You think them parents are pushing there kids into education loollollo
Another myth
Maybe first generation asians but when time mandeep has a season ticket why would he stop his son from being a footballer, loads of asian teams there are also asian leagues.
You have certain ghetto areas that are just full of asians in east london, luton, bradford etc.... You think them parents are pushing there kids into education loollollo
Myths
But thats another topic for another day.
/
I also find in a mixed friend circle that your more likely to push each other in a more positive way, anyone else feel this ?
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As if a south American would even get into the England team. Them paulinho ballers.
Also I spit upon the term 'black culture' since there is no such thing, just pure stereotypes built in the U.S. and exported globally.
My ethnic culture is very different to slang and rap.
Thats more a reflection upon your understanding of "Black Culture" rather than that which actually constitutes the culture. That you associate slang and rap with black culture exclusively, is evidence that your own opinion of said culture is based on "just pure stereotypes built in the U.S. and exported globally."
You want to be smart eh?
If you ask someone in the street what constitutes 'black culture' something very much along those lines is what they would reciprocate. That is 'black culture' to the masses, I won't wave that flag.
There is no such thing as 'black culture', there I said it again, let's attack CP for going against the forum consensus.
You consistently try to out yourself as the maverick of this forum, when in reality your opinions are actually more mainstream than the majority. Afro can C/S CP because he himself is the embodiment of the misinterpretation of black culture today. The opinions of those introduced to "black culture" by the way of MTV Base and Worldstarhiphop aren't an accurate representation of what it actually means. Kelso Cochrane's death birthing Notting Hill Carnival is just one testament to the fact that black culture exists, even if the assimilation perpetrated nowadays would lead you to believe otherwise. Its actually quite bad that as a black male you had no qualms in saying "I spit on Black Culture".
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that shit that make your soul burn slow
but there really isnt a collective black community here as maybe in the states for obvious reasons
What's going on here then lads
Thread has descended into lunacy.
/
You want to be smart eh?Also I spit upon the term 'black culture' since there is no such thing, just pure stereotypes built in the U.S. and exported globally.
My ethnic culture is very different to slang and rap.
Thats more a reflection upon your understanding of "Black Culture" rather than that which actually constitutes the culture. That you associate slang and rap with black culture exclusively, is evidence that your own opinion of said culture is based on "just pure stereotypes built in the U.S. and exported globally."
If you ask someone in the street what constitutes 'black culture' something very much along those lines is what they would reciprocate. That is 'black culture' to the masses, I won't wave that flag.
There is no such thing as 'black culture', there I said it again, let's attack CP for going against the forum consensus.
You consistently try to out yourself as the maverick of this forum, when in reality your opinions are actually more mainstream than the majority. Afro can C/S CP because he himself is the embodiment of the misinterpretation of black culture today. The opinions of those introduced to "black culture" by the way of MTV Base and Worldstarhiphop aren't an accurate representation of what it actually means. Kelso Cochrane's death birthing Notting Hill Carnival is just one testament to the fact that black culture exists, even if the assimilation perpetrated nowadays would lead you to believe otherwise. Its actually quite bad that as a black male you had no qualms in saying "I spit on Black Culture".
Lol I knew you'd spout this fraff, I know people like you. The kind you see on open mic night at the Jazz cafe. I bet you've read bare books on blackness and consider yourself an expert on all things black.
Notting Hill Carnival isn't my culture.
If you want a black culture to exist it is the wshh etc. we see.
In reality many black people are always looking for something to identify with. Usually it's as a consequence of having had their history stripped away from them during slavery or simply not wanting to identify with their ethnic identity. As a result all manner of constructs become candidates for their definition of black culture.
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You want to be smart eh?
Also I spit upon the term 'black culture' since there is no such thing, just pure stereotypes built in the U.S. and exported globally.
My ethnic culture is very different to slang and rap.
Thats more a reflection upon your understanding of "Black Culture" rather than that which actually constitutes the culture. That you associate slang and rap with black culture exclusively, is evidence that your own opinion of said culture is based on "just pure stereotypes built in the U.S. and exported globally."
If you ask someone in the street what constitutes 'black culture' something very much along those lines is what they would reciprocate. That is 'black culture' to the masses, I won't wave that flag.
