The blog of the 'There is a Better Way' campaign by STUC staff about policy issues that are, or should be, in the news and guest contributors on issues of social justice. Written from a STUC perspective, contributions will often cover areas where there is yet no settled STUC policy and go into areas in more detail than our formal decisions. We welcome debate and we don’t expect everyone to agree with us, but we will remove any comments that are offensive, irrelevant or otherwise annoy.
Michael Franti is
best known as a political activist and musician. His song ‘Television: The Drug
of the Nation’, was widely hailed as a groundbreaking mix of political
rap/rock. He originally recorded it in 1988 with his first group The Beatnigs
and then re-recorded it with his next band The Disposable Heroes of Hiphoprisy.
U2 brought the song to prominence by using it as the intro on their Zoo TV
tour. In 1994 he formed a new band - Spearhead which had more of a soul and
funk influence, while remaining political.
In 2004 Michael
Franti decided to visit the Middle East to see with his own eyes, the human
cost of war. He undertook the trip with a group of friends, a camera and his
acoustic guitar. On returning to the USA he edited the footage into a film and
encouraged fans to organise screenings in cinemas, in community halls and in
their homes.
‘I Know I’m Not
Alone’ is that award winning documentary, the filmmaking process resulted in
the album ‘Yell Fire!’ which was also the soundtrack to the film. The title of
the film is also the name of one of the tracks on the album.
Michael Franti
& Spearhead – I Know I’m Not Alone (Song)
I Know I’m Not Alone (Full length film)
I Know I’m Not Alone (website, with lyrics and background info):
Today's blog has been written by Paul Simpson, singer and lyricist with The Wild Swans. We would like to thank Paul for his support throughout this project.
Perhaps if Robert Johnson had
met Jesus, the Buddha or the prophet Muhammad at the Rosedale
crossroads instead of the devil, optimism and positivity in the lyrics of rock
songs wouldn’t now be considered quite so Sir Cliff-tastically uncool. Lennon’s
caustic anger always trumped McCartney’s hokey nostalgia, than that’s just the
way it is, but occasionally a rock song offers hope without making us cringe
and such is the case with Patti Smith’s People Have The Power. Those four potent words are about as
simple and direct and powerful a message as it’s possible to sing without
sounding hopelessly naïve. There’s so much conviction in Patti’s delivery that by
the time she reaches the pre-chorus refrain of
‘The power to
dream, to rule, to wrestle the world from fools, it's decreed the people rule’ she’s almost levitating with excitement
because she knows she just seconds away from the chorus and absolute
connection.
Universal truths can be an
extremely effective weapon in song, just listen to Give Peace A Chance and All
You Need Is Love. OK, the latter’s slightly naïve message was flawed but I
suppose All You Need Is Love, Food and Shelter didn’t scan so well. People Have
The Power seeks to inspire and fuel change, and what’s more, not just for the
‘stick-it-to-the-man’ hippy-dippy sake of it, but in a constructive, focussed,
‘we outnumber you, stand aside, we want out’ way.
Ironically the William Blake
inspired verses of this anti war song - all shepherds and soldiers sharing
visions of peace beneath the stars, appeared shortly before the so-called
‘liberation of Kuwait’
and the Persian Gulf War. My favourite line of all in the song is ‘People have the power - to redeem the work of
fools’.
For me Patti Smith’s simple message of optimism and the desire for change
through union has never been more relevant than in these ill-governed times.
Paul Simpson.
Patti Smith - People Have The Power
Songs for Social Justice Dance Night featuring guest DJ Jerry Dammers -
oThursday 26th January
oSTUC Centre, 333 Woodlands Road, Glasgow
o6.45pm – midnight
oTickets £8/£4 - Available direct from the STUC - 0141 337 8100
We
can’t leave this song out. The updated classic by “General” Jerry Dammers,
probably one of the most potent and poignant songs of the 1980’s and beyond,
this version warns of a Ghost Planet, if we don’t address world issues. This
band are an absolute treat to see live playing ska, funk, reggae and soul, I
for one look forward to them cutting some vinyl in the studio.
