The Mouse and the Milk – by Mike Quille, with illustrations by John Gordon
£8.00 (plus £1.50 p&p). ISBN978-1-907464-29-4
Culture Matters, an imprint of Manifesto Press, has published a new version of a classic folk-tale from Sardinia, The Mouse and the Milk.
The story was written down in 1931 by Antonio Gramsci, the Marxist philosopher and political activist, in a letter to his children. The letter was smuggled out of one of Mussolini’s prisons, where Gramsci had been imprisoned ‘to stop his brain from functioning’. (In fact, as we know, his brain functioned all the more powerfully!) The story was later re-told by John Berger.
Mike Quille said, “Folk-tales are, by their very nature, metaphorical. They can be re-shaped for a contemporary audience and show the children of today how we can we make the world a better place by working collectively and respecting the environment.
“The Mouse and the Milk is a simple but very profound story. In just a few pages it expresses how practising natural human generosity and caring for the world around us leads not only to material abundance but a kinder, more just and peaceful society. At a time of growing child poverty and threats to the environment, this message could not be more relevant.”
Chris Guiton interviews jd meatyard, who describes himself as a left field artist much favoured in his Levellers 5 and Calvin Party days by the late great John Peel, with albums such as ‘Lies Lies & Government’ and songs such as ‘Tell Me About Poverty’. June 2017 saw the release of ‘Collectivise’ the 4th album in his current guise as jd meatyard - featured on BBC 6 Music’s Gideon Coe show.
CG. Can you tell us something about your new album, Collectivise, and how it builds on your previous albums?
JD. Collectivise is a return to guitar, bass, drums…lo fi as a production bonus. The previous album ‘ Taking The Asylum’ was influenced by ‘songwriters’…like Cale’s ‘Paris 1919’… Jonathan Richman…Elliot Smith. For Collectivise the mood was different, darker, christ just walk out in the streets and see the despair…and the recording of the new album coincided with a family bad thing, a dreadful loss…with the personal and political in such a state the ‘tone’ of the recording added much to the songs themselves…‘songs I’d play everyday with songs painful to listen to even though I share the politics’ says one. So all in all, the songs on Collectivise reflect of course the crazy place we are now in - the horror show that is the every day for so many people… and the personal to, as ever. I couldn’t have an album with such a narrative lightened around the edges with mandolins and such - ergo guitar, bass, drums.
CG. You celebrate a diverse range of influences. Can you tell us a bit about how your music has evolved over the years?
JD. Well, with Levellers 5 (NOT Levellers!) back in the early John Peel days it was just pretty much a manic rant at times, 'like drunk kids let loose in a music store' said the MNE (true, as in we were like drunk kids…) held together by a great band. Then with Calvin Party we played the indie style of big guitars n' stuff…hey, all in all a pile of Peelie sessions n album releases, it was all a life to live. I headed over to live in Holland and packed in the ‘band thing’ as I wanted to just write songs - not songs for a band, just songs, any which way they came. So started jd meatyard…Ralph Eugene Meatyard was a photographer whose work I liked, interesting stuff for sure, and I needed a ‘name’ to be a solo singer songwriter sort of guy. It worked, we formed a 3 piece in Rotterdam, me and Johan and Nina, sparse - two guitars, a floor tom and snare…but what it opened up was the variety of song - the light n' shade maybe, loud quiet loud. It’s worked well on the albums, the eponymously titled sort of nervous solo debut, then ‘Northern Songs’ with the much demanded ‘Jesse James’ song on through to the new release…we got many indie radio show's support, and plays from Gideon Coe on BBC 6 Music…the new Peelie, which really helps!
CG. Brecht famously said, 'Art is not a mirror held up to reality but a hammer with which to shape it.' How relevant do you think this is now as we face a continued neoliberal assault on the 'cultural commons', those elements of art and culture that rightly belong to all of us?
