#notting hill riots

[gravalicious]

Notting Hill Carnival, 1977.

[ailedhoo]

The riots in Southport are just the latest flashpoint in a long history of British reactionary politics. In Fractured, Michael Richmond and Alex Charnley move away from the ahistorical temper of the identity politics debate, exploring how historical class struggles were formed and continue to determine the possibilities for new forms of solidarity in an increasingly dangerous world. In this edited excerpt the authors explore the relationship between street racism and the modernisation of policing and immigration controls.

A imporant reflection by Charnley and Richmond in light of the recent pogroms in Britain.

[w0rldwanderlust]

Notting Hill Carnival Another Year

The Notting Hill Carnival is back in full swing, as London celebrates the impact of its Caribbean heritage, but not all are there to celebrate. The Notting Hill Carnival is one of the world’s largest celebrations of Caribbean music and culture, an annual event in West London ach August. After the end of WWII, Britain’s government encouraged mass migration from the countries of the wider…

[mariacallous]

“The muddy depths are being stirred by new monsters and witches from the deep,” Gore Vidal once wrote of the resurgence of the far right in the United States. In the case of the rioting that has erupted across England and Northern Ireland this week and last, old hatreds have been stirred up using new technologies.

The initial spark for the violence that has plagued British towns and cities was the sickening murder of three young girls last Monday in the seaside town of Southport, stabbed at a Taylor Swift-themed dance and yoga session. It was the sort of horrific crime that is mercifully rare in Britain. The last comparable attack on children occurred almost 30 years ago.

The only suspect in the Southport murders, 17-year-old Axel Rudakubana, was immediately arrested. We know Rudakubana’s name only because the judge in his case lifted an anonymity order—imposed as standard when the accused is a minor until legal proceedings begin—because false claims about the suspect’s origins were helping to fuel the racist violence. Social media posts claiming that the attacker was a Muslim, a refugee, a migrant, or a foreigner received 27 million impressions on Twitter/X in the 24 hours after the Southport killings.

Far-right groups descended on Southport the day after the stabbings. We know little about Rudakubana, but on Aug. 1 we did learn that he is a British national who was born in Cardiff to parents from Rwanda, a country with a large Christian majority. This has not prevented far-right thugs from rampaging through towns and cities including Manchester, Liverpool, Sunderland, Rotherham, Tamworth, Hartlepool, Middlesbrough, Aldershot, and Belfast, targeting Muslims

Many on the right have rushed to attribute the mobs to a sense of disillusion and a supposed social gap between the working class and the “elite”—a group in which they are never keen to count themselves. A few left-wingers have shared similar opinions. It is true that material factors have created a propitious environment in Britain for unrest. After 14 years of Tory government, before the recent Labour victory, the country is a poorer and more resentful place, its sclerotic and creaking public infrastructure barely functioning after years of neglect.

There is much to be angry about. Yet this does not adequately explain the nature nor the scale of the violence, much of which has been driven by a bourgeoning alliance between a right-wing elite and the mob—an alliance that, as Hannah Arendt once put it, rests on the “genuine delight with which the former [watch] the latter destroy respectability.”

For its part, the mob has attacked mosques, set buildings on fire, looted shops, violently assaulted ethnic minority bystanders, attacked cars on residential streets, and thrown bricks at the police. “We want our country back,” they yelled over the weekend while attempting to set fire to a hotel in Rotherham because they believed it was housing asylum-seekers. “P**i Muslims off our streets,” they yelled in Leeds. Footage from elsewhere showed men adorned with swastika tattoos, arms thrown up in Nazi salutes, voices yelling at anybody with brown skin to “go home.” This is not a rage that can, or should, be appeased.

This is not the first time rioting in the U.K. has been driven by bigotry. In Notting Hill in 1958, a mob of 400 white people attacked West Indian residents and their property. In the same week, racially motivated riots also broke out in St. Ann’s in Nottingham. Going further back, the Gordon Riots of 1780 saw an eruption of violent anti-Catholic sentiment.

Despite the atavistic nature of the hatreds unleashed this week and last, many who have taken to the streets this time around are creatures of social media. Several prominent far-right influencers have come out on social media in support of the mayhem with all sails unfurled. Others have been whipped into a near-homicidal frenzy by misinformation on apps such as X.

