Black culture, could also be said about dreadlocks. Don’t mistake me – they are an authentic part of African Black culture. They were taken over by the Rastafarians from the hairstyle worn by Ethiopian warriors. They did so because at the time – I don’t know if they still do – they revered the Ethiopian emperor, Haile Selassie Makonnen as the Black messiah they believed was foretold in the Bible, who would liberate western Blacks from their bondage. But it’s a hairstyle that was introduced from Africa, not one that was preserved in the traditional culture of Black slaves and their descendants. And many of the Blacks who wear it just do it because they like the style, but aren’t Rastafarians. Which, if we’re strict about the issue of cultural appropriation, raises all kinds of awkward questions. If it’s wrong for Whites to adopt Black styles, it could be argued that it’s also wrong for western Blacks, as the same dress and hairstyle properly belongs to its original African people.

Black Performers in White Makeup

And then there’s the question of how you judge Black performers, who have adopted White hairstyles and makeup. There are a number of videos, for example, where Beyonce actually looks White. She has straight hair, which appears blond rather than brown or black, and her skin has been made up to appear very pale. Certainly much paler than she appears in other videos, where she appears much darker. I am not accusing her of racism. But if people start flinging accusations of cultural appropriation around, then it could be applied to Black musos like Beyonce.

Skin Whiteners and the Damage to Black Skin

And incidentally, I am also very much aware of the harm being done to Black people by the feeling that somehow they should try to make themselves appear more ‘White’. Akala apparently discusses his book on race and racism the use of skin lighteners by many Blacks in a desperate attempt to appear Whiter. It’s nasty stuff. These chemicals work by taking off the top layers of skin. Other Black and ethnic minority writers have attacked their use. And there was a nasty incident that got into the pages of Private Eye’s ‘Funny Old World’ column. It was during a boxing match in Ghana. One of the boxers had been using these wretched potions, and as a result he lost the skin on part of his face after a particularly vicious blow from his opponent. Which provides an extreme, and very graphic argument why people shouldn’t use them. Skin has its own natural beauty, whatever shade it is.

I realise this is a long article and that some of the outrage is understandable coming after the condemnation of certain comedians for appearing in makeup as Black characters, like Bo Selecta and Lucas and Walliams in Little Britain. But Adele was not in Blackface, and she is nowhere near the Black and White Minstrels, who were subject of massive controversy in the ’70s before being axed in ’80s because they did perform the old Black minstrel songs in Blackface.

But Adele seems to be coming from a completely different direction. She’s following a century-old tradition in which the White aficionados of Black culture have shown their appreciation by adopting it. People like Mezzrow, who would now be viewed, using the jargon of intersectional feminism, as ‘allies’.

White Youth, Black Music and the anti-Racism Campaigns of the 1980s

It was people like Adele, who helped push back against the NF and BNP in the 1980s. Rock Against Racism before it collapsed thanks to a takeover attempt by the Socialist Workers Party brought Black and White youth together through a series of concerts by some of the great bands of the day. But I’ve friends, who are worried we’re losing that musical culture. I was watching the old episodes of Top of the Pops one of the cable/ satellite channels has been repeating. Yeah, I know it was cheesy and some of the bands that appeared were jokes even in their time. But some of the bands were awesome. The first pop video I ever bought was UB40. In case you’re too young, they were a reggae band with Black and White performers. I bought the video of their tour in Russia. They were one of the first western groups that were able to play when Gorby gave the country glasnost. And they rocked! The video shows the crowd dancing after their translator tells them that they can. This was the country that banned Boney M’s ‘Ra-Ra Rasputin’ as evil and subversive. There were other bands, too, who mixed White and Black performers. Quite apart from White groups like Madness, who played Ska- more Black music – and wore the characteristic suits. Yes, they took over Black music and culture, but it came from a place of affection and solidarity. The kids of my generation saw them bands like them on TV, in concert, heard them on the radio and absorbed the general anti-racist message as it was coming out.

A New Apartheid in Music?

But my friend was afraid that this is being lost because of hardened attitudes that Black and White performers should stay to certain genres within very racially defined boundaries. So racially mixed bands can’t come forward and perform. Because it’s cultural appropriation, or somehow betraying Black culture or some nonsense. Whatever it is, it’s still segregation.

Conclusion

I think before accusations of cultural appropriation are directed at people like Adele, there are some, who should do a bit of reading first. About Mezrow and the adoption of Black culture and music by alienated Whites. There are some classic studies of it. I think one of them has the title ‘White Youth and Black Culture’. They should understand why the Punks took over the Pogo – it came from the jumping style of dancing of the Masai. And at the same time they did so, they were mixing it on the streets giving the real Fascists – the NF, BNP and the rest of the scumbags the hiding they deserved.

Adele’s trying to show anti-racist solidarity. And it’s the people denouncing her for cultural appropriation who are strengthening real racism.

Because the opposite side of that coin is that the Whites, who do adopt Black culture are somehow betraying their Whiteness. And that’s always been an argument for real racism and apartheid.

