Rioting: The Unbeatable High (With Reference to Current Events in France)

For a note on these images see [1] below

 

 

Probably there are quite a few songs about rioting and I suppose they might be classified as a sub-genre of what are known as protest songs (i.e., songs that in some way call for social change). 

 

Here, however, I wish to discuss only two: White Riot by the Clash [2] and Riot by the Dead Kennedys [3] ...   

 

 

A Riot of My Own

 

'White Riot' was released as the English punk band's first single in March 1977 (an earlier demo version was also included on their self-titled debut album released the following month). The song was written after singer Joe Strummer and bass player Paul Simonon were caught up in rioting at the Notting Hill Carnival in 1976. 

 

Ironically, some people misinterpreted the title as advocating race war, whereas, actually, the band were suggesting that white working class kids ignore what they were being taught in school and learn from black youth about the necessity of political violence (i.e., throwing a few bricks).     

 

According to Strummer, the oppressed, the alienated, and the disadvantaged had a right (and a duty) to oppose the System and its heavy-handed policing; to demand a riot of their own and seize some of the power held in the hands of "the people rich enough to buy it". It would be cowardly, suggested the bourgeois punk rebel in his Brigatte Rosse T-shirt, to passively accept one's position and refuse to rise up and fight back.  

 

There is no denying that 'White Riot' is a great single and call to arms; one which, as Strummer rightly says, knocks spots off all the other stuff on the radio at that time. However, it's also, of course, laughably naive in its political posturing and massively irresponsible in its advocacy of mindless violence [4]. To his credit, guitarist Mick Jones would later refuse to perform the song, considering it crude.     

 

 

Playing Right Into Their Hands

 

Whilst he's undoubtedly a bit of a jerk himself, Jello Biafra is a lot smarter and politically astute than Joe Strummer. He's also a superior lyricist. So, no surprise that the Dead Kennedys track 'Riot' is a far more sophisticated take on the subject.

 

Acknowledging the visceral excitement involved in smashing windows, torching cars, looting stores, throwing bricks at the police, etc., Biafra is nevertheless quick to point out that rioters inevitably play into the hands of the authorities and end by burning their own neighbourhoods to the ground. 

 

The song closes with the repeated refrain: "Tomorrow you're homeless / Tonight it's a blast", the latter speaker sounding increasingly distraught as they slowly realise the consequences of their actions.    

 

Perhaps those rioting in France at the moment [5] might like to consider this ... 

 

 

Notes

 

[1] The picture of charging police officers, by Rocco Macauly, was taken during a riot at the Notting Hill Carnival in 1976. It featured on the back cover of the eponymous debut album by The Clash (CBS 1977). 

      As for the grainy black-and-white image of a row of burning police cars, this was taken in San Francisco in May 1979 during the so-called White Night Riots; a series of violent events sparked by the lenient sentencing of (former policeman) Dan White for the assassinations of George Moscone and Harvey Milk. It featured on the front cover of the Dead Kennedys' debut album Fresh Fruit for Rotting Vegetables (Cherry Red Records, 1980).

 

[2] The Clash, 'White Riot', single released March 1977 (CBS): click here. Or, alternatively, click here to listen to the album version and watch the official video (with footage filmed by Don Letts).  

 

[3] Dead Kennedys, 'Riot', from the album Plastic Surgery Disasters, (Alternative Tentacles, 1982): click here.  For a live performance of the song from 1983, click here.

 

[4] Strummer's terroristic fascination with political violence is also displayed in the B-side of 'White Riot' on a track called '1977'. In this charming punk ditty in which he announces the death of the rock 'n' roll establishment - "No Elvis, Beatles or the Rolling Stones, in 1977" - he also fantasises how it won't be so lucky to be rich when there's "Sten guns in Knightsbridge".

 

[5] On 27 June 2023, Nahel Merzouk, a 17-year-old French youth of Maghrebi Algerian descent, who was driving without licence, was shot and killed by a police officer following a car chase in Nanterre, a suburb of Paris. Despite the officer who shot Merzouk being arrested and charged on suspicion of 'voluntary homicide by a person in authority', the incident led to widespread protests and riots in which symbols of the state such as town halls, schools, and police stations - as well as retail outlets - were attacked and over a 1000 vehicles set on fire.

 

Collaboration Horizontale (With Reference to the Case of Arletty)

Arletty (1898-1992)

Mon cœur est français, mais mon cul est international!

Sleeping with the enemy or, as the French like to call it, collaboration horizontale, is invariably a problem when a country is under foreign occupation.

For despite all the horrors of war, romantic relationships and brief sexual encounters are bound to occur between naturally flirtatious young women obliged to think with their hips during desperate times and young soldiers flushed with victory, but feeling lonely and a long way from home - particularly if the latter happen to be highly cultured German officers, such as Hans Jürgen Soehring, with their stylish uniforms and impeccable manners.

As Elaine Benes would say, they're just so good looking ...

Thus, I can entirely sympathise with those thousands of women throughout France who collaborated in this manner and think the public humiliation and violence they were subject to after the War, at the hands of their own countrymen, despicable and deplorable.*

Women, such as Léonie Marie Julie Bathiat, the actress, singer, and fashion model known professionally as Arletty (adapted from the name of a character in a story by Guy de Maupassant). For she too was found guilty of having an affair with a German officer during the Occupation, officially branded a traitor, and imprisoned for 18 months (the authorities believing they had to make an example of her).