There is no such thing as 'black culture', there I said it again, let's attack CP for going against the forum consensus.
You consistently try to out yourself as the maverick of this forum, when in reality your opinions are actually more mainstream than the majority. Afro can C/S CP because he himself is the embodiment of the misinterpretation of black culture today. The opinions of those introduced to "black culture" by the way of MTV Base and Worldstarhiphop aren't an accurate representation of what it actually means. Kelso Cochrane's death birthing Notting Hill Carnival is just one testament to the fact that black culture exists, even if the assimilation perpetrated nowadays would lead you to believe otherwise. Its actually quite bad that as a black male you had no qualms in saying "I spit on Black Culture".
Lol I knew you'd spout this fraff, I know people like you. The kind you see on open mic night at the Jazz cafe. I bet you've read bare books on blackness and consider yourself an expert on all things black.
Notting Hill Carnival isn't my culture.
If you want a black culture to exist it is the wshh etc. we see.
In reality many black people are always looking for something to identify with. Usually it's as a consequence of having had their history stripped away from them during slavery or simply not wanting to identify with their ethnic identity. As a result all manner of constructs become candidates for their definition of black culture.
You want to be smart eh?
Also I spit upon the term 'black culture' since there is no such thing, just pure stereotypes built in the U.S. and exported globally.
My ethnic culture is very different to slang and rap.
Thats more a reflection upon your understanding of "Black Culture" rather than that which actually constitutes the culture. That you associate slang and rap with black culture exclusively, is evidence that your own opinion of said culture is based on "just pure stereotypes built in the U.S. and exported globally."
If you ask someone in the street what constitutes 'black culture' something very much along those lines is what they would reciprocate. That is 'black culture' to the masses, I won't wave that flag.
There is no such thing as 'black culture', there I said it again, let's attack CP for going against the forum consensus.
You consistently try to out yourself as the maverick of this forum, when in reality your opinions are actually more mainstream than the majority. Afro can C/S CP because he himself is the embodiment of the misinterpretation of black culture today. The opinions of those introduced to "black culture" by the way of MTV Base and Worldstarhiphop aren't an accurate representation of what it actually means. Kelso Cochrane's death birthing Notting Hill Carnival is just one testament to the fact that black culture exists, even if the assimilation perpetrated nowadays would lead you to believe otherwise. Its actually quite bad that as a black male you had no qualms in saying "I spit on Black Culture".
Lol I knew you'd spout this fraff, I know people like you. The kind you see on open mic night at the Jazz cafe. I bet you've read bare books on blackness and consider yourself an expert on all things black.
Notting Hill Carnival isn't my culture.
If you want a black culture to exist it is the wshh etc. we see.
In reality many black people are always looking for something to identify with. Usually it's as a consequence of having had their history stripped away from them during slavery or simply not wanting to identify with their ethnic identity. As a result all manner of constructs become candidates for their definition of black culture.
Life is way too short to be thinking too deep about this kinda thing. Just enjoy life don't watch nothin if your mates/girlfriend/wife are of a different ethnicity to u as long as u are happy that is all that matters
Not really mate
In reality many black people are always looking for something to identify with. Usually it's as a consequence of having had their history stripped away from them during slavery or simply not wanting to identify with their ethnic identity. As a result all manner of constructs become candidates for their definition of black culture.
/thread
99% of black culture is post slavery culture, western oppression, borrowed religion, slave... i mean soul food, fatherless, capitalist glorifying culture.
and now we are afraid to leave the flock in fear of looking back and realising what a dump it actually is.
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Life is way too short to be thinking too deep about this kinda thing. Just enjoy life don't watch nothin if your mates/girlfriend/wife are of a different ethnicity to u as long as u are happy that is all that matters
well you obviously dont want and dont give a shit about kids.
You want to be smart eh?
Also I spit upon the term 'black culture' since there is no such thing, just pure stereotypes built in the U.S. and exported globally.
My ethnic culture is very different to slang and rap.
Thats more a reflection upon your understanding of "Black Culture" rather than that which actually constitutes the culture. That you associate slang and rap with black culture exclusively, is evidence that your own opinion of said culture is based on "just pure stereotypes built in the U.S. and exported globally."
If you ask someone in the street what constitutes 'black culture' something very much along those lines is what they would reciprocate. That is 'black culture' to the masses, I won't wave that flag.
