Archive for September, 2007|Monthly archive page
A Minute’s Silence for Marcel Marceau
He was inspired to act after seeing Charlie Chaplin.
He was born in Strasbourg. His father was killed in Auschwitz.
He spoke about Chaplin in Richard Schickel’s 2003 documentary:
Charlie: The Life and Art of Charles Chaplin
22.iii.1923 – 22.ix.2007
Photo © Estate of Yousuf Karsh
Two Sevens Clash
Exodus: Movement of Jah people
1977
Bob Marley recorded Exodus in punk London (he referred to London as his “second home”). He took refuge in the city after having been hit by a bullet the previous year in a politically motivated assassination attempt. The record was released on 3rd June 1977.
1947
The ship Exodus 1947 sailed from the small port of Site near Marseilles on 11th July 1947. On board were 4,515 immigrants from post-war Europe, including 655 children. It was heading to British Mandate Palestine.
As soon as it left French territorial waters British destroyers shadowed it. In the wake of the Second World War, the British had severely restricted immigration to Palestine and eventually decided to stop illegal immigration by sending ships running the gauntlet of the British patrols back to their port of embarkation in Europe. The first ship to which this policy was applied was the Exodus 1947.
We know where we’re going
We know where we’re from
We’re leaving Babylon
We’re going to our Father’s land
On 18th July 1947, nearing the coast of Palestine but outside territorial waters, the British rammed the ship and illegally boarded it. Two immigrants and a member of the crew were killed defending the vessel, bludgeoned to death, and 30 were wounded. The ship was towed to Haifa and the immigrants were deported on prison ships back to France at the suggestion of Foreign Secretary Ernest Bevin (better known for his role in establishing the NHS).
Men and people will fight you down
1977
The Exodus recording sessions, produced by Island Records founder Chris Blackwell, took place in two west London studios: a converted Victorian laundry at the back of Island’s headquarters in St Peter’s Square, Chiswick, and the Basing Street studio, a former church in Notting Hill.
The nightly recording sessions were attended by a sizable rotating posse including the young members of Aswad and their manager, Mikey Dread (who I saw perform with The Clash at the Electric Ballroom in Camden Town); Delroy Washington; and Lucky Gordon (of Profumo Scandal notoriety). Journalist Vivien Goldman remembers the sessions as being recorded “in a mood of exuberant creativity”.
1947
At Port-de-Bouc in southern France the Exodus passengers refused to disembark and remained in the ships’ holds for 24 days during a heatwave – this despite a shortage of food, the overcrowding and dreadful sanitary conditions. The French government refused to co-operate with British attempts at forced disembarkation. Eventually, the British decided to return the would-be immigrants to Germany. These people were mostly survivors of the concentration camps and Nazi German persecution.
So we gonna walk – all right! – through the roads of creation
We the generation
Trod through great tribulation
They were shipped to Hamburg, then forcibly disembarked and transported to two camps near the German port of Lubeck on the Baltic Sea.
World public opinion was outraged by the callousness of the British behaviour and the British were forced to change their policy. Illegal immigrants were no longer sent back to Europe, but instead transported to detention camps in Cyprus.
Open your eyes and look within…
Are you satisfied with the life you’re living?
The escorting British soldiers never returned to their units in Palestine. The ordeal had such an impact on them that a near mutiny erupted among them. The British army decided not to press charges and closed the matter quietly.
The events convinced the US government that the British mandate of Palestine was incapable of handling the issue of post-war Jewish refugees and that a United Nations-brokered solution needed to be found. The US government intensified pressure on the British government to return its mandate to the UN.
1977
Throughout the recording sessions, Bob continued writing songs – Exodus itself emerged quite late and, as Vivien Goldman recounts, “there was a fizzing excitement around that track from the moment it was first laid down.”
Many of the musicians were exiles. Beyond their Jamaican roots was the urge to return to Africa, a desire central to Rastafarian belief. Bob and the Twelve Tribes (a Rasta organisation to which he belonged) were actively exploring the possibilities of land made available by Haile Selassie in Shashamane, Ethiopia.
Goldman recalls: “When the night came to finish the Exodus track, the Basing Street studio was alive with excitement. From the start, the song had its own impetus … at four o’clock in the morning a moment hit when the whole room knew that this one was it.”
1947
Within a year, over half of the original Exodus 1947 passengers had made another attempt at emigrating to Palestine – most found themselves detained in camps in Cyprus. One witness describes the DP (Displaced Persons) Camps on Cyprus thus: “a hot hell of desert sand and wind blowing against tents and tin Nissen huts, a hell circumscribed by two walls of barbed wire whose architecture had come out of Dachau and Treblinka”.
Eventually, after the events around May 1948, the majority of the Exodus exiles made it back to Israel.
Exodus, all right! Movement of Jah people!
2007
Back to the Stone Age
I was last in the Millennium Dome back in 2000 when it was full of empty stuff. Before that it was in 1999 when I was filming in the empty structure – someone had parked a double-decker bus in the very centre where the performance area was located (where Peter Gabriel’s show was performed on millennium night). It was necessary to have that red bus there to get a real sense of the scale. We were shooting from the top of a three or four storey building, one of several such structures already within the Dome, and it still felt pretty empty.
Courtesy of Yahoo!, the other evening I had the pleasure of seeing the Rolling Stones fill the Dome in North Greenwich with their charm and charisma. I had low expectations. I’d never seen the Stones live before, reckoned it would be a good idea to catch them before they died or had hip replacements, but assumed they were long past their prime. As it was, they turned out to be plenty hip.
Mick performed with the enthusiasm and generosity of the best of them – he was having a good time and he was giving 100% to make sure we did too, right from the first strains of Start Me Up as he followed Keef and his opening riffs onto stage. It’s always struck me what consistently great openings the Stones have to their songs.
It was my great good fortune that this particular performance, my first, was itself a closing – the very last night of a two year tour, the Bigger Bang tour.
Keef played up to his Captain Jack image, at one point eating an unlit cigarette to take the mick out of Greenwich Council who had given them a hard time about lighting up on stage the week before. He reaffirmed his deep commitment to the Blues by performing vocals on a couple of old blues numbers in the middle of the set. That they hadn’t strayed far from their roots in their love of the Blues was one of the most striking things of a great night.
Besides how much of their 19 year old selves they’d retained (if you averted your eyes from the big screen you could imagine it being their young sixties selves – Mick still has the moves, which is as astonishing as Bruce Springsteen’s elder statesman energy), besides that, Ronnie Wood’s immense charm was the other surprise of the night, adding a distinctive warmth to the perfect chemistry of the band.
The undoubted highlight of the night was Sympathy for the Devil. What was striking about the Stones live is that at moments throughout the set you really felt rock’n’roll as the devil’s music, a sense of that dark, chaotic, dionysian vibe. Paint It Black followed to complete the crescendo. I was transported and stoned immaculate.