JD. ‘Art is all’, I used to believe. Problem is ‘culture’ is now a tool that we’re controlled by, there’s no argument to this…Edward Bernays pioneered such control of the masses at the behest of the New York/U.S elites early 20th Century. 'The conscious and intelligent manipulation of the organized habits and opinions of the masses is an important element in democratic society'… keep us all in the mall whilst they go about screwing the planet. I do think that there is hope, the dumbing down of all culture, the collapse of the popular into little more than corporate funding is I think coming to an end…gotta say, social media has had a big part in this loosening of the reins, there is now an emerging culture of radical attack, of questioning, of challenging that hasn't been around for a long time…social media, the great channel for leaks that they can no longer control…the other day with the Paradise Papers tax stuff…no wonder they’re so frightened of Jeremy Corbyn!
That I get hammered, and I do, for my tiny contribution - songs for Palestine, ‘4 Kids on a Gaza Beach’, for the left, ‘Jesse James’, ‘Blow it Out yr Arse’, 'St Peter at The Gate’, ’Collectivise’… people in Sheffield walking out of the show, others rolling their eyes ‘oh not more politics’, underlines the problem…the attacks I get are pretty severe at times.
CG. What are your thoughts generally about politics at the moment, in particular the hope offered by Jeremy Corbyn and the dramatic shift in the position of the Labour Party?
JD. JC has done something that I’d completely given up on, he’s energised so many people - people that had given up hope - many on the left/humanists that had walked away following Blair's band of closet neo-libs…the feeling now that there is a real possibility of success for a centre left government is astonishing given recent history. We now have a Labour Party fit for the name, a leader that matches many of us in historical choices - aye, we did play anti-apartheid shows, and shows for the miners and he/we never wore ‘Hang Mandela’ T shirts like some of the tory toffs. Yes, there is a wee political frisson about now with JC attracting crowds like never before…just as the Tories are chewing themselves up with the tax dodging and abuse charges ripping round the ether - good times…hopefully great, honest, progressive times on the way. There needs to be big changes globally. The corporate governance of the planet, profit is ALL, has worked for the elites but it has, no doubt, fkd the planet. The poor and the immigrants haven't fkd the planet the rich have.
CG. There’s a lot of heartfelt anger and honesty in your music. How do you combine the personal and the political in your songwriting?
JD. Thanks. Its easy, no? What’s the old one - ‘the personal is poltical’? I don't know how songwriters can avoid being political! Of course I get it, Ed Sheeren and the like are ‘business’ artists - they write flatlining songs for a flatlining audience - formulaic, high production and a marketing plan to suit. We don't expect anything from such artists…however, I am surprised that so few ‘serious’ artists that have the opportunity to comment don’t bother to do so - each to their own. However, for Morrissey, Radiohead and the rest who play the ‘non political’ card as an excuse to pocket the Netanyahu $$$…well, what can you say, sick. It’s my naivety I guess, I expect more from artists. For me, what else is there? The pain, the tragedies, the loves and losses…fk, it's all there in the everyday of life, to seperate politics from personal is to artificially divide reality. So, for me, there’s no contrivance, it's life.
CG. At Culture Matters we are very interested in what an incoming Labour Government would do to develop arts and culture policies that reverse the impact of austerity, make the link between progressive art and progressive politics, and support culture for the many not the few (to coin a phrase!). What are your thoughts on what a socialist arts and culture policy should offer us?
JD. Financial backing for creatives, right now there’s little or no support unless you’re already making $$$…I beg PRS now and again for support - nada, nothing, nunca. We need targeted support for those with a catalogue of, let's say, meaningful music. Sad thing is that in music particularly there’s a real dumbed down practice - the mainstream now is the aural equivilent of Enid Blyton, kids read EB, no probs, however adults listen to the aural equivalent. Little from the left field gets through…Sleaford Mods bravo. Support for ‘alt’ venues would help, this would include ‘hands on’ support in terms of creating a culture of arts/music clubs aimed at that very real alternative audience…funding for progressive ideas is what we need.
CG. What's it like working in the music scene at the moment? How has it changed over your life? What do you think of other bands and musicians these days?
JD. See above, ha. Since John Peel left us its been a struggle for many bands, JDM is lucky. I get support from many independent radio shows and Gideon Coe on BBC 6 Music has played songs from all my albums as JDM. But when Peel was around it made a difference with others who used him as a marker - so we’d get better gigs then and plays from other network DJs - it's noticeable how so may doors shut when the great man died.
CG. The DIY culture that emerged with punk still appears to be going strong. A grassroots approach to music is a great way of empowering people who might otherwise feel excluded. What are your thoughts on this, and how might the labour movement best support this?