There is no such thing as 'black culture', there I said it again, let's attack CP for going against the forum consensus.
You consistently try to out yourself as the maverick of this forum, when in reality your opinions are actually more mainstream than the majority. Afro can C/S CP because he himself is the embodiment of the misinterpretation of black culture today. The opinions of those introduced to "black culture" by the way of MTV Base and Worldstarhiphop aren't an accurate representation of what it actually means. Kelso Cochrane's death birthing Notting Hill Carnival is just one testament to the fact that black culture exists, even if the assimilation perpetrated nowadays would lead you to believe otherwise. Its actually quite bad that as a black male you had no qualms in saying "I spit on Black Culture".
Lol I knew you'd spout this fraff, I know people like you. The kind you see on open mic night at the Jazz cafe. I bet you've read bare books on blackness and consider yourself an expert on all things black.
Notting Hill Carnival isn't my culture.
If you want a black culture to exist it is the wshh etc. we see.
In reality many black people are always looking for something to identify with. Usually it's as a consequence of having had their history stripped away from them during slavery or simply not wanting to identify with their ethnic identity. As a result all manner of constructs become candidates for their definition of black culture.
Thing is, you probably don't know people like me and thats the reason you are so far off the mark. I'm a black male, raised predominantly in Essex, some of my closest friends are white. I work in an industry that some would say is light on ethnics, (something you seem to take pride in), for many years was raised in and frequented the hellhole that your cheerleader Afro calls home. The idea that I would need to believe I was Marcus Garvey incarnate to have this opinion just again displays your narrow-mindedness on this subject. I refuse to believe that anyone of Caribbean or African descent could ever truly believe there isn't "black culture" Afro-Carribean culture, is that easier to stomach than the word "Black" for you?
"Usually it's as a consequence of having had their history stripped away from them during slavery or simply not wanting to identify with their ethnic identity. As a result all manner of constructs become candidates for their definition of black culture."
I don't know if its that you were so sheltered as a child that the moment you were amongst white people who you deemed to now be your peers you decided you were above your ethnicity, but....
"As a result all manner of constructs become candidates for their definition of black culture".
That doesn't even read as though it was written by someone of the same race, I don't know if your argument is that you disagree with the definitions of black culture or its existence full stop?
Lol I knew you'd spout this fraff, I know people like you. The kind you see on open mic night at the Jazz cafe. I bet you've read bare books on blackness and consider yourself an expert on all things black.You consistently try to out yourself as the maverick of this forum, when in reality your opinions are actually more mainstream than the majority. Afro can C/S CP because he himself is the embodiment of the misinterpretation of black culture today. The opinions of those introduced to "black culture" by the way of MTV Base and Worldstarhiphop aren't an accurate representation of what it actually means. Kelso Cochrane's death birthing Notting Hill Carnival is just one testament to the fact that black culture exists, even if the assimilation perpetrated nowadays would lead you to believe otherwise. Its actually quite bad that as a black male you had no qualms in saying "I spit on Black Culture".You want to be smart eh?Thats more a reflection upon your understanding of "Black Culture" rather than that which actually constitutes the culture. That you associate slang and rap with black culture exclusively, is evidence that your own opinion of said culture is based on "just pure stereotypes built in the U.S. and exported globally."Also I spit upon the term 'black culture' since there is no such thing, just pure stereotypes built in the U.S. and exported globally.
My ethnic culture is very different to slang and rap.
If you ask someone in the street what constitutes 'black culture' something very much along those lines is what they would reciprocate. That is 'black culture' to the masses, I won't wave that flag.
There is no such thing as 'black culture', there I said it again, let's attack CP for going against the forum consensus.
Notting Hill Carnival isn't my culture.
If you want a black culture to exist it is the wshh etc. we see.
In reality many black people are always looking for something to identify with. Usually it's as a consequence of having had their history stripped away from them during slavery or simply not wanting to identify with their ethnic identity. As a result all manner of constructs become candidates for their definition of black culture.