 

 

Vox Political on the Continuing Relevance of Kirsty MacColl

Mike over at Vox Political has written a short piece, remembering how it was 16 years ago today that the world heard the sad news of the death of the singer and songwriter, Kirsty MacColl. Mike states that listening to the lyrics of her 1989 track, Free World, it seems that very little has changed, and that we need more singers like her.

See his article at http://voxpoliticalonline.com/2016/12/18/kirsty-maccoll-died-16-years-ago-today-but-her-music-is-as-relevant-as-ever/#comment-92400, where there’s a video of her singing this.

I’m not surprised that MacColl was politically engaged, as I think her father was the folk musician, Communist and conscientious objector Ewan MacColl. And Mike’s right – we do need more musicians like her. The 1980s were a very bleak time, with Maggie in No. 10 shutting hospitals and schools, among too many other closures. But it was also a time of very politically engaged music by the very talented musicians that emerged in the decade. UB40 took their name from the unemployment benefit form. There was Billy Bragg, singing his ‘urban folk’ songs about the miners during the Miner’s Strike. And Joanna, one of the commenters on Mike and this blog, also notes in her comment that the Style Council’s ‘Walls Come Tumbling Down’ is also acutely relevant, as song of resistance to everything Thatcher and the Tories represent. That had the lyrics

‘You don’t have to take this cr*p,
You don’t have to sit back and relax
You can try and change it…
Lights go out,
Walls come tumbling down’.

Here’s a video of Paul Weller explaining why he puts his politics into music, and the band playing that same track.

May, Smith, Trident and the Continuing Relevance of 80s Pop

In the debate over Trident the other day, both Theresa May and Owen Smith showed their utter willingness to incinerate hundreds of thousands, if not millions of people in a nuclear war. Michelle, one of the great commenters on this blog, was particularly chilled by their readiness to do so without any apparent qualms or pangs of conscience. She wrote

It would seem there’s something dangerous in the water at Westminster! I couldn’t sleep after seeing the clip when May said “yes” without hesitation to the question of whether she would be willing to kill 100,000’s of INNOCENT men women and children! If anyone hasn’t seen this: https://youtu.be/zK4Z5ZF3jsshttps://youtu.be/zK4Z5ZF3jss

Then there is Owen willing to do so even if the count is in the millions and with a small smile on his face: https://youtu.be/o86kjk15j4E?t=22shttps://youtu.be/o86kjk15j4E?t=22s

It would seem the cackle of madness is drumming out most rational thought in the power house.

Absolutely. After he and Kennedy nearly destroyed the world in the Cuban missile crisis, the Soviet premier, Nikita Khrushchev was very serious about the threat posed by nuclear Armageddon. On his goodwill visit to the West afterwards, someone made a joke about it. They were told by Khrushchev that the destruction of humanity was ‘no laughing matter’. The Soviet president also didn’t get on with Chairman Mao. Some of this was due to differences over geopolitical strategies, and attitudes to Communist doctrine. But Khrushchev was also appalled by Mao’s attitude to the nuclear stand-off. Mao really couldn’t understand why Khrushchev had pulled back, and felt that he should have nuked America when he had the chance. It’s an attitude to the extermination of the human race, or at least a sizable part of it, which shows what a genocidal maniac Mao was.

May’s and Smith’s comments are particularly frightening in the present climate, when prominent NATO generals are claiming that by May next year, Putin will have invaded Latvia and the Atlantic Alliance and Russia will be at war. I can remember the threat of nuclear incineration in the New Cold War of the early ’80s. That was terrifying, but it also called forth some of the greatest and most beautiful pop songs of that period, as our musicians added their voices to the call for peace and sanity.

One of them was Sting, and his piece ‘Russians’. Based on a piece by the great Russian composer Prokofiev, it has the lines ‘Do the Russians love their children too?’ and is a condemnation of the militaristic posturing by both America and the Soviet Union, and an eloquent plea for peace. The Soviet Union has passed, but unfortunately the song and its message still remain very relevant. I found this piece on YouTube of the great man singing it on Russian TV. The fact that the Fall of Communism has led to a thaw between the West and the former Soviet bloc is, to my mind, one of the greatest and most optimistic events of the post-War era. The fact that British bands were able to travel to Russia and perform, beginning with groups like the Clash and UB40, shows that military confrontation, sabre-rattling and posturing is far from the only foreign policy option. East and West can and do still meet in peace and friendship. Let’s hope our leaders don’t waste this situation, and annihilate humanity for the sake of military status. Here’s the video.

Movie Review: Black Sea and Mark Kermode on Countdown to Zero

Yesterday a friend and I went to see the submarine thriller, Black Sea. I won’t say too much, as I don’t want to spoil it for anyone who hasn’t seen it. It’s been advertised on the TV, and the basic plot is that a group of British and Russian divers and submariners get together to search for a sunken German submarine lying at the bottom of the Black Sea. The sub’s cargo is a consignment of gold from a loan the Germans extorted from Stalin during the brief period of peace during the Nazi-Soviet pact prior to the Nazi invasion of the USSR. Ethnic tensions between the Brits and the Russians, and personal betrayal leads to a series of catastrophes that eventually scupper the mission and lead to a battle for sheer survival. It’s a taut thriller, with much of the tension derived from the situation of desperate, dangerous men working in a highly confined, dangerous environment, while trying to avoid detection by the authorities.