(Terry Anderson
STUC)
Jerry Dammers and The
Spatial A.K.A. Orchestra Ghost Town / Ghost Planet (Lyrics)
“This Town Is Coming Like A Ghost
Town All The Buildings Have Been Torn
Down This Place Is Coming Like A Drag
Place A Dead Place Wipe The Smile From A Child's Face
This World Is Coming Like A Ghost
Planet On This Here Planet If You Treat Man Like Mouse He
Will Breed Treat Man Like Fly And He Will
Swarm
This World Is Coming Like A
Rubbish Tip It Coming Like A Cesspit That's Feeding, Feeding On It's
Own Vomit Coming Like A Rubbish Dump In Need Of A Stomach Pump
This Place Is Coming Like A
Disgrace A Child's Smile Turned Into A
Ghost Place
This Place was a Back Stabbing
Greedy Corrupt Place What, What Is That, What Is That
Sweet Sickly Smell Is It Heaven, Turned Into Hell ?”
The
Spatial AKA Orchestra – Ghost Planet
Songs for Social Justice Dance Night featuring guest DJ Jerry Dammers -
oThursday 26th January
oSTUC Centre, 333 Woodlands Road, Glasgow
o6.45pm – midnight
oTickets £8/£4 - Available direct from the STUC - 0141 337 8100
Alongside
fellow musician Serj Tankian, Tom Morello founded ‘Axis of Justice’ in 2002 to
bring together musicians, music fans and grassroots organisations to fight for
global social justice. Recently Morello has played short sets at Occupy camps
across the USA and Europe
Tom
Morello is best known for his work with the politically charged Rage Against
the Machine. He also played guitar with Audioslave and is currently guitarist
and lyricist with Street Sweeper Social Club and The Nightwatchman.
It
is a difficult task to choose just one single track from across Morello’s
industrious output of songs about social justice. This song is from The
Nightwatchman’s early days when Morello used this moniker to record and play as
a solo acoustic artist. ‘The Road I Must Travel’ has an excellent accompanying
video in which Morello is surrounded by pictures of his inspirations, the
footage also includes quotes from a number of those figures.
The
Nightwatchman – The Road I Must Travel
Songs for Social Justice Dance Night featuring guest DJ Jerry Dammers -
oThursday 26th January
oSTUC Centre, 333 Woodlands Road, Glasgow
o6.45pm – midnight
oTickets £8/£4 - Available direct from the STUC - 0141 337 8100
36 years
ago, there was a revolution in pop music. The popular protest songs of the
1960’s had faded. Young people growing up in multi-cultural working class
neighbourhoods found the problems of society cut across ethnicities, that the
root causes of unemployment, poverty and lack of progress could not and should
not be blamed on BME and migrant communities. The Queen’s Silver Jubilee loomed.
A referendum on Scottish devolution was on the horizon. Glam Rock, Prog Rock
and Showaddaywadday ruled the charts – the bands had nothing to say.
The music
and charts changed dramatically when a bunch of teenagers from London decided
to over-throw their older peers and create a new sound which was influenced by
the rebellious socio-political messages found in reggae. The new music came to
be known as punk. It rejected conforming to the class structures, its ethos was
D.I.Y. and the records they listened to were British and Jamaican reggae.
The Clash was
the most obvious band to have had reggae influences in their music and they are
credited as having brought the political edge to punk. Their music and songs
were a reflection of their times and personal experiences, their messages
connected with young people.
The Clash
are often cited as being inspirations to countless other musicians, they gave
many bands their first opportunity to tour and play in front of large
audiences. The Clash broke down the superficial barrier between band and
audience. Their music was innovative and changed with each album. Their song ‘1977’
railed against unemployment, the lack of opportunities for young working class
people and the Jubilee.
Disastrously,
1977 sounds as relevant today as it was 35 years ago.
The Clash –
1977
Songs for Social Justice Dance Night
featuring guest DJ Jerry Dammers -
oThursday
26th January
oSTUC Centre, 333 Woodlands Road, Glasgow
o6.45pm
– midnight
oTickets
£8/£4 - Available direct from the STUC - 0141 337 8100
Any
composition with Curtis Mayfield involved normally grabs the attention of all
soul music lovers.Curtis Mayfield wrote this uplifting composition with lyrics to encourage
the listener into action by accepting that the time for self-pity was over and
that one should acknowledge his or her worth, even in the face of opposition.
The song points people towards collective action as a self - improving and
empowering route for both individuals and communities – it does this through
amazing vocals from Curtis set at a gentle uplifting pace.