JD. Like many, music was my door to everything else. The house as a kid revolved around C & W, played on the record player and also live by my ma n' da, brother and sister …great singalongs until the dreaded introduction of Lanliq - those days ‘buckie’. Then dub and reggae got me asking how come so many Scottish names…slave history and nasty empires entered my vocab, Lou and the Velvets blew open my eternal love of New York, and introduced me to Warhol and 3 hour long screenings of looking at the Empire State Building - the very notion of ‘alternative’ in the arts and of course in life too. Punk was such a break, the sheer bravado and ‘fk you’ attitude was so liberating and yes, empowering, as it blew away so much deadwood in music and beyond, for a moment it terrified the establishment. This is what I mentioned before - the government can, if it wants to, fund street level creativity through music and the arts by encouraging people with ideas to create spaces, small venues with real spirit, progressive places that encourage participation with artists and the public. Such activity is critical in fostering a ‘knowing’ public rather than a shopping mall mass taught only to, well, shop and little else. We need a mass of people with a critical, intelligent mindset if we are to break the corporate ruling of our lives, our world. The arts, music is central to the creation of a better future for us all - nearly said ‘for the many, not the few’ - phew! Painting, music, photography, all creatives have a critical role to play in saving the world from a toxic culture that will see this planet drained to an empty shell - as long as they make $$$$$$…we can change the everyday from one of banal consumption at best to something more vital, a life worth living.
CG. I see you’re about to tour the Netherlands, and also live abroad part of the time. How do you find foreign audiences react to your music and does spending time abroad give you a different perspective on life?
JD. Aye, back to Rrrrrrrotterdam, what a place. I never realised the toughness of the Dutch until we moved there for a couple of years and Rotterdam, port city n' all is as tough as it comes. Holland was cool for the music, my music. They got the punk thing, shared like most northern European countries a liking for ‘alt’ stuff - so you get such acts touring these places…unlike Spain, Malaga city where the kids are into either 80s Bronx beats or the most insipid pop you’ve ever heard - ‘rock’ ground to a halt here with Duran Duran, punk never happened down this way…I get back to the UK for recording and gigs, see family. I love being back for the first few days…Pogues Irish bar in Liverool, up to Glasgow to see a game..recently discovered the wonder that is Bristol, recording the new album there...what a great city, now there’s a place that seems to be getting good culture to the centre of things. But after the first few days I’m sort of looking for my return flight…different perspective, for sure, back to the calm of El Palo.
“Some People is an epic track – If there was still a Peel Festive 50 it would be in the Top Ten this year”, Louder Than War. For more info and to buy his CDs go to jd meatyard
The Communication Workers Union (CWU) and Culture Matters are pleased to announce a new Songwriting and Spoken Word Award.
The Award is now open for submissions. The purpose of the new Award is to encourage songwriters and spoken word performers to write material meaningful to working class people and communities, and to encourage those communities to engage more with songwriting and spoken word. There is a £100 cash prize for each of the top five entries. The judges will be from CWU and Culture Matters.
Dave Ward, General Secretary of the CWU, said,
I welcome this new partnership with Culture Matters. The arts and culture generally are vital to the labour movement, and working class communities across the country. Good access to the arts, sports and other cultural activities are part of the social wage. State support needs to be re-balanced so that working people everywhere can enjoy cheap, accessible and good quality provision.
We are sponsoring this Award because we want to encourage our members in the CWU, and working people everywhere, to express themselves creatively on themes that matter to them as workers.
So get writing and get performing, and send your entries in!
Submission Guidelines and Award Rules
Entry is open to all, regardless of trade union membership. The submission guidelines are as follows:
- Entries should broadly deal with any aspect of working class life, communities and culture and show commitment to the common people, the common good and the common language of music and the spoken word.
- Entries are restricted to original material, in English, by solo or duo artists/performers.
- Entries must be submitted as audio or video files (MP3/4 format, YouTube link or similar), via e-mail.
- Entrants must be resident in the United Kingdom.
- Entrants may submit up to three songs/performances.
- The organisers accept no responsibility for entries that are incorrectly submitted or not delivered due to technical faults.
- By entering the Award, entrants agree to accept and be bound by the rules of the Award and the decisions of the judges.