Despite the ethnic friction between Brits and Russians, I also found the film optimistic in its portrayal of relations between the two nations. The two leading characters, who set it up, one British and one Russian, are friends living in London. Even after the outbreak of violence, the hero and his Russian counterpart continue working together and try to prevent its escalation. Even after the end of the mission, the friendship between the few surviving crew, Russian and British, continues. I liked it, because not only does it show the current reality in that since the fall of Communism, people from the former eastern bloc, including Russia, have come over here to live, work and set up businesses, but that friendship co-operation between Brits and Russians is as much the norm, indeed possibly more normal, than chauvinistic distrust.

Glasnost and the Rise of a Shared Pop/Rock culture

In this respect, it’s a slightly better world than when I was growing up. I was at secondary school during the new Cold War between Reagan, Thatcher and the pre-Gorbachev Soviet Union. It was an absolutely terrifying time, when many people feared that at any second the world would end in a flash of gamma radiation and fall out. There were some truly horrific films, like Threads and The Day After on American TV, showing what a nuclear war and its consequences would be like, along with documentaries about the possibility of a limited nuclear war in Europe. It was very much a cause for celebration when tensions eased when Reagan and Gorby started to talk to each other around the negotiating table in Iceland, and the USSR began to open up to Westerners and western influences. The first pop video I bought was of UB40’s concert in Moscow, not so much because I liked the great Reggae popsters themselves, but because I was fascinated and delighted by the fact that they were now playing live in Russia in front of their fans from that side of the former Iron Curtain.

And the same process happened in reverse too, as Russian bands and clothing became fashionable over here. The USSR always had a very strong youth culture, and they were not as nearly as backward as was often portrayed in the British press. If you believed the Sun – I know, that’s a very big stretch, but go with it – then the young and cool in the Soviet Union had only just caught up with the Beatles in the 1980s. In fact, the Soviets had a large skinhead culture, who were, I was told at College, referred to by the rest of the Soviet press as ‘British horrors’. A massive Heavy Metal rock culture developed extremely rapidly. The greatest and most visible exponents of Soviet Heavy Metal were the mighty Kruiz, who toured the West and whose albums were available over here. I think one of their songs was ‘Heaviest in Town’, in which the singer searches for the heaviest rock band, only to conclude ‘I’ll fly to Moscow for Kruiz’. There were also a number of other Russian bands, who were virtually unknown over here. Martin Walker, the Guardian’s Russia correspondent, tried to make people on this side of the Baltic aware of some of the best and most interesting in his column. There’s a lot of really good rock and pop in Russia and the former eastern bloc states, quite apart from some of the stuff that appears on the Eurovision Song Contest. They’re on Youtube and worth checking out.

Black Sea reflects this changed situation, and I am profoundly glad that it does and the world has moved on and improved just that little bit since the late 70s and early 80s. Moreover, the film’s sympathetic portrayal of the Russian characters shows it’s aimed partly at the Russian market. Its release during this period of strained international relations between Russian and the West over the situation in the Ukraine shows that the friendship and co-operation between Russia and Britain is now considered the natural, normal reality. My deepest hope is that this situation will continue and that our politicians will have the wisdom to build on it, and not let the conflict in Ukraine drag us back to the fear and hatred of the Cold War, that nearly destroyed our world.

Countdown to Zero and the Persistence of the Nuclear Threat

Mark Kermode is the film critic over at Radio 5 live. He’s a very literate commenter, having a doctorate in Horror film. When he was younger, he was the British correspondent for the Horror film magazine, Fangoria, or as he states it was known to aficionados, ‘Exploding Chests Monthly’. His reviews are always interesting and well argued, even if you disagree with him, such as on the subject of the Star Wars films. He dislikes them, while I really loved the first three films, and enjoyed the prequels. He also genuinely appreciates his listeners writing to him and giving their views, even when they take the opposite view to his.

One of the films he reviewed is Countdown to Zero, a documentary about what happened to all the nuclear weapons that were supposedly packed away at the end of the Cold War. The film shows that the weapons and the hair-trigger response systems are still in place. A nuclear bomb is much easier to make than may be thought, and the danger that these could fall into the hands of terrorists and rogue states is very real. The film reveals how at several points after the supposed end of the Cold War, mistakes made by the superpowers could have resulted in a nuclear holocaust. I haven’t seen the movie, but it does sound like a deeply unsettling, thought-provoking movie, and the opposite of the slightly more optimistic vision behind Black Sea. Hopefully, the optimists and peace-makers will win through, and that the world won’t go back to the ideological, economic and nationalistic fears and hate that nearly led to nuclear Armageddon. Countdown to Zero shows that we shouldn’t be complacent, but it does seem that the world is just that little bit better after the end of the Cold War. And we should be profoundly glad of that.

Kermode’s review of Countdown to Zero is on Youtube at https://www.youtube.com/watch?v=Xfkfn4W_hgM. It’s well worth a listen, especially as it shows we still need to get our politicians working on a truly secure peace.