The
Impressions – We’re a winner (ABC Records, 1967)
Songs for Social Justice Dance Night
featuring guest DJ Jerry Dammers -
oThursday
26th January
oSTUC Centre, 333 Woodlands Road, Glasgow
o6.45pm
– midnight
oTickets
£8/£4 - Available direct from the STUC - 0141 337 8100
Tracy Chapman came to
global prominence when taking to the stage at the 1988 Nelson Mandela 70th
Birthday Tribute concert at Wembley Stadium, a concert which was broadcast live
around the world. Three years after Live Aid, this concert had a more political
stance and demanded an end to apartheid in South Africa and the release of
Nelson Mandela and other political prisoners. The organisers, which included
Jerry Dammers, staged this concert at a time when the Conservative government
of the day regarded Mandela and the ANC as terrorists.
A second concert was
organised in 1990 two months after his release. He regarded this as an official
international reception, the concert was once again broadcast around the world.
Mandela attended and took the stage for a total of 45 minutes, he did not meet
the British government on this visit to the UK.
Tracy Chapman’s set
at the first concert, and this song in particular, seemed to capture the mood
of the day. It catapulted her from being a little known artist that sang about
social activism to becoming an international artist that sang about social
activism. She also performed at the ‘Nelson Mandela: An International Tribute
for a Free South Africa’ concert in 1990.
Tracy Chapman - Talking 'bout a Revolution - live at the 'Nelson Mandela 70th Birthday Tribute':
Pop Will Eat Itself
teamed up with Fun-Da-Mental for this driven anti-fascist song. It was from the
album Dos Dedos Mis Amigos, which was the band’s most political output.
Released in 1994, it
was written following the 1993 election of a BNP candidate to the Millwall
council seat. This was the first time that a BNP candidate had been elected. After much local campaigning by anti-fascist and
anti-racist organisations alongside local people and trade unions, the BNP lost
the seat at the following year's election. It was not until 2002 that the BNP were
once again able to get their members elected to local councils in England.
The
work undertaken in the area against the BNP demonstrates that local campaigning
can and does successfully drive back the fascists. This song still resonates, as the BNP still have elected members and today Unite Against Fascism are holding a rally against the fascist EDL as they take to the streets of Barking in London.
The cover
of the single had a clear focus on anti-nazi symbolism. The song got into the
Top 30 and the album reached No. 11.
After Pop
Will Eat Itslef split up in 1996, one of their singers – Clint Mansell – started
writing film scores and has now written the scores for The Wrestler, Black Swan
and Moon amongst many others.
Pop Will Eat Itself – Ich Bin Ein Auslander
Songs for Social Justice Dance Night
featuring guest DJ Jerry Dammers -
oThursday
26th January
oSTUC Centre, 333 Woodlands Road, Glasgow
o6.45pm
– midnight
oTickets
£8/£4 - Available direct from the STUC - 0141 337 8100
An 1980’s Motown rap with Gary Byrd featuring Stevie Wonder – this song
for me celebrates diversity and inspires you to explore your roots even if the
status quo view in school, society or the media tells you to look the other way
and believe in the same old line. Musically it moves along with a skip and
proves the point that celebrating, smiling and making a political and social
point can all be done at the same time – a gem of a song.
As the coalition Government continues to impose draconian cuts on working class people in the United Kingdom, while at the same time attempting (and failing) to create the false illusion "we are all in this together" ; however the disabled movement is fighting back.
We have already witnessed the introduction of the flawed Workplace Capability Assessment where around 4 in 10 of those judged fit for work have the decision overturned on appeal.
Now proposed changes to Disability Living Allowance are currently in the House of Lords. These cuts seek to reduce the cost to the Government of providing Disability Living Allowance by 20%, a conveniently round amount of savings, after which they attempt to claim that the lives of disabled people will be improved.
Not surprisingly the disabled movement is not standing back and accepting these cuts and a report on the proposals, Responsible Reform has been written researched and funded by disabled people, their friends and carers. This report clearly shows that the majority of those who responded were overwhlemingly against the proposals yet the Government is forging ahead with its attack on disabled people, apparently ignoring the views of individuals and organisations who took the time to respond.
Pat Onions, recognising the fact that many disabled people cannot attend public demonstrations such as the Hardest Hit Rally in Edinburgh on the 22nd October and the STUC's People First on October 1st to fight for their rights has launched an e-petition on the UK Government's website to ensure their views are aired . The petition urges the Government to stop and review the cuts to benefits and services which are falling disproportionately on disabled people their carers and their families.
This petition currently has 14401 signatures and is open until the 1st December 2012. We would urge readers of this blog to sign Pat's Petition and help reach the 100000 required to secure a debate in the UK Parliament on this issue.
Jesse
Jackson’s speech at Wattstax in 1972 is sampled at the start of this song.
