Dating in the dark uk racism
Come the 1980s this was evident not just in The Clash and Pi L's avowed love of reggae or the mordant take on funk as an alternative, serrated weapon as practised by Gang of Four, The Pop Group and A Certain Ratio.
It was also seen in the healthy racial mix of groups like The Beat, The Specials, UB40, The Selecter, all of whom had pop hits and a public profile.
The spectacle of racial integration was vital, and in their case, vitally lacking.
The wave of punk-derived New and Electro-pop, from ABC to Depeche Mode to New Order, scotched lumpen assumptions that it stood in opposition to disco, representing some roar of Caucasian street authenticity.
During an August 1976 gig in Birmingham, Eric Clapton made racist comments and praised Enoch Powell, inadvertently inspiring the Rock Against Racism campaign.
Four decades later, with Morrissey making offensive comments about Sadiq Khan and Britain reeling from Brexit, David Stubbs asks if anything has changed On 5th August 1976, Eric Clapton took to the stage at the Birmingham Odeon. Britain is becoming overcrowded and Enoch will stop it and send them all back. " He later attempted to pass the rant off as a "joke", yet never apologised for it, repeatedly, soberly extolling the virtues of Enoch Powell, who had warned of the dangers of immigration in 1968 with his infamous "Rivers Of Blood" speech.
What he had been happy to talk about was his own enthusiasm for Enoch Powell, who he described as "the man".
and that suits the British media perfectly." Pop's own Prince Phillip is no stranger to such remarks, in the past speculating on whether the Chinese are a "sub-species" and complaining that "the gates are flooded and anybody can have access to England and join in.".
All of these are given as signs of the degeneration of a once-radical figure, but right from the outset, Morrissey and The Smiths represented a fatally reactionary moment in British pop culture - a severing of punk and post-punk's honourable links with black musics.
They were here to reject colour in every respect, be it the gaudy, neon-lit backdrop of Top Of The Pops against which Morrissey wanly cavorted, or the colourisation of indie afforded by its embrace of dance music and reggae.
Their wistful cover artwork, harking back to popular icons of the 50s and early 60s, were redolent of a time when black people had a near-zero cultural imprint on the British consciousness, unless you counted the hugely, inexplicably popular The Black And White Minstrel Show. Morrissey spoke of a conspiracy to promote black music in the British charts, while opining that reggae was "vile".