Thing is, you probably don't know people like me and thats the reason you are so far off the mark. I'm a black male, raised predominantly in Essex, some of my closest friends are white. I work in an industry that some would say is light on ethnics, (something you seem to take pride in), for many years was raised in and frequented the hellhole that your cheerleader Afro calls home. The idea that I would need to believe I was Marcus Garvey incarnate to have this opinion just again displays your narrow-mindedness on this subject. I refuse to believe that anyone of Caribbean or African descent could ever truly believe there isn't "black culture" Afro-Carribean culture, is that easier to stomach than the word "Black" for you?
"Usually it's as a consequence of having had their history stripped away from them during slavery or simply not wanting to identify with their ethnic identity. As a result all manner of constructs become candidates for their definition of black culture."
I don't know if its that you were so sheltered as a child that the moment you were amongst white people who you deemed to now be your peers you decided you were above your ethnicity, but....
"As a result all manner of constructs become candidates for their definition of black culture".
That doesn't even read as though it was written by someone of the same race, I don't know if your argument is that you disagree with the definitions of black culture or its existence full stop?
Look at all these snide insults.
And why do you insist I'm proud of working around white people? And that I deem myself superior?
As I said before on this forum people like you gave me the title and I run with it for my own entertainment. You are desperate for me to come across as the person you accuse me of being to enhance your argument, in reality you cannot handle that this person appears to be on the right course and has views that differ from you.
Couldn't give a toss about your life story, your assumptions about me are all wrong etc.
End of day I do and will continue to do more than you ever will for the enhancement of the prospects for black people in my chosen domains.
Cos you can't play ball and they didn't exactly pan camera to the physio dining table.suspicion?
of what?
look pal you see a lot of white and black people being friends...the white lads love the urban credibility conferred upon them
the black lads like the validation of the white male...
the ex slaves share the culture and religions of their white creators
you see a lot less of this with asian/arab and white males because neither of us have anything to gain from each other... they'l deal with us when they want our food and thats about it
we'l deal with them if we date their women or work with em...aside from that its the usual mutual suspicion and tolerance
we are the ones who live the sharp end of racism in this country ironically, not the shouting up and down blacks
the interesting thing about these england photos was the fact there were equal BLACK and WHITE faces
not a single chinese asian arab or south american face .. AND NOT A SINGLE COMMENT ABOUT WHY THAT IS
think on that buddy
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You want to be smart eh?
Also I spit upon the term 'black culture' since there is no such thing, just pure stereotypes built in the U.S. and exported globally.
My ethnic culture is very different to slang and rap.
Thats more a reflection upon your understanding of "Black Culture" rather than that which actually constitutes the culture. That you associate slang and rap with black culture exclusively, is evidence that your own opinion of said culture is based on "just pure stereotypes built in the U.S. and exported globally."
If you ask someone in the street what constitutes 'black culture' something very much along those lines is what they would reciprocate. That is 'black culture' to the masses, I won't wave that flag.
There is no such thing as 'black culture', there I said it again, let's attack CP for going against the forum consensus.
You consistently try to out yourself as the maverick of this forum, when in reality your opinions are actually more mainstream than the majority. Afro can C/S CP because he himself is the embodiment of the misinterpretation of black culture today. The opinions of those introduced to "black culture" by the way of MTV Base and Worldstarhiphop aren't an accurate representation of what it actually means. Kelso Cochrane's death birthing Notting Hill Carnival is just one testament to the fact that black culture exists, even if the assimilation perpetrated nowadays would lead you to believe otherwise. Its actually quite bad that as a black male you had no qualms in saying "I spit on Black Culture".
Lol I knew you'd spout this fraff, I know people like you. The kind you see on open mic night at the Jazz cafe. I bet you've read bare books on blackness and consider yourself an expert on all things black.
Notting Hill Carnival isn't my culture.
If you want a black culture to exist it is the wshh etc. we see.
In reality many black people are always looking for something to identify with. Usually it's as a consequence of having had their history stripped away from them during slavery or simply not wanting to identify with their ethnic identity. As a result all manner of constructs become candidates for their definition of black culture.
Thing is, you probably don't know people like me and thats the reason you are so far off the mark. I'm a black male, raised predominantly in Essex, some of my closest friends are white. I work in an industry that some would say is light on ethnics, (something you seem to take pride in), for many years was raised in and frequented the hellhole that your cheerleader Afro calls home. The idea that I would need to believe I was Marcus Garvey incarnate to have this opinion just again displays your narrow-mindedness on this subject. I refuse to believe that anyone of Caribbean or African descent could ever truly believe there isn't "black culture" Afro-Carribean culture, is that easier to stomach than the word "Black" for you?