The kudzu spread of incendiary falsehoods began with the lie, first promulgated on X by the managing director of a clothing company, that the suspect in the Southport murders was an asylum-seeker named “Ali Al-Shakati.” The misogynist influencer Andrew Tate shared the false claim while asserting that the attacker was an “illegal immigrant.” The far-right activist Stephen Yaxley-Lennon, better known as “Tommy Robinson,” has used X to call for “mass deportations” and described Islam as a “mental health issue.” Meanwhile, disgraced actor Laurence Fox reacted to the stabbings by calling for Islam to be “removed from Britain.”

The mob responded accordingly. The day after false rumors about Ali Al-Shakati had began swirling around on social media, a group of white men attacked a mosque in Southport. The street violence has continued ever since.

Lurking in the background while disinformation is spread is a wealthy right-wing elite that has started to flex its political muscles. Some of the worst purveyors of misinformation have accounts on X only because right-wing billionaire Elon Musk has reinstated them—together with numerous other white supremacist accounts—under the guise of “free speech.”

Musk has spread misinformation about the riots on the app, claiming in one post that “civil war is inevitable” in Britain and amplifying one of Robinson’s posts. Robinson was reinstated by Musk in 2023 and today has more than 800,000 followers. Similarly, though he was banned from X in 2017 for claiming that women should bear “some responsibility” for being sexually harassed and assaulted, Tate was reinstated by Musk in 2022.

The takeover of media platforms by wealthy elites is driven by a right-wing adoption of the Gramscian belief that the conquest of power comes only after the conquest of culture. Musk, the world’s richest man, purchased X for $44 billion in 2022 in order to combat what he calls the “woke mind virus.” Together with renaming the platform, one of Musk’s first actions was to do away with legacy blue checks and open up verification on the platform to anybody with $8.

The move thrilled Musk’s sycophantic fan base, which had previously chafed with resentment at the status differential on the app between themselves and what they contemptuously referred to as the “legacy media.” But it also turned X into the world’s largest vector of misinformation. It is also of a piece with former White House strategist Steve Bannon’s idea of “flooding the zone with shit”—i.e., destroying the traditional media’s ability to give the public accurate information by letting it sink in a deluge of bullshit.

It isn’t only social media where influential right-wing figures have been allowed to blur the distinction between legitimate protest and far-right violence. Ever since the riots began last week, the British television station GB News has often sought to excuse them. Launched in 2021 and co-owned by the multimillionaire hedge fund manager Paul Marshall, since the murders in Southport, GB News has given airtime to an assortment of cranks, demagogues, and grifters. On more than one occasion, the station’s language has come dangerously close to incitement. The leader of the Reform U.K. party, Nigel Farage, who has his own show on GB News, also took to X in the aftermath of the Southport attacks to ask whether “the truth is being withheld from us” by the police about the identity of the suspect.

Earlier this year, Marshall—who as well as owning the reactionary website UnHerd is believed to be trying to purchase the Spectator and the Telegraph—was caught liking and sharing content close to the material that has been circulated this week by paranoid fascist weirdos. In February, the anti-extremist charity Hope not Hate revealed that Marshall had endorsed tweets calling for mass deportations and which suggested a civil war between “native Europeans” and “fake refugee invaders” was imminent.

Many of the presenters and guests on GB News have spent this week mocking Prime Minister Keir Starmer for labeling the riots as far right. Instead, the channel has sought to portray the street violence as driven by the “legitimate concerns” of disenfranchised members of the working class. The idea that the thuggish behavior of recent days is somehow representative of the working class is itself a form of middle-class prejudice—rooted in the unspoken assumption that working-class people are inherently stupid, racist, and violent.

GB News operates on familiar right-wing populist lines. Its prolier-than-thou presenters make superficial overtures to the masses while its modus operandi is to ensure that power is never truly shared or redistributed. But let’s not be too partisan about it: GB News is pushing at a door that has already been loosened by more “respectable” media coverage of migrants and asylum-seekers.

There is a self-pitying refrain on the right that you “can’t talk about” immigration. Yet the big mouths and shock jocks of the right-wing media seldom shut up about it. This time last year, the broadcaster James Whale suggested on Rupert Murdoch’s TalkTV that the U.K. “should point weapons” at migrants in the English Channel. Even talking about migrants in this sort of bloodthirsty language is no impediment to getting on. A few months later, Whale was made an MBE.

The suggestion that the violent protests represent the last resort of Britain’s forgotten majority is, of course, laughable. When polled, nearly 50 percent of Britons wanted harsher-than-usual sentences for the rioters, 39 percent the usual norms of sentencing, and just 4 percent more lenient charges.