The winners will be invited to perform at the CWU annual conference in Bournemouth in April 2018. All entries remain the copyright of the entrant but CWU and Culture Matters will have the right to publish them online and in other media.
On Fighting On - An Anthology of Poems from the Bread and Roses Poetry Award 2017
£5 (plus £1.50 p&p) ISBN 978-1-907464-24-9.
Culture Matters, an imprint of Manifesto Press, has published a new anthology of poems from the Bread and Roses Poetry Award 2017, sponsored by Unite.
The purpose of the new Award is to encourage poets to focus on themes which are meaningful to workin g class people and communities and to encourage those communities to engage more with poetry. Entrants were given the opportunity to deal broadly with any aspect of working class life and culture and show commitment to the common people, the common good and the common music of poetry.
Mike Quille, the Editor of the anthology, said, “We wanted to encourage Unite members and working people more widely to engage with poetry and the arts generally. And encourage the mainstream poetry world to lift its eyes beyond the narrow poetry ‘bubble’ and be more attentive to the labour movement. The poems in this collection reflect a broad range of themes and moods. They show very clearly the collective strength of writing by working people.”
The Award was kindly supported by Unite, Britain’s biggest trade union. Len McCluskey, General Secretary of Unite, said, “We sponsored the first Bread and Roses Poetry Award because we believe that our members, and working people generally, have an equal right to join in and enjoy all the arts, and other cultural activities. We believe we should be able to afford them, get to them, and enjoy them, and that art should seek to engage with all sections of the community. Working-class people face a continual cultural struggle to defend our cultural commons, to keep cultural activities open to the many, not the few.”
The booklet is priced at £5 (plus £1.50 p&p), and is available from manifestopress.org.uk, culturematters.org.uk and the usual outlets. ISBN 978-1-907464-24-9.
Muses and Bruises - Poems by Fran Lock, Collages by Steev Burgess
£8 (plus £1.50 p&p) ISBN9781907464256.
Culture Matters, an imprint of Manifesto Press, has published a new collection of poetry by Fran Lock. The poems are accompanied by collages by Steev Burgess.
Fran lock is an activist, writer and illustrator, and one of the finest political poets around. Like John Clare, Lock evokes the troubling, often agonising effects of capitalist society on personal and social identity. Her feminist and socialist poetry weaves psychological insight and social awareness into themes of poverty, mental health problems, sexual abuse, domestic violence and political struggle. Vivid, lavish and punchy, it combines a deep sense of anger and injustice with vulnerable empathy and compassion.
The poems in this collection revel in richness and in strangeness. They are about the unlikely places where working class women find beauty and meaning, and the unlikely materials from which they are composed. The fragmented yet coherent collages of Steev Burgess complement and enhance those meanings perfectly. The images dance with the poems, singing together about muses and bruises, fantasy and reality – grind and grime with a lick of glitter.
We're reviewing Culture Matters and would really like some feedback from our readers and supporters. What is your overall impression of the website? How well are we fulfilling our mission of promoting a socialist and progressive approach to the arts and other cultural activities, where culture is organised for the many, not the few? What do you think of the quality and range of the material we publish? Have you considered joining the Culture Matters co-operative? If not, why not? How can we encourage involvement in our work? Please take a few minutes to complete this survey:
Culture Matters is pleased to support the international, one-day conference on the October Revolution organised by the Russian Revolution Centenary Committee, which takes place in London on 4 November 2017. The full programme has been announced and includes sessions on:
An introduction to the history of the Russian Revolution
The impact of Russian revolutionary politics on British society and the labour movement
International perspectives on the contemporary relevance of the Russian Revolution
The art and cinema of the Revolution.
Tosh McDonald – President, ASLEF
Andrew Murray – Chief of Staff, Unite the Union.
Mike Wayne – academic, educationalist, filmmaker, activist and cultural theorist.Professor in Screen Media, Brunel University.
