Showing posts with label 1981. Show all posts
Showing posts with label 1981. Show all posts

Monday, 23 May 2016

35 years ago today: the disrupted Peace March in Coventry at the heart of my novel, Ghost Town

It is 35 years since the Peace March in Coventry, organised to protest the murder of a young Sikh student, was met by skinheads yelling Nazi slogans.

The end of the march turned into a pitch battle between skinheads and young British Asians and their anti-racist supporters.

Today, the Coventry Telegraph has published a gallery of photographs taken on that day.  I have never seen most of these photos before - many of them were not published in the paper at the time. But many echo strongly the scene as I described it.

Here is the gallery of photos:

 http://www.coventrytelegraph.net/news/look-peaceful-racial-harmony-protest-11358066

And here is my description of the scene as the march disintegrated into violence:

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The protestors came to a halt at the edge of the road, fists raised. Over their heads Baz could see the skinheads ranged across the entrance to the bus station. In between, two double lines of police, linked arm to arm, were trying to hold them apart by sheer weight of numbers. Dissonant shouts reverberated off the concrete walls of the surrounding buildings.

A little to the left, a lamppost stood on an island in the middle of the road. Baz elbowed his way out of the crowd and scrambled up, his feet balanced on the widest part, one arm wrapped round the upright, the other holding his camera. Bricks and bottles flew in both directions. A skinhead sat on the kerb, holding his arm. A young Asian stumbled away, blood running down his face. All the while, the thin blue line holding the two groups apart was washed this way and that, like seaweed on the tide.

This was no longer his city. The buildings were the same, but nothing else was familiar. It was as if the ground had opened up and spewed out a special kind of hell. Even the desi kids he’d marched with were barely recognisable.

As he thought this, the roar from the crowd reached a new pitch. Part of the Asian line stormed forward, arms linked, heads down. Baz spotted Vik at the apex of the charge, Saeed next to him. Across the road, the skinheads saw what was happening and stampeded towards them. They ripped through the police line and suddenly the opposing groups were head to head.

Baz zoomed in on the vortex of the action, and a face flashed across his lens. A broad face, reddened with acne. A face Maia had picked out in a photograph.

Startled, he pulled back, then struggled to locate him again. Anger, thickened with helplessness, seethed through him. No way to reach the bastard through that press of people, even if he tried. Nothing to do but keep the camera running.

And suddenly he saw him, in a space carved out of the mob, like a fighting ring without ropes. He had Vik in a headlock, but he must have been thrown off balance because Vik was driving forward, using his shoulder in the bastard’s gut. Then the two of them went down and all Baz could see was a shifting space in the roiling movement of the crowd.

He’d been praying that Vik didn’t have the knife on him but now, for a sick moment, he willed him to pull it out and plunge the blade into that bull neck. Then a police van came down Priory Street and more officers spilled out. They waded into the crowd, wielding truncheons, and heaved out Bull Neck. He had blood on his face. A few moments later, four more officers staggered out, carrying Vik by the arms and legs. They’d dragged his jeans and jacket half off him and several skinheads spat at his bare flesh as they passed.

Baz’s knees buckled and he almost lost his perch on the lamppost. But before he had time to think what might happen to Vik, he heard a pounding in the road. A line of mounted police officers galloped towards him, spread across the width of the road, their long batons raised high. Others had seen them too. People were screaming. Shoving frantically for the edge of the roadway. A young woman in a shalwar kameez tripped and those nearest to her yanked her to her feet.

If he stayed where he was, he was a sitting target. He managed one shot of the charge then let go of the lamppost and ran, heading for the protection of the arches. The road vibrated from the impact of the hooves. As they swept by, a baton caught him a glancing blow to his shoulder and pain shot up his arm. He lost control of his feet and stumbled over the kerb. His arms instinctively wrapped round his camera and his face hit the pavement. More pain, in his jaw this time. He curled into a ball as others scrambled over him, fleeing the charge. He got to his feet, spitting road grit.