I'm delighted to note, however, that rather than regret her illicit liason and apologise, Arletty told those who judged her: My heart is French, but my arse is international!

*Note: Heaven knows I'm not a Christian, but on this point I'm with Jesus: Let he who is without sin shave the first head and judge not, lest ye be judged. It's never honourable to act with vengeance, spite, or malice in one's heart.

Reflections after the Atrocity in Nice

Marianne à bout de souffle face à la terreur ...

swahacartoons.blogspot.co.uk 

After Nice, a lot of people are calling for something to be done beyond putting out the candles and teddy bears once more or creating caring hashtags on social media; some are even calling for an act of reprisal not just against the Islamists, but the wider Muslim community itself. 

Such an act would, of course, not only violate international law, but effectively mark the end of how we in the West morally define ourselves; as Christians who forgive and turn the other cheek; as liberals who subscribe to notions of due process and human rights; as modern individuals who pride themselves on being such and having abandoned ancient notions of collective responsibility and collective punishment.  

This has nothing to do with Islam means, among other things, that we - as ideal individualists - find it barbarous to associate causal responsibility and guilt with an impersonal and collective form of agency. We want to hold individual terrorists to account, not blame an entire religion, because we need to believe in the autonomous subject who exercises moral choice and free will.  

But perhaps we should examine more closely the group mindset of a people who identify (and act) primarily as Muslims, unconditionally submitting to a faith in which God's will matters a whole lot more than free will. This is not to incite hatred or provoke violence. It is merely to raise the crucial question whether a whole community can be held - at least in part - responsible for the harms produced by particular members. It seems unfair, but that doesn't necessarily means it's illegitimate.

I have a Jewish friend, for example, who insists that it's entirely appropriate to hold all Germans responsible for the Holocaust, not just those who were high-ranking and fanatic members of the Nazi Party. Like Karl Jaspers, he's not really concerned with who did what, but with assigning Kollectivschuld on the basis of what one is.*

And, like Jaspers, he argues that if you belong to a group - be it a race, a class, or a religion - that is committing atrocities in your presence or with your knowledge - though not necessarily with your approval or support - then you too are tainted by association and, at some (metaphysical) level, responsible.  

I have to admit, the above argument is deeply troubling to me; where can it lead other than to a principle of Sippenhaft, i.e. group liability and brutal collective punishment? I know that some philosophers argue that punishment might take the relatively mild form of reducing the strength of group bonds or de-institutionalizing group norms, but I also know that it can become terroristic in its own right and lead to acts of genocide.

So ... what to do then, after Nice?

Well, I don't think we should simply mourn and then carry on regardless. And I certainly don't think we should resign or even accustom ourselves to such events. If we choose to reaffirm the values of the Enlightenment that France embodies - including, let us not forget, laïcité - then let us do so actively ...        

* See: Karl Jaspers, The Question of German Guilt, trans. by E. B. Ashton, (Fordham University Press, 2001). 

Les Zazous

Pretty much everyone has heard of the jazz-loving teens in Hitler's Germany known as the Swing Youth, who developed a subversive Anglo-American sensibility and style in diametric opposition to National Socialism. Likewise, those who are interested in this period and in subcultural and counter-cultural forms of resistance to the Third Reich are probably also familiar with the Edelweiss Pirates. But far less well known are the French equivalent of die Swingjugend, called les Zazous.

The Zazous were a group of mostly Parisian based hipsters living under German occupation during World War II who chose to defy their Nazi overlords and display their nonconformity by wearing outlandish clothes, carrying umbrellas, growing their hair long, and dancing to jazz, swing, and bebop.

Whilst boys favoured wearing oversized, often knee-length box jackets, peg leg trousers, and suede brothel creepers, the girls wore short pleated skirts, striped stockings and shoes with thick wooden soles. Often the girls would bleach their hair, worn in long curls, and paint their lips bright red. Both sexes also had a penchant for sunglasses, whatever the weather.

When not hanging about on the terrace of the Pam Pam café drinking cocktails, the Zazous often frequented vegetarian restaurants and ordered grated carrot salads. If there's a subtle political gesture in this choice of lunch, I have to confess it escapes me. But their decision to voluntarily wear the yellow star of David, in solidarity with French Jews, was certainly an overt and courageous sign of dissident behaviour in a country where anti-Semitism was widespread and silent complicity with the Nazis (if not active collaboration) was shamefully often the norm.  

And for this, one cannot help affording them great affection and respect. Perhaps they didn't risk their lives in the same manner as their German counterparts, but they were nevertheless detested and targeted by the Nazis and members of the Vichy government who saw them as a threat to the moral well-being of the nation.

Articles published by the authorities at the time, branded them as decadent, work-shy, anti-patriotic egoists and, after 1942, les Zazous were often attacked and beaten on the streets by pro-fascist groups, or arrested and sent to labour in the fields and farms of the French countryside. 

Disappointingly - though not surprisingly - members of the official French Resistance movement had little time for the Zazous either and afforded them no support or protection. In fact, the communists and other ultra-leftists dismissed the Zazous in much the same terms and for many of the same reasons as the fascists.

But, despite such hostility from both ends of the political spectrum, they still continued to dance, to dress-up, and make their daring and dandyish revolt into style.