"Usually it's as a consequence of having had their history stripped away from them during slavery or simply not wanting to identify with their ethnic identity. As a result all manner of constructs become candidates for their definition of black culture."
I don't know if its that you were so sheltered as a child that the moment you were amongst white people who you deemed to now be your peers you decided you were above your ethnicity, but....
"As a result all manner of constructs become candidates for their definition of black culture".
That doesn't even read as though it was written by someone of the same race, I don't know if your argument is that you disagree with the definitions of black culture or its existence full stop?
Why don't you give us a definition of black culture?
You seem to think their is a universal culture for black folk that we are all accustomed to without the mention of the obvious.
All that notting hill stuff, I don't identify with it personally. Just because someone doesn't register with that thought doesn't make them an anti-black.
I define myself as Black of Yoruba descent which comes with values & culture I practice till this day. I often mention that to my colleagues & friends when asked and they are all of various origins they do the same with their background.
Not every black person as the privilege to do that. fair enough. Understood. But, if someone refuses to adopt that black culture that you have adopted. Respect it for what it is.
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Asians in Luton can't play ball lol.Another myth
Maybe first generation asians but when time mandeep has a season ticket why would he stop his son from being a footballer, loads of asian teams there are also asian leagues.
You have certain ghetto areas that are just full of asians in east london, luton, bradford etc.... You think them parents are pushing there kids into education loollollo
Myths
But thats another topic for another day.
/
I also find in a mixed friend circle that your more likely to push each other in a more positive way, anyone else feel this ?
Well they didn't when I was playing, couple man in Gravesend/Kent was alright, but nah them man just ain't ballers.
culture doesn't need to have defined lines or mean the same thing to one person as it does to another
there is black culture, it exist, and the majority of the forum subscribes to it in one way or another but no one would ever say every aspect of black culture is a part of theirs
Notting Hill Carnival = Black culture
Click the spoiler to read a few cool stories that explain why
Notting Hill Carnival — the untold story
There are many conflicting tales of how Notting Hill’s street festival began. But as this extract from a new book by Ishmahil Blagrove Jr reveals, the greatest debt is owed to one remarkable woman
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Unity: Carnival scenes from the 1970s when the event occasionally became more politicised (Picture: John Hannah/Rex)
3K
Ishmahil Blagrove Jr
Thursday 07 August 2014
The story of the Notting Hill Carnival begins on the post-war backstreets of North Kensington in a community scarred by poverty, social neglect, slum landlords and racial tension. The area was one cursed with acute overcrowding and dilapidated accommodation with no bathrooms, no hot water and, as late as the early 1960s, no electricity.
The desperate labour shortage at the end of the Second World War invited mass immigration to the UK. West Indians arrived in droves, joining the ranks of working-class Britons, Jews, Irish, Greeks and Spaniards in the cramped tenements of Notting Hill. By the late 1950s, Notting Hill and Brixton had the most concentrated population of West Indians in the country.
Militant factions of working-class whites were easily drawn to the bandwagon of the fascist Oswald Mosley, whose “Keep Britain White” slogan exploited their fears and the anti-immigration tendencies of the time, accusing West Indians of taking their jobs, their homes, their women, and of playing loud music until the early hours. The newly arrived migrants encountered colour bars in employment and housing and were inevitably set on a collision course with certain factions of working-class whites.
The Notting Hill Race Riots of 1958, and the racist murder of Antiguan carpenter Kelso Cochrane the following year, marked a climax in racial tension. These events became the catalyst through which activists mobilised in an effort to bridge cultural gaps and ease these tensions. The British Communist Party led protest marches throughout the area, graffiti denouncing racism began to appear on walls, notable public figures such as the chief minister of Jamaica, Norman Manley, visited the area, while others organised public meetings and campaigns. Meanwhile, Claudia Jones, a Brixton-based Trinidadian political activist and editor of the first black weekly newspaper in Britain, the West Indian Gazette, presented the idea of holding a Caribbean carnival to build unity among people by showcasing Caribbean arts and culture.