His left shoulder ached from where the baton had struck him, as did most of his right side from where he had hit the road. But he seemed to be more or less in one piece, and the camera was undamaged. He took out a handkerchief and blotted blood from the graze down the side of his chin.

The horses wheeled for a second charge. At the same time, a phalanx of police moved down Priory Street, escorting a group of community leaders from the rally. Three or four of them were helped onto the roof of a police van. At the front of the group, Gurinder-ji stooped and took a loud hailer that one of the officers held out to him. He had egg splattered across the front of his jacket and his hand shook at little. A beer bottle sailed past the van and crashed in the road beyond. Gurinder-ji flinched, but stood firm. The loudspeaker squawked, then his voice came through, clear and steady.

“… remain calm and disperse quietly. I repeat, we ask you to remain calm and disperse quietly …”

You’re too late, Baz thought. They’ve got Vikram.

Monday, 28 July 2014

Two Tone Remembered

I was already in the early stages of researching the background to my novel Ghost Town in 2000 when Bob Eaton’s Three Minute Heroes first came to the Belgrade Theatre in Coventry. But the Internet was still a moody teenager back then, and Social Media barely a glint in a Harvard student’s eye, so by the time I stumbled on the existence of the Two-Tone musical, I’d missed both its original run and its short revival the following year.

model of set for Three Minute Heroes
I was delighted, just before Ghost Town came out, to interview Bob Eaton, here on this blog, about the genesis of his musical – and even more pleased a few weeks ago to hear that it was being revived for the new studio stage at the Belgrade.

The news came with the announcement of an appeal for people to bring their Ska memorabilia to the Belgrade on Saturday 26th July. The play’s producers were hoping to find rare footage of Ska gigs and Coventry ‘rude boys’ that they could project onto Patrick Connellan’s stripped down set. I decided to
go along to capture some of those memories.


The first treat of the day was to find Pauline Black and Gaps Hendrickson of The Selecter, and Neville Staple and Roddy ‘Radiation’ Byers of The Specials there – looking cool and very 2-Tone! (The fact that I got to shake hands with Pauline Black almost made up for my appalling failure to catch her at the Penn Festival, just down the road from where I now live, only the week before!)

The second treat was to meet not only Pete Chambers, authority on all things to do with the Coventry music scene and the driving force behind 2-Tone Village and the Coventry Music Museum, but also Suky (Sukhbender) Singh, who as well as running a Ska Memorabilia shop at 2-Tone Village is the author of Concrete Jungle, a radio play that deals with the impact on young Asians of both 2-Tone and the racial tensions of 1981.

I was bowled over by the warmth of the reception I got from these guys. They actually took a copy of Ghost Town and put it in pride of place among the memorabilia they had on display. The story of that summer, so little known outside the city, is still something woven into the fabric of Coventry’s consciousness – and anything that touches on it is given a reception there unlike it would meet anywhere else. It made me feel proud to be a part of it.

Coventry still has its share of idiots like any other. But the city has a way of seeing them off, just as they did in 1981. Patrick Connellan told me that a few weeks back, a far-right group called Britain First tried to hold a demo not far from the Belgrade Theatre. Another group that happened to be protesting about the war in Gaza got wind of it and managed to keep them pinned down in a pub so they never made it onto the street.

Now that’s the city I remember!


Turn out for 2-Tone Remembered was not as good as the theatre might have hoped. So if you have any memorabilia from that era, then you can email the Belgrade with your photos and other memories at: 2Toneremembered@belgrade.co.uk. Mark the subject line ‘Ska’d For Life’. You can also share your memories via Facebook at http://www.facebook.com/Belgradetheatre or via Twitter @BelgradeTheatre using the hashtag #2ToneRemembered


Tuesday, 29 October 2013

Concrete Jungle


Sukhbender Singh is the author of Concrete Jungle, a radio play performed on the BBC Asian Network which shares its backdrop with Bob Eaton’s Three Minute Heroes and my novel, Ghost Town.