Less than five weeks ago, Starmer convincingly won a general election against a Tory party that campaigned on the slogan of stopping the boats carrying asylum-seekers to the United Kingdom. In truth, the ghouls who have haunted television studios this week making excuses for the rioters see any Labour government as equivalent to an occupying power. They want their country back because, after 14 years, they feel as if it has been lost at the ballot box.

But if anybody has a right to think of themselves as the voice of the people at the present time, it is the newly elected Labour prime minister. He may not own a television station or a social media app, but he does have a 174-seat majority in the House of Commons. The rule of law—and democracy—must prevail.

[punkrockhistory]

Inspired by the Notting Hill Riots of August 30, 1976

White Riot - The Clash

[diceriadelluntore]

Storia di Musica #335 - The Clash, Sandinista!, 1980

Il punto esclamativo finale di questa piccola carrellata tra i dischi che lo hanno nel titolo arriva ad uno dei più famosi dischi degli anni ’80. Protagonista una band che nasce dal calderone del punk britannico della seconda metà degli anni ’70, ma che grazie ad un percorso per molti versi unico e virtuoso, è arrivata ad essere, giustamente, considerata come una delle più importanti rock band d tutti i tempi. Joe Strummer è figlio di un alto funzionario del Ministero degli Esteri Britannico, tanto che nasce in Turchia nel 1952. Quando ha 20 anni, fonda un gruppo, i 101’ers con Clive Tiperlee e Richard Dudanski. Suonano con discreto successo nei pub londinesi e registrano persino qualche canzone. Nel loro giro c’era un altro gruppo, I London SS, che erano noti poiché non suonavano quasi mai con la stessa formazione, in una sorta di gruppo aperto: tra coloro che più spesso ne facevano parte c’erano Mick Jones, Paul Simonon, Tory Crimes e Nicky “Topper” Headon. I primi tre si uniscono a Strummer e per qualche mese al chitarrista Keith Levine (che suonerà pochi anno dopo nei PIL di Johnny Rotten) e fondano un proprio gruppo, che prima si chiama Heartdrops, e poi The Clash. La prima, storica, esibizione è allo Screen On The Green di Islington, il 26 Agosto 1976. Inizia qui la loro storia: agli esordi sono una delle punte di diamante del punk di quegli anni, espressione più matura e politicamente sensibile del periodo storico economico di quei tempi. Ne è esempio il primo grande successo, White Riot, uscito nel Marzo 1977, ispirato agli scontri tra polizia e giovani neri al carnevale di Notting Hill nel 1976. Sono il punto di incontro della visione politica più matura e curiosa, lontano dall’anarchismo furbetto dei Sex Pistols o dall’apatia politica disinteressata dei Damned. Il loro esordio discografico è fragoroso: The Clash esce nell’anno Uno del Punk Britannico, il 1977, e piazza canzoni mito come I Fought The Law e (White Man) In Hammersmith Palais, unendo i ruvidi stilemi del punk a ritmi giamaicani del dub e del reggae. Il successo li carica, e il successo lavoro è leggenda: London Calling (1979) è il primo disco in studio cui Topper Headon prende posto dietro i piatti della batteria (dopo aver suonato già nel tour post primo disco), ma soprattutto è il racconto del rapporto odio-amore con gli Stati Uniti, fonte delle musiche vitali per loro stessi ma anche dell’ipocrisia, dei complotti. È un doppio disco che mostra la personale e infinita voglia di contaminare la musica di suoni e colori differenti: album pietra miliare per le musiche (l’incandescente title track), i temi (la violenza urbana di Guns Of Brixton, il terrorismo basco di Spanish Bombs), la copertina (che riprende la grafica dei primi dischi di Elvis con la foto di Simenon che distrugge il basso sul palco).

L’idea successiva, dopo un tour che li portò in mezzo mondo a suonare e una ormai consolidata fama di band impegnata, era piuttosto bizzarra: dopo aver imposto alla CBS il prezzo politico per London Calling di disco singolo pur essendo doppio, la band progettò la pubblicazione di 12 singolo uno per mese. Negata l’idea, ottenne di poter registrare per una settimana i mitici Electric Ladyland Studios di New York. Registrano di tutto, e tornano con una montagna di materiale a Londra. Inclusi vari remix dub di idee e canzoni. Mettono un po’ a posto tutto, e decidono di pubblicare tutto quello che avevano registrato, 36 canzoni, un triplo disco. La CBS non vorrebbe pubblicarlo, poi si accorda con la band: se volete anche stavolta il prezzo “politico imposto” dovete rinunciare ai diritti per le prime 200 mila copie. La band accettò.