Jones was a talented and determined woman who fought tirelessly for the human rights of oppressed peoples around the world. A resident in the US since emigrating with her parents from Trinidad, aged nine, she was jailed four times for her activism and membership of the Communist Party, and eventually expelled from America in 1955. The British colonial governor to Trinidad refused her re-entry to the country of her birth, fearing that her presence on the island “may prove troublesome”, so she was deported to Britain, where she wasted no time in immersing herself in the politics of the day and helping to mobilise black political action and resistance to racism.
Jones’s Caribbean Carnival took place on January 30, 1959, at St Pancras Town Hall and was televised by the BBC. It was held indoors because it had been planned to coincide with the Trinidadian celebration that is traditionally held between January and March (in the week before Lent), but the English weather was too cold at that time of year for the event to be hosted outdoors.
Carnival in Trinidad is traditionally a “jump-up” — a shape-shifting, carefree, open-air bacchanal. Jones’s London version, however, by nature of its surroundings and presentation, was a sanitised and somewhat contrived affair.
Champ in town: Muhammad Ali visits the home of carnival founder Rhaune Laslett in 1966 (Pic: Getty Images)
As the editor of the West Indian Gazette, Jones is often credited with having brought the celebration of Caribbean carnival culture to Britain. However credit is also due to many others, among them the Trinidadian husband-and-wife team of Pearl and Edric Connor, who were the booking agents for the artists and organised many of the events. The West Indian Gazette organised other indoor Caribbean Carnival cabarets that were performed at various London venues, including Seymour Hall, Porchester Hall and the Lyceum Ballroom, and continued until 1964, when Jones died prematurely from heart disease at the age of 49.
A footnote on the front cover of the original 1959 souvenir brochure references a connection between that carnival celebration and the Notting Hill riots of the previous year, revealing much about Jones’s character and her tenacious pursuit of social equality: “A part of the proceeds [from the sale] of this brochure are to assist the payments of fines of coloured and white youths involved in the Notting Hill events.”
While Jones’s events proved popular among West Indians, they were in essence indoor cabarets and had no direct influence on the Notting Hill Festival of 1966, out of which the Notting Hill Carnival eventually grew. That festival was the brainchild of social worker Rhaune Laslett, in collaboration with the London Free School, a community action adult education project co-founded by Laslett with photographer and political activist John “Hoppy” Hopkins and an amorphous group of contributors from the local community.
Laslett, born in the East End to a Native American mother and Russian father, was a notable figure in the community of Notting Hill who had adopted a proactive role in healing the racial tensions in the area in the late Fifties. She set up an adventure playground called Shanty Town for children of the area and established a voluntary neighbourhood service that provided free 24-hour legal advice to immigrants, local residents and the homeless.
She said the idea for the festival came to her in a vision — a “hamblecha”, as it is known among Native Americans — in which she saw people of all races dancing together in the streets. In a 1989 interview with The Caribbean Times she recalled her dream: “I could see the streets thronged with people in brightly coloured costumes, they were dancing and following bands and they were happy. Some faces I recognised, but most were crowds, men, women, children, black, white, brown, but all laughing.”
Laslett consulted her trusted neighbour and respected figure in the community, Guyanese activist Andre Shervington, about how to get the West Indian community to participate in the festival. She also consulted others and was advised to invite a well-known Trinidadian musician named Russell Henderson whose Sunday afternoon jazz gig at the Coleherne pub in Old Brompton Road was popular among West Indians.
Henderson’s group consisted of Sterling Betancourt, Vernon “Fellows” Williams, Fitzroy Coleman and Ralph Cherry. There were not many steel-pan players in the country at the time. Henderson, who had also played for Claudia Jones at St Pancras Town Hall in 1959, readily accepted Laslett’s invitation to perform at the first Notting Hill street festival. It was the attendance of his band that changed the course of what might otherwise have become a traditional English pageant, albeit with a multicultural theme.
Musicians and members of the London Free School publicised the upcoming carnival by leading small processions along Portobello Road with their saxophones during market day. There was an air of expectation in the community. The objective was to entertain the local children, to lift the spirits of those who lived in poor slum conditions, to ease racial tensions and to demonstrate the spirit of co-operation common to the progressives and activists who lived and operated in the area.