Wattstax was a music festival organised by Stax Records on the 7th
anniversary of the Watts Riots, which lasted for five days. The root cause of
the riots is still discussed today, but racism; discrimination; high
unemployment; poor schools and poor living conditions for African Americans
living in the Watts area of Los Angeles are regarded as being factors.
The
influence of politicised popular music and culture can be heard in many of
Primal Scream’s songs and interviews. In the autumn, the band condemned the
Tories when they were said to have used a Primal Scream song at their party
conference.
On Primal
Scream’s recent 20th anniversary tour of Screamadelica, singer Bobby
Gillespie added extra lyrics to Come Together relating to the economic and
political climate of today, repeating the refrain ‘Agitate, Educate, Organise’
at some of the latter shows.
Primal
Scream – Come Together (Live at T in the Park):
Jesse
Jackson – Wattstax:
Songs for Social Justice dance night
featuring guest DJ Jerry Dammers -
oThursday 26th January
oSTUC Centre, 333 Woodlands Road, Glasgow
o6.45pm – midnight
oTickets £8/£4 - Available direct from the STUC - 0141 337 8100
In previous decades, the pop charts
have had an abundance of politically motivated songs which have provided a
soundtrack to the everyday realities faced by young people. As part of the
Songs for Social Justice, the STUC spoke to a number of artists that are
renowned for their politicized songs.
Jerry Dammers is active with Love
Music Hate Racism; he was a founding member of Artists Against Apartheid and
was heavily involved in Rock Against Racism. He is probably best known for
being the powerhouse behind The Specials and the 2Tone record label. His band
The Special AKA wrote and performed ‘Free Nelson Mandela’ which reached number
9 in the singles chart in 1984.
Jerry Dammers (The Specials / The
Spatial AKA Orchestra / The Special AKA / Founder of 2Tone)
“I personally would advise all
musicians and artists of all ages to wake up to what is happening in the world
and address it in their work. Record companies may tell artists it will damage
their career, but I think in the big picture the opposite is true. If artists
don’t try and address serious issues at all, we are all, including the record
companies, in danger of becoming a bit redundant. Pop music at its best has
always had at least a bit of a connection to the social revolution.”
In addition to the DJs and musicians
performing on the 26th of January, a number of other musicians
renowned for their political music have supported the project.
Eddi Reader has also written and
performed on a number of songs with a social message. Prior to singing with Fairground
Attraction and embarking on a successful solo career, she was a backing singer
with the post-punk band Gang of Four.
Eddi Reader
“In my experience, songs help
describe hurt, loss, pain, love.
Sometimes a song will hit and soften the hardest heart even more
effectively than someone shouting or debating.
I rely on song. Patience of
Angels was sung because single mothers were being demonised by the, then,
Conservative Government, under John Major.
I wanted to redress that unfairness by supporting people who ended up
bringing up kids alone due to circumstances and fate. The words of that song supported me, and I
hope others.”
Paul
Simpson was a founding member of The Teardrop Explodes along with Julian Cope.
After leaving the band, he formed The Wild Swans and released the classic ‘The
Revolutionary Spirit’ in 1982. In 2011 The Wild Swans released a new album ‘The
Coldest Winter for a Hundred Years’.
Paul Simpson (The Wild Swans)
“For some youngsters the lyrics in a
song are of secondary importance to the music, but for me they are crucial. In
1977 I was an unemployed school leaver struggling to define myself in a
difficult time of mass unemployment similar to the recession we are going
through now, but through the words and music of the more politicised bands like
The Clash and The Gang Of Four I discovered an alternative worldview to the one
presented by my parents and the Evening News. If the words in a song are
meaningless the song is rendered impotent, just aural chewing gum and as such
will be valued the same and just as quickly discarded. Words can inspire,
illuminate, beautify the world or spread dissent, they can be jewels or food or
ammunition. Don’t undervalue or waste your words.”
In the build up to the Songs for
Social Justice events, we will be publishing short blogs on popular songs that
we feel are about social justice. Songs by the artists above that fit with this
can be accessed at the links below:
Special AKA – Free Nelson Mandela
Eddi Reader – Patience of Angels
The Wild Swans - English Electric Lightning
Songs for Social Justice dance night
featuring guest DJ Jerry Dammers -
oThursday 26th January
oSTUC Centre, 333 Woodlands Road, Glasgow
o6.45pm – midnight
oTickets £8/£4 - Available direct from the STUC - 0141 337 8100