Sarah Badcock – historian of Imperial and revolutionary Russia, author ‘A prison without walls? Eastern Siberian exile in the last years of Tsarism’
Mary Davis – women’s and labour movement historian, author ‘Sylvia Pankhurst: A Life in Radical Politics’, founder Sylvia Pankhurst Memorial Committee
Aleida Guevara – paediatrician, Cuban revolutionary, Angolan medical mission veteran, and daughter of Che Guevara
David Lane – leading academic and writer on USSR, state socialism, Marxism and class
Christine Lindey – pioneering art historian, Morning Star arts critic, author ‘Art in the Cold War: from Vladivostok to Kalamazoo’
Richard Leonard, MSP – Labour Party’s frontbench spokesperson on the economy in the Scottish Parliament
Vijay Prashad – historian, editor LeftWord Books, author ‘No Free Left: The Futures of Indian Communism’
Brinda Karat – MP for West Bengal Communist Party of India (Marxist), former student activist and trade union organiser, leading Indian women’s movement activist
Teresita Vicente de Sotalongo – Cuban Ambassador in London
Adrian Weir – labour movement historian, Asst Chief of Staff, Unite
Johanna Scheringer-Wright – MP for Thuringia and German Left Party (Die Linke) member
Vyacheslav Tetekin – veteran of Soviet solidarity with African liberation movements, former MP Russian Duma CP of Russian Federation, member of editorial board of Sovetskaya Rossiya (Soviet Russia)
As part of the centenary, the programme includes a film festival, which takes place at two of London's most renowned independent cinemas: the Phoenix and the Rio. It features classics of early Soviet cinema by Pudovkin, Eisenstein and Vertov. Beatty’s Reds will also be shown as a unique and daring Hollywood film about the Revolution.
Film's potential as a tool to explain and win support for the Revolution was recognised early on by young communist filmmakers. One hundred years on, this festival celebrates the lasting international impact of Soviet cinema.
Screenings take place on eight consecutive Sundays from 24 September. Ticket are just £10/8 and can be purchased through the host cinemas. Full listings can be found on the Russian Revolution Centenary Committee's website: Spark Film Festival. A preview of the festival by John Green is available here: Spark Illuminates Russian Revolution
Bring the Rising Home! Poems by Mike Jenkins, with paintings by Gustavius Payne
£9 (plus £1.50 p&p) ISBN 978-1-907464-22-5.
Culture Matters has published a new collection of poetry by the Welsh socialist poet Mike Jenkins. The poems are accompanied by full colour paintings by Gustavius Payne.
In May 1831, miners and others took to the streets of Merthyr Tydfil, protesting against wage cuts and unemployment generally. The protest spread and soon the whole area was in rebellion – the red flag was flown as a symbol of workers' revolt for the first time. The social and economic conditions which sparked the Merthyr Rising are never far from Mike Jenkins’s poetic imagination, but there are also poems here about drunks, jailbirds, footballers, a mining disaster, and Northern Ireland.
Weaving through both poems and images are themes of individual isolation and alienation, and the urgent need for collective action to change the conditions of working people. Mike Jenkins’s vivid, lyrical poems are accompanied by full colour paintings by the Welsh socialist painter Gustavius Payne, whose bold, striking, and deeply sympathetic paintings complement the poems perfectly.
The message is clear: isolated, people are powerless, but together they are strong. They need to organise into trade unions, join a socialist party and challenge the ruling class. Here is a poetic and painterly union of two socialist Welsh artists who, in their own brilliant, artistic way, are bringing the Rising home.
A new version by Doug Nicholls, this book is a fundraiser for the Free Ocalan campaign. It brings to the attention of modern readers a poem written 5,000 years ago but still with incredible relevance to us today.
The imprisoned political leader Abdullah Ocalan draws attention to the first Sumerian civilisation built between the Tigris and Euphrates, in the troubled lands today covered by Iraq and Syria. This civilisation was forgotten for over 2,000 years, buried under sands, but when it was rediscovered it was realised that the Sumerians had brought to humanity agriculture, architecture, the first writing, the first schools, the first written poetry, the first laws and many other notable inventions.
This delightful and surprising story of the exploits of Lugalbanda and what powers he chooses as a reward for looking after the chick of a monstrous bird in the mountains is a joy to read, so distant yet so near. It also compels us to think about some profound truths in our own world.
A fantastic read for young and old and whether you have read poetry before or not. The author’s notes on the poem will surprise and challenge you as they extract layers of meaning from the poem.