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Founder: the idea for the first Notting Hill Festival, held in 1966, came to social worker Rhaune Laslett in a vision (Pic: Mike Laslett O'Brien)
In a 1966 interview with The Grove magazine, edited by Hoppy and published by the London Free School, Laslett said: “We felt that although West Indians, Africans, Irish and many other nationalities all live in a very congested area, there is very little communication between us. If we can infect them with a desire to participate, then this can only have good results.”
Laslett’s first Carnival featured a cornucopia of participants, all local residents but hailing from many places: India, Ghana, Czechoslovakia, Ukraine, Cyprus and elsewhere. Performers included Nigerian musician Ginger Johnson and his Afro-Cuban band, Agnes O’Connell and her Irish Girl Pipers and a white New Orleans-style marching band. Horse-drawn carts were borrowed from traders in Portobello Road to make floats and there was even an inter-pub darts match.
When Henderson’s group arrived and began playing “pan”, West Indians — hearing the familiar sounds from home — flooded the streets. In line with the Trinidad carnival tradition of “making a rounds” (where steel-pan players march in the streets), the group led a procession that wove up Portobello Road towards Notting Hill Gate and back again, gathering new revellers along the way. Henderson had inadvertently put a Caribbean hallmark on the festival and word quickly spread to the other West Indian communities in England about what had taken place.
In successive years, although the carnival was still diverse and eclectic and ran as a week-long Notting Hill Festival, it became progressively more West Indian, and specifically Trinidadian, in flavour. Steel bands such as the Blue Notes led by Pedro Burgess, Les Flambeaux, Bay 57 and Melody Makers came out on the road. Trinidadian costume-maker Ashton Charles began creating traditional “fancy sailor” costumes for children. More and more steel-pan players, performers and West Indians joined in, and the street celebration came to eclipse the spread of events and activities happening at a variety of indoor venues.
The festival also began to take on more militant connotations in response to the pressures that black people and the counter-culture scene were experiencing at the hands of the police and the Establishment. The Black Power movement had spread across the Atlantic and gripped the imagination of the black masses. For some, it became increasingly uncomfortable to have a woman identified as white sitting at the helm of what was by now seen as a distinctly black Caribbean cultural affair.
Rhaune Laslett found her authority being challenged, and her influence and control over the event gradually diminished. She retired from organising the festival in 1970 due to ill health (she died in 2002), amid concerns that violence would erupt because of rising tensions in the black community surrounding numerous police raids on the Mangrove Restaurant, a popular West Indian hangout. She left, dismayed that the festival she had conceived had adopted a confrontational tone that had sidelined her contributions.
Over the years, the dominant Caribbean hallmark and a pervasive ignorance about the carnival’s early history has led to many erroneous and conflicting accounts as to who originally “founded” the event. And the contributions of Laslett and the London Free School have become cursory footnotes, thus perpetuating the belief that the Notting Hill Carnival is of uniquely black-Caribbean origin.
Ginger Johnson's life is one of the greatest untold stories of African music in Europe. Born George Folunsho Johnson in Ijebu-Ode, Nigeria in 1916. Aged just 18 he joined the Nigerian Navy, and made his first visit to Britain. After World War II Ginger decided to make London his home, working with many artists including British saxophone legend Ronnie Scott who first really utilised Ginger’s amazing technique to full effect, featuring him in not only his live concerts, but also several recordings for the Esquire jazz label in the 1940s & 50s.
In the 60's Ginger was mentor and guru to a young Fela Kuti. His London home became a vibrant hub of African music activity for Fela and an entire host of musicians who would gather there to exchange news, talk, eat and jam for hours on end. To Fela, and all who gravitated towards Ginger's home, he was simply known and addressed as 'Father'.
Aside from his music, Ginger was something of a social activist. Not only was he a musical educator, and instrumental in the beginnings of the Notting Hill Carnival, he also opened his own venue Club Iroko in Haverstock Hill, North London, which was a creative hub for groups like Osibisa, and also a welcoming hang out for visiting legends like Sun Ra, George Clinton and Funkadelic, and British group Cymande (3 members of Cymande cut their teeth playing in Ginger’s group).
Ginger’s music featured in the James Bond film Live & Let Die and Ginger himself appears on screen drumming in the Hammer Film cult classic She. As a session musician he played for a bewilderingly wide range of acts such as Georgie Fame, Osibisa, Madeleine Bell and Quincy Jones. Ginger and his group also collaborated with many early rock bands such as Hawkwind, Argent, Thunderclap Newman, Genesis and Little Free Rock.