Sandinista! è un omaggio al Fronte Sandinista di Liberazione Nazionale, un movimento rivoluzionario e partito politico nicaraguense protagonista nel 1979 del crollo del regime dittatoriale di Anastasio Somoza Debayle: deve il suo nome all’ispirarsi alle teorie di Augusto César Sandino, rivoluzionario nicaraguense, nonché uno dei conduttori della resistenza rivoluzionaria alla presenza militare statunitense in Nicaragua tra il 1927 e il 1933. Tra l’altro leggenda vuole che Margareth Thatcher odiasse profondamente il termine e avesse avuto l’idea di proibirlo in Gran Bretagna. Il disco allarga a dismisura l’osservazione del mondo, proprio perché, e le interviste dopo la pubblicazione lo confermeranno, i concerti li avevano portati dove non erano mai stati, potendo così vedere quello che non avevano mai visto. La musica non è mai stata così piena di influenze, di idee, tanto che i fan della prima ora lo criticarono aspramente, accusandolo di aver perso tutta la spontanea violenza del punk. Ma a ben vedere, i nostri non hanno affatto perso lo sguardo critico e potente sulle cose, lo hanno solo voluto esprimere in modi diversi. Bastano i 6 monumentali, e storici, minuti di The Magnificent Seven per spiegare tutto: primo brano di rap bianco, Mick Jones a New York rimase ipnotizzato dai primi lavori della Sugarhill Gang e dei Grandmaster Flash & The Furious Five, è il viaggio nella testa di un operaio che si alza alle sette di mattina per andare al lavoro, che lavora per comprare regali alla sua fidanzata, ma che è anche un grande affondo alla realta del consumismo contemporaneo. Hitsville Uk è un brano che sa di gospel e di soul (il titolo è un omaggio alla Motown). C’è il Blues di Junco Partner e la sua versione dub in Version Pardner. Ivan Meets G.I. Joe è la cronaca surreale dell'incontro-scontro a ritmo di disco music tra un soldato americano e uno sovietico su una pista da ballo, in un tripudio di suoni da videogioco. The Call Up si apre con i cori dei Marines statunitensi, perché la chiamata del titolo è proprio un riferimento al servizio militare, dato che nel 1980 il Congresso ripristinò l'obbligo per gli uomini di età compresa tra 18 e 25 anni di registrarsi al Selective Service System. C’è persino un valzer, Rebel Waltz, Charlie Don't Surf è tratto da una celebre battuta del film Apocalypse Now, Police On My Back, divenuta famosissima, è una cover di un vecchio brano di Eddy Grant contro il regime dell'apartheid in Sudafrica. Il tutto con remix, versioni dub, riferimenti alle rivoluzioni in America Latina, perfino la voce di una bimba, Maria, figlia di Mick Gallagher che dà una bella mano a suonare nel disco, che canta in modo stentato alcune strofe di Guns of Brixton accompagnata al pianoforte dal padre.

Ridondante, eccessivo, imperfetto, eppure spargerà fertilità ovunque e per decenni. Ricordo un ultima curiosità: non si sa se per caso o perché i Clash lo imposero, ma il numero di catalogo del triplo era 'FSLN1', stesso acronimo di Frente Sandinista de Liberación Nacional. Un ultimo riferimento magico ad un disco leggendario.

[stephensmithuk]

The Red Circle

Published in 1911 as a two-parter, this is the penultimate story we'll be covering His Last Bow, leaving just the titular story there.

This does sound rather like "The Veiled Lodger", doesn't it?

These days, you'd have to check the immigration status of your tenants. In 1902, really not an issue. Although anti-immigrant sentiment was definitely there and growing.

Those strange coded personal messages - some even encrypted - very much existed in newspapers back then. Once radio had become a thing, the British would use them on radio broadcasts to Occupied Europe in the Second World to get messages to the resistance movements. Including the "get ready" and "go" codes for the mass sabotage operations that preceded Operation Overlord in 1944.

"Timekeepers" were used for recording arrivals and departures at a site, including that of staff for the purposes of paying wages, determining lateness etc.