"As the storm of racial tension in Coventry rises, two young Asians, Harri and Rudy, each have to make a choice about what's most important to them - music, girls, or standing up to be counted."

Here he talks to me about growing up in Coventry in the 1980s, and the trials and tribulations of getting
Concrete Jungle produced.

Sukhbender, what are your memories of Coventry from the early 80s? Did you take part in the protest marches that followed the murder of the young student, Satnam Singh Gill? 
I was born in India and came to Coventry when I was two. In 1981, I was fourteen - too young to be directly involved. My mum would never have let us!  What I do remember is that going into Coventry City Centre could be a bit of a tortuous trail. We used make sure we went shopping early because the skinheads didn’t come out until later.

Most of those involved in the protests were around five years older. Nineteen, twenty. It was one of the first times that young Asians took a stand against racism.  For the older generation, it was all about keeping your head down, not being noticed. But now there was a new generation who felt British. I know some of the older ones got involved in vigilante patrols, protecting their communities.

How did you come to write Concrete Jungle?
Concrete Jungle was one of the first things I wrote. A classic example of ‘write what you know’. It started off as film script. I first tried peddling it around in 1993, and then again around 2000.  The first time they all wanted it to be more like My Beautiful Launderette.  The second time round it was, “can’t you make it more like Bend It Like Beckham?” The only thing Concrete Jungle has in common with either of those is that it’s about Asians! After a while, I decided there was no point. I had to move on.

I started working on Silver Street, which was a radio soap opera for the BBC Asian Network.  When that was canned, the BBC decided to put some one-off dramas on the Asian Network, so I pitched Concrete Jungle to them. I cut the film script down to 50 minutes, hoping that they might do a longer piece, or maybe a two-parter.  But in the end I had to squeeze it all down to 25 minutes, which didn’t give much scope.

2011 was an interesting time for Concrete Jungle to come out.  Not only was it the 30th anniversary, but we were in a recession again, there was another Royal Wedding ... I was working with the producer, James Pereis, who was brilliant and fully understood the script and the times. But the BBC controllers didn’t know the history. They were concerned about the riot scene and they didn’t like my using the word Paki.  How can you tell the story of that time without using that word?  They wanted to sanitise it.

The play used comedy to highlight the tensions of growing up Asian, which wasn’t all about racism. It was about not having a job, unrequited love, all that stuff. It wasn’t overtly political, but there were political undertones.

The playlist for Concrete Jungle includes tracks from Two Tone Bands like The Specials, The Selecter and The Beat. Yet Horace Panter has said that not that many young Asians would go to The Specials’ concerts.  How do you think Coventry’s Asian youth viewed Two Tone and Ska? Did it speak to them, or did they feel excluded? Were you a fan yourself?
A few Asian kids were into things like The Jam and The Clash. But most of them were listening to Bhangra or Filmi (Bollywood music). My brother loved Two Tone, though and so I got into it. No one else captured the zeitgeist quite like they did.

When The Specials announced their Concert for Racial Harmony, we were very excited.  But we couldn’t afford the tickets. And we were all scared things would kick off again.  Everybody thought the National Front would use it as an excuse to make more trouble, though in the event, that didn’t happen. 

This is potentially a huge question – but how do you think things have changed for young British Asians in the past thirty years? Is Coventry in particular a better place to be growing up than it was thirty years ago – or a worse?
It’s hard for me to say.  As an adult, your cognitive map of the city changes.  But the vibe is not the same as it was during the 80s recession.  There aren’t the same tensions. 

It feels like a calmer place.  I understand it’s now one of the safest cities in England. There was a small demonstration by the English Defence League a while back, but hardly anyone turned up.

Thank you, Sukhbender.  

Coming soon:  Jatinder Verma, Artistic Director of Tara Arts, the first Asian Theatre Group in Britain (founded in 1977).