Perhaps Ginger Johnson & His African Messengers most high profile live engagement was performing with The Rolling Stones in Hyde Park in 1969, as Ginger his troupe provided the percussive, high energy rhythmic bedrock to the infamous live version of ‘Sympathy For The Devil’.
Freestyle Records is incredibly proud to reissue the music of Ginger Johnson & His African Messengers. Its bedrock of African drums, hi life, and jazz was in fact the precursor to Afro-beat - and Gingers direct and vital influence upon Afro-beat, as guide and mentor to its undisputed champion Fela Kuti is just one part of a fascinating and underappreciated story that only now is being recognised for its significance.
History of Calypso
The Calypso in Trinidad and Tobago, is mainly of African origin, and can be traced to the traditions of West Africans in terms of music , structure and function. Calypso , which has been called a poor man’s newspaper in times when literacy was not wide spread , traces its roots to African traditions of improvised songs of self-praise and scorn for others, brought here by enslaved peoples. It developed to become both a dance and cultural record of events at first in single tone style with implicit meanings and a spicy flavour.
The roots of “Calypso” are diverse. Some argue it came from “kaiso” a Hausa word for “ bravo” ; some say the word came from the French “carrousseaux” a drinking party; or the Spanish “ calliso” a tropical song ; or the Carib “ carieto” ,meaning the same thing.
The first wave of professional calypsonians became known as the Old Bridgade, including singers such as Growling Tiger, Lord Beginner, Atilla the Hun , the Roaring Lion and Lord Pretender. By 1945 a new wave of singers rose to meet the demand for more entertaining songs. This Young Brigade included Lord Kitchener , Mighty Spoiler , Mighty Dictator and Lord Wonder, and later the Mighty Sparrow.
The Black Power marches in 1970 once again triggered a new generation of singers such as Black Stalin and Brother Valentino. A broad range of voices and musical experimentation was ushered in by Shadow, Maestro, Merchant and Explainer. In 1978 saw the Calypso Monarch competition being won by a woman for the first time. Calypso Rose signalled the entry of many more women on the Calypso stage.
Over the years the calypso art form has been transformed and presented in various categories the major ones being;-
Political Commentary, Social Commentary, Humorous, Soca, Ragga Soca, Chutney Soca , and Nation Building. ( “Roots and Traditions” produced for NCC )
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Good thread..before raccoons started arguing about black culture.
The pic reminds me of all the uni canteens I've visited while at uni.. Kings, imperial, Brunel all the same like for like races sitting together.
Then the black one who sits with whites doesn't rly chat to black pple himself,
Or likewise for the Asian with the white crew.
The Asian or white with the black brehs...is "united" with them through hip hop..or is mixed black somehow.
It's a bit of going for what you know imo..but is also a key reason why young people find it hard to network with others which is a key employability skill, and individual stereotypes. These kind of people can't travel on their own, go cinema on their own or a restaurant... And for the ethnic minorities living in the west it's more up to you to develop that skill better than the majority. They would need this when they went abroad too.
I read somewhere here that culture is hard to define in itself. I agree with that. Can't remember who said it...
What "things" are culture? Media? I have never typed worldstarhiphop in my internet browser so I'm not well versed on it but from what I know, if that is culture, or a perception of it, we might aswell reset this ting now. Or does this simply fit a narrative?
Food? Pot vs rice cooker yeah? Jesus? It's hard to define by nature...
Got to have your personal philosophy in check IMO. I deem maths and english/literature, making things, a sense of brotherhood, schooling the youths important, ... more or less my personal culture
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culture doesn't need to have defined lines or mean the same thing to one person as it does to another
there is black culture, it exist, and the majority of the forum subscribes to it in one way or another but no one would ever say every aspect of black culture is a part of theirs
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Asians being shit at football is a myth maybe indians cos of their weak physiques but best player ive ever played with was asian and ive played with guys who played prem ball for arsenal and others who played in ligue 1.
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Supermalt
Might be to do with their culture, cant imagine mandeeps marge pushing him to play ball if he has ability. Probably get a clip round the head and told to follow his cousin afgoons example.
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