The idea of Glastonwick came to me in the early 90s. I was performing at lots of music festivals where the beer was always the corporate, overpriced urine of Satan, and going to beer festivals where the entertainment was ALWAYS a f***ing blues band. A f***ing BORING blues band (is there any other kind?) plodding away in the corner singing ‘I woke up this morning....’ WHAT A BLOODY SHAME! IF YOU HADN’T I WOULDN’T HAVE TO LISTEN TO THIS BOLLOCKS!
A light came on in my head. ‘Let’s have a music festival with good beer, and a beer festival with good music’ I thought. I know about music (and poetry, obviously) my mate Alex Hall knows about beer – 22 years later here we are!
Q. Looking at the artists roster, Glastonwick appears to have a strong progressive political element to it. Can you tell us how this came about?
How do you THINK it did? What am I going to put on? DISCO? Hippy Covers bands? Prog rock? :) I’m a stroppy Leftie poet/musician and I travel the country (and the world) doing gigs, often at political events. I meet like-minded people. If they are spiky, irreverant, entertaining and above all WRITE THEIR OWN MATERIAL, I invite them to Glastonwick.
Q. Do you want to tell us a bit about your own political journey?
I’m stroppy, left wing, concerned about other people and about the future of the planet. Always have been. Punk, Rock Against Racism, anti fascist stuff, Miners’ Strike benefits, the 20 year battle to save our football club, Brighton & Hove Albion...culture always to the fore. 3400 gigs in 24 countries. Hundreds of benefits. Earned my living as Attila since 1982.
Q. Who are the people who've influenced you most, as a musician and poet?
THE CLASH and HILAIRE BELLOC.
Q. Brecht famously said, 'Art is not a mirror held up to reality but a hammer with which to shape it.' How relevant do you think this is now as we face a continued neoliberal assault on the 'cultural commons', those elements of art and culture that rightly belong to all of us?
It is the best thing anyone has ever said about culture and is 100% true. I put it another way. 'When I talk about cherry blossom in my poetry, I mean boot polish.'
Q. Glastonwick is taking place this year just before one of the most important general elections held in a long time. Its outcome could determine whether we seek to build a fairer society or end up with a plutocracy which benefits only a wealthy elite. Rosa Luxemburg's quote, "Bourgeois society stands at the crossroads, either transition to Socialism or regression into Barbarism." feels very apt! How do you think artist should respond to this challenge?
I give you the title poem of my latest poetry book, published a couple of weeks ago.
UNDAUNTED by Attila the Stockbroker
9 November 1989: Fall of the Berlin Wall. 9 November 2015: ‘Election’ of Donald Trump. Cause and effect. The ghastly end to a chain of events going back to the 80s. Gorbachev’s brave reforms. Yeltsin’s kleptocratic gangster-coup. 9/11. Gulf War. Islamic State. Brexit and the rise of the populist Right. This is a pivotal moment. In the centenary year of a Red revolution which shook the world the Left needs to reclaim its heritage and move forward. Undaunted. But in order to do so with clarity we first have to look back.
Not right back to the beginning. That path has been well-trodden by thousands of writers in millions of words: the victories and the travesties, the advances and the betrayals. I’m going back just 28 years: to February 1989 in East Berlin. I was there. On my four tours of the GDR between 1986 and 1989 I had watched the East German Left organize to growing effect against the fossilized Party leadership and now, inspired by Gorbachev’s Soviet reforms, they were openly demanding change. More democracy. More socialism. (I’ll never forget the banners: ‘Mehr Sozialismus, bitte!’) Of course things couldn’t stay the same. Gorbachev was right to do what he did. But he was betrayed. The good went out with the bad. The baby with the bathwater. And the people paid the price.