Great Orme Street is more properly called Great Ormond Street, located in Bloomsbury. It is best known for the world-famous children's hospital called Great Ormond Street Hospital. They have a permanent UK copyright to Peter Pan which gives them a right to royalties for publications, adaptations, performances etc. The US copyright on the original version expires next year. If anyone wants to do a LfW retelling of the original book, it would be nice to contact them and arrange a donation. They're a very good organisation.

"Art for Art’s sake" was a French slogan from the latter half of the 19th century. You may know its Latin version - ars gratia artis - as the motto of film studio MGM.

The light flashing message gets a whole chapter covering it in Klinger's annotated version, as it's been heavily discussed by scholars. Basically, it would take multiple minutes to send that message.

The Pinkerton detective agency did a lot of investigative work in its early days, both criminal investigation and more nefarious stuff to aid strike-breaking. The latter got the US government banned from hiring them as such in the 1893 Anti-Pinkerton Act. They are still involved in anti-union stuff today.

Much of Notting Hill had become increasingly slum-like by this time as an influx of people led to houses built for one family being split to hold far more; the idea when the area was built was for the middle classes to live there, but they didn't buy the properties. It later attract large numbers of Afro-Caribbean immigrants in the post-war era, partly as the notorious slum landlord Peter Rachman was prepared to rent to them while others weren't. This growing ethnic tension culiminated race riots in 1958, with white "Teddy Boys" attacking West Indian homes. Since then, the slums have been cleared and the area has gentrified quite a bit.

It is also home to the annual Notting Hall carnival every August since 1965 (bar 2020 and 2021), which around 2 million people attend. The Metropolitan Police have moved from active hostility to active cooperation in its running and there will be photos of officers dancing with those in the parade at any given carnival. The reputation for violence is unjustified and arguably fuelled by racism - while there were frequently arrests for violence, drugs and weapons offences, on a pro-rata basis, the arrest rate is about the same as the Glastonbury Festival.

The Carbonari ("charcoal makers") were secret revolutionary societies active in what would become Italy in the early 19th century. After failed uprisings in 1831, the various Italian governments cracked down hard on them and they were effectively eliminated. They were not really engaged in protection rackets.

Dynamite was patented by Alfred Nobel in 1867. Being a good deal more stable than nitrogyclerine - although storage is important as old dynamite is a good deal less stable - it became popular for terrorists and criminals, with a series of bombings by Irish republicans between 1881 and 1885 leading to the formation of Special Branch.

Covent Garden is home to the Royal Opera House.

[ptseti]

TRINIDAD’S LEGENDARY CLAUDIA JONES

With roots in Trinidad and a political consciousness forged as an immigrant in the US witnessing racial injustice, Claudia Cumberbatch Jones was a leading feminist-Marxist intellectual - whose activism saw her jailed and then deported to the UK. There, in response to London’s Notting Hill race riots, she launched what is now one of the world’s most famous and vibrant carnivals. She was already a legend while alive, and her works and legacy remain an inspiration. African Stream’s Wambura Mwai brings us the story of this amazing woman. Have you read her work?

[yearningforunity]

Don't let us stop you: Policemen are pictured carrying riot shields as members of the Caribbean community dance alongside them for Notting Hill Carnival on August 29 1979. Race riots were the original reason for creating the event after 108 were charged in relation to unrest in the area in 1958. The founder believed the carnival would promote cultural unity.

[takocreep]

weird how non stop and unavoidable that coverage of the uk anti immigration riots was. remember all those people made an example of by the government for throwing a brick or sharing a post, and the PM getting on his little podium every day and threatening citizens?

anyways, did you know london has this annual caribbean carnival at notting hill? every year without fail several people get stabbed and the streets are flooded with garbage and sexual degeneracy for two days. locals routinely board up their businesses and almost all of them flee their homes for its duration. makes you wonder why it receives no such backlash. well, you see, this is the "diversity tax" paid by the locals in exchange for the £100 gorillion boost to london's struggling economy, and the invaluable cultural enrichment which brings them "community", "strength" and other corporate buzzwords. perhaps the downfall of the anti immigration rioters was that they failed to secure brand sponsorships, or be the right color.

[dreaminghour]

Notting Hill Au for wip wednesday, please!

thank you very much~

(#wip wednesday game)

"Well, there's only so long I can go before Chevonne will riot." "Right." Now Hayden finally moves toward the kitchen, allowing Ewan to lead the way back to the door.

