EGWTB2014.

EGWTB2014.

theunderestimator:

The 1976 Notting Hill Carnival riots & Don Letts immortilized on The Clash album covers

"Wedlock In Dreadlock": The punk & reggae connection weekly tribute (pt 9)

This photo of Don Letts walking against police forces during the 1976 Notting Hill Carnival riots (though, as he has admitted-here, for more-, he may seem like he was fronting the cops off, but he was actually crossing the street) was taken by Rocco Macauley and was later used by The Clash as cover of their 1980 "Black Market Clash" and 1993 "Super Black Market Clash" compilations.

"…For my parents’ generation the Carnival was a reminder of life back home but for my generation it was statement about duality of our existence which was black and British. Tensions had been building through that year and it came to a head when police tried to arrest someone close to Portobello Road. Several black youths went to help the guy and it escalated into a riot…

…To this day people think that there was a racial theme to the riot in 1976, but it was not a black or white thing. It was a wrong or right thing. Working class people being harassed by the police…

…Behind me are 500 brothers all armed with bottles and bricks and the police lines were right in front of me. It was best that I moved out of the way. Joe Strummer and Paul Simonon were also caught up in it. They were throwing bricks. The white youth were right in there alongside the black youth, including myself, all sick to death of the SUS law. The SUS law was a stop-and-search policy based upon Sections 4 and 6 of the Vagrancy Act, 1824, which made it illegal for a suspected person to loiter in a public place. SUS was routinely abused, usually to the detriment of black youth…”

Don Letts (via)

(More stuff on "Wedlock In Dreadlock": The punk & reggae connection weekly tribute, here)

BridgeCrossingsCityViewings2014.
billorcutt.com

theunderestimator:

Mikey Dread"Wedlock In Dreadlock": The punk & reggae connection weekly tribute (pt 8)

…Michael Campbell, a.k.a. Mikey Dread was one of the most influential performers and innovators in reggae music. His abilities, technical expertise, and unique vocal delivery combined to create a unique sound that told the listener emphatically that it was the “Dread at the Controls.”

…Perhaps Mikey Dread’s work with The Clash has garnered him with the most recognition, but his credentials and resume started long before his eye-opening production on several releases with the renowned punk stars from London. His work and interaction with The Clash was a significant event in the integration of reggae into popular music throughout the world…

…The reggae aspect of The Clash's album distinguished their sound from the other punks that emerged in the 1970's. Soon thereafter, it was a must for just about every punk band to have a reggae cover song on their album…”

(via)

(More stuff on "Wedlock In Dreadlock": The punk & reggae connection weekly tribute, here)