The Wall fell. The brave activists of the Left who brought it down were swamped by hordes blinded by Bild Zeitung, fighting over bananas. Across Eastern Europe worlds collapsed overnight. People celebrated. In many ways they were right to. Party by all means, we shouted – but organize as well. Take control of your own destinies. Don’t believe the lies of the West. They promise you exotic travel but you will have no money to travel They promise exotic cars but you will have no money for cars They will destroy your industries privatize your futures and make you paupers in your own lands. But too few listened. The cold, cruel masters of a new world smiled. It’s the end of history, they said. Socialism has failed the red banner has fallen and now, workers, we are your masters, all over the world. We’ll close down. Sack. Downsize. Relocate. Ship in cheap labour. Outsource. Bring in robots. Force down wages. Crush your spirit. Cast you aside secure in the knowledge that your champions are dead and that our pet media mouthpieces can save us from your wrath by blaming your fate on others: immigrants, refugees and your sacked co-workers now recast as your enemies - as scroungers off your taxes. Slowly the vice tightened: slowly the penny dropped. Twenty years on from the fall of the Wall opinion polls stated that a majority all over Eastern Europe (not the liberal elites of course, laughing into their lattes, but the forgotten masses ignored by the world’s media) believed that their lives were better before 1989. That what was allowed to go into their mouths mattered at least as much as what was allowed to come out of them. That without economic democracy - without jobs, healthcare, education, housing - political democracy was meaningless and that globalization, free trade and neo-liberalism were the enemies of working people everywhere, East and West. But the mass Red parties of the European Left had disappeared in a welter of spineless apology and self-loathing leaving an open goal for the populists of the Right. And now while we argue amongst ourselves it is the likes of Trump, Le Pen and Wilders who try to steal our clothes - who use progressive-sounding weasel words to spread the politics of hate.
Elsewhere in the world the modern secular movements for liberation and education slowly collapsed without their Soviet mentors, leaving a void. A people still oppressed and poor searched for their own champions, their own protectors. Enter the fundamentalists. For Trump and Le Pen read ISIS and the Taliban: the same weasel words, the same dead-end reality – literally so for those young, duped jihadis.
So where do we go from here? One thing is for sure. Now as then the choice is clear. Socialism or barbarism. We must reclaim the territory which the populists have stolen. This is the challenge. A hundred years on from the great stand in Russia Let’s make another stand. A modern stand. A stand against globalization and neoliberalism. Against nationalism and division. Against racism and homophobia. Against fundamentalism and misogyny. Undaunted.
Q. Culture Matters has embarked on some work to develop arts and culture policies in the labour movement which tackle the geographic, class and financial barriers that many working class people face trying to access the arts, as both consumers and performers. What are your thoughts on what a socialist arts and culture policy might look like?
Q. Brexit has divided the Left. Assuming it goes ahead in one form or another, how do you think we best maintain an internationalist perspective and support cultural links with comrades in the EU and more widely?
By carrying on doing exactly what we’re doing now. Here’s another poem.
ROCK ‘N’ ROLL BREXIT (Written on the ferry home, Oct 10 2016)
by Attila the Stockbroker
I’ve just toured with my band Barnstormer from Dunkirk to Lucerne and back through France, Belgium, Germany and Switzerland without showing a passport once. Yes, non-EU Switzerland too – a little bridge, an empty hut. In my punk rock youth I remember how musicians had to carry carnets for our instruments when we crossed the Channel - everything down to the last spare string painstakingly listed on a pointless green form checked and stamped at every border after standing with the truckers in endless queues. I remember the invasive French customs - douane, not moeurs - whose cretinously predictable searches for non-existent drugs took the edge off many an otherwise enjoyable tour. Search the big posh cars driven by the suits, I’d always say after these unimaginative custodians had finished their fruitless checks: no-one imports half a ton of heroin dressed like we are driving a scruffy transit van with ‘CLEAN ME’ written in the dirt on one side ‘WE HATE CRYSTAL PALACE’ on the other a large knob and testicles adorning the back and empty beer bottles rolling around on the floor. Are we going to have to go through all this again? Just because Rupert Murdoch was pissed off by the fact that no one in Brussels took a blind bit of notice of him? Lord give me strength!
Only joking, of course. Brexit was an informed decision taken by the British people after serious consideration of the established facts presented intelligently and objectively by the rigorous guardians of the Fourth Estate. And anyone who suggests anything else is patronizing and supercilious. So if in a few years time a British number plate for a band touring Europe becomes the equivalent of a plague signal on a door in medieval times and I am once again obliged to fill in ridiculous forms and perhaps even at my advanced age stand naked in a room with a gloved finger up my arse and my foreskin peeled back as I once did in Calais in the Eighties I shall hold myself proudly to attention and celebrate the fact that I am British and we have Taken Back Control.