[gravalicious]

The other more immediate impetus was what had happened in 1976 and again in 1977 at Notting Hill in London, where there were pitched battles for the streets between black youth and the police, particularly in 1976. We were in England at the time, although not actually at the Carnival, but we knew what had happened and we knew about the entire provocation the police had created in 1976 by infiltrating 1500 policemen into the Carnival area where in previous years there had only been a handful. They made it very clear in ‘76 that they were going to control that turf and the black youth in Notting Hill and all over the country also made it clear that the police were not going to control their turf. Looking back from, say, 1958 to 1978, when there was the first so-called Notting Hill riots, one had a 20 year span of time in which a pattern of institutional racism developed in Britain but at the same time a very clear response to that racism was also beginning to manifest itself. So it seemed very appropriate to try to make a film which reflected whatever level of understanding or consciousness there was within the black community in Britain and about how the practice of racism had developed in the last 20 years, and how that fit in historically with the practice of racism in the western world.

David Koff

David Koff, Musindo Mwinyipembe & Kalamu Ya Salaam - The Black Scholar Interviews (1979) [The Black Scholar, 10:8-9, 68-83]

[garyseven777]

Watch "Notting Hill Carnival Riots | Notting Hill Carnival | London Riots | Today | 1976" on YouTube

[oftatteredwings]

⸻  LUKE PASQUALINO. HE/HIM / have you ever heard of SORRY FOR PARTY ROCKING by lmfao, well, it describes MATTEO ‘MATTY’ DE LUCA to a tee! the thirty-one year-old, and PARTY PLANNER was spotted browsing through the stalls at portobello road market last sunday, do you know them? would you say HE is more cocky or more FUN-LOVING instead? anyway, they remind me of hiding a hangover behind a pair of sunnies, a phone that never stops pinging, lazy sundays with a takeaway and the faint scent of cypress & grapevine jo malone cologne, maybe you’ll bump into them soon!

time in notting hill ; 5 years.

tw: accident, head injury, death, drugs

ABOUT.

Name: Matteo De Luca Nicknames: Matty Age: Thirty-one Date of Birth: 27th August 1991 Birthplace: Sicily, Italy Occupation: Party Planner Romantic/sexual orientation: Panromantic/pansexual

Matteo grew up as an only child in Sicily, Italy, doted on by his parents and basically running riot because they let him. It was clear from the word go that he was never going to be a quiet child.

By the time he was eight and he was making quite the same for himself ( not in a good way either ), his father had picked up a new job, which meant a move a little further north, heading to London.

He wasn’t a fan of their new home, but within the space of a year he was making more of an effort to speak fluent English and finally beginning to make friends. Unsure how to go about that at first, his birthday party turned into something that drew the kids in. Even at nine, he had big plans, plans that only got bigger by the year. It was a surprise to no one when it turned into his career after school.

When he reached high school and his later years, he very quickly became known as the one to go to if you wanted a good time. Especially so when he hit sixth form.

He also seemed to be very good at leaving a trail of destruction in his wake. Homes, school, relationships... attempted ones at least. He wasn’t too good at sticking around. The term man-whore could have been coined with Matty in mind.

Destruction became disaster when he was twenty and one party got completely out of hand, his partner at the time tripped and fell on a marble flight of stairs, splitting their head open and passing away four hours later.

He tuned out after that for a while.

Parties may have been his thing, but they were where he lost himself, intoxicated and drug fuelled, out all night long and barely ever sleeping.

It took a couple of years to find himself again. With the help of a few people he’d known during primary school that he happened to bump into again.

Now’s he’s back to full positivity, spending his days organising amazing parties for people, adults and children alike; spending his nights hopping in and out of strangers beds —- so maybe not full positivity. He doesn’t have it in him just yet to move on from what happened, at least not with his heart.

WANTED CONNECTIONS.

- primary school friends that helped him out. - fwb/hook-ups/one night stands. - party clients. - good friends. - partying friends.

[sgokie2024]

Classic & Iconic #FrozenMoments in time ... British film director, DJ, musician, @The Clash videographer (& co founder of Big Audio Dynamite alongside of Mick Jones), & #rasta #punk historian, Don Letts facing the police on this day in August, 48 years during the Notting Hill Carnival Riots circa 1976. This image by Rocco Macaulay thereafter used for The Clash's 'Black Market Clash' compilation. Read more about the story here https://bit.ly/2Pp3sr7