Peterloo massacre remembered in Manchester, England


This 16 August 2015 video from Manchester, England is called Maxine Peake Reads Shelley‘s Masque of Anarchy for Peterloo Massacre Memorial.

From daily The Morning Star in Britain:

Hundreds gather to mark 1819 Peterloo Massacre

Monday 17th August 2015

HUNDREDS of people gathered in central Manchester yesterday to mark the 196th anniversary of the Peterloo Massacre.

On August 16 1819, 60,000 people from Manchester and its surrounding towns gathered in St Peter’s Square in the city to hear radical speakers calling for democracy.

The crowd was charged by sabre-wielding cavalry who slaughtered 15 people and injured between 400 and 700.

The outrage sparked protests across Britain, resulting in a vicious and draconian clampdown on pubic gatherings, which were outlawed.

In 2009 five friends got together to walk into Manchester to commemorate the anniversary of the event. It has been held ever since.

Sixty people were present in 2011, this year it was well over 600.

The commemoration included presentations from actors Maxine Peake and John Henshaw.

Maxine read versus from Shelley’s epic poem Masque Of Anarchy, inspired by the massacre.

It was named Peterloo after Saint Peter’s Square and the Battle of Waterloo a few years earlier.

Yesterday’s event included songs from the open-voice choir.

Banners were carried, mirroring those original demonstrations bearing words such as “equal representation or death.”

Among those taking part were two of the founders from 2009, Martin Gittens and Bob Ashworth.

Mr Ashworth said: “Martin had the idea seven years ago when five of us went to the site of the massacre. That was in 2009 and it’s grown from that. By 2019 we hope there will be tens of thousands.”

British poetry against government policies


This video from England says about itself:

Coleridge Lectures 2015: Andrew Kelly

17 April 2015

Andrew Kelly: Animals ‘in the Fraternity of universal Nature’

In his utopian community Pantisocracy, Coleridge believed that animals were to be brothers and sisters ‘in the Fraternity of universal Nature’. Animal rights and animal welfare were debated widely amongst the Romantics and remain controversial issues today. Andrew Kelly looks at the views of the Romantics and current campaigns for animals.

Part of Coleridge Lectures 2015: Radical Green. In association with Bristol 2015 European Green Capital and Cabot Institute.

By Jody Porter in Britain:

New Boots and Pantisocracies

Thursday 13th August 2015

Jody Porter talks to ANDY JACKSON and W N HERBERT about the success of their post-election poetry project

THE next few weeks will see a radical web-based poetry project reach its conclusion, with the posting of the final poems out of a planned 100 on the New Boots and Pantisocracies website.

The project is curated by poets W N Herbert and Andy Jackson and takes the theme of “the first 100 days,” which has become something of a post-election meme in recent years.

The website has published poems initially reflecting on the post-election political landscape before moving on to document the state of British society in the last few months since the tumultuous general election. Poets involved include George Szirtes, Helen Mort, Ian McMillan, Roddy Lumsden, Sheenagh Pugh and Sean O’Brien, each one responding to what the curators describe as ”the new unrealpolitik.”

The name of the project brings together the concept of the pantisocracy (where all govern equally) as proposed by 18th-century poets Coleridge and Southey, with the 1977 Ian Dury LP New Boots and Panties, a quintessentially British record, rich in blue collar poetry and musical variation.

This music video from Ireland is called Ian Dury & The Blockheads / Blockheads “Live” in Belfast 03/02/79.

W N Herbert says: “The idea for the blog sprang from an online exchange between myself and my publisher Andy Ching.

The phrase just arose, and the way it bounced Dury’s ripe knowingness off Southey and Coleridge’s early idealism suddenly seemed to make sense of our current bewilderment. It was, we realised, one of those rare spontaneous puns you look again at and think, ‘What can I do with that?’”

Jackson says of the project: “There was a sense of disbelief after the election result came in. A Tory majority without the limited restraints placed on it by its former coalition partners spelt bad news for the arts, education, health, welfare and many other areas traditionally sacrificed to austerity. Poets associated with the project have responded in various ways, looking at the benefits system, human rights legislation, TTIP, Scottish independence and many other topics.”

Co-curator Herbert added: “there’s plenty of anger and bewilderment, but these are lines of poetry rather than unwavering expressions of a party line, and their energy comes from a collision of the verbal with the visceral, a recharging of language even as it is being emptied by our political masters and their envious opposites.”

The initial aim — 100 poems in 100 days — has been a success, and the curators are considering the next steps. Herbert explains: “The plan is to take New Boots into the live arena, organising readings of contributors as we’ve done with previous projects. The other part of the plan is, we can now reveal, to continue past the 100 days as long as the contributors’ political and poetical will is there and until everyone interested in writing something has done so.” Readers can therefore expect an incendiary mix of heads-up poetry in a town near them in the near future.

Jackson concludes: “Poetry has taken a stand in a way that it is rarely afforded the chance to — not just via a few isolated voices on lonely hillsides and street corners, but collectively and loudly. We hope that this project demonstrates that the radical art of the polemic in poetic form still thrives, and that poetry has a place in both reflecting society and politics, and rejecting it where it cannot accept the way things are.”

New Boots and Pantisocracies can be viewed here.

Did William Shakespeare smoke marihuana?


This video from Britain is called Shakespeare’s Mother: The Secret Life of a Tudor Woman. BBC Documentary 2015.

If William Shakespeare did indeed smoke marihuana, then he was lucky not to live in South Carolina in the USA in 2015 …

From daily The Independent in Britain:

Was William Shakespeare high when he penned his plays?

Pipes with cannabis residue were found in the Bard’s garden

Francis Thackeray

Saturday 08 August 2015

State-of-the-art forensic technology from South Africa has been used to try and unravel the mystery of what was smoked in tobacco pipes found in the Stratford-upon-Avon garden of William Shakespeare.

Residue from clay tobacco pipes more than 400 years old from the playwright’s garden were analysed in Pretoria using a sophisticated technique called gas chromatography mass spectrometry.

Chemicals from pipe bowls and stems which had been excavated from Shakespeare‘s garden and adjacent areas were identified and quantified during the forensic study. The artefacts for the study were on loan from the Shakespeare Birthplace Trust.

The gas technique is very sensitive to residues that can be preserved in pipes even if they had been smoked 400 years ago.

What were they smoking?

There were several kinds of tobacco in the 17th century, including the North American Nicotiana (from which we get nicotine), and cocaine (Erythroxylum), which is obtained from Peruvian coca leaves.

It has been claimed that Sir Francis Drake may have brought coca leaves to England after his visit to Peru, just as Sir Walter Raleigh had brought “tobacco leaves” (Nicotiana) from Virginia in North America.

In a recent issue of a Country Life magazine, Mark Griffiths has stimulated great interest in John Gerard’s Herbal, published in 1597 as a botanical book which includes engraved images of several people in the frontispiece. One of them (cited as “The Fourth Man”) is identified by Griffiths as William Shakespeare, but this identification is questionable.

Possibly, the engraving represents Sir Francis Drake, who knew Gerard.

Gerard’s Herbal refers to various kinds of “tobacco” introduced to Europe by Drake and Raleigh in the days of Shakespeare in Elizabethan England.

There certainly is a link between Drake and plants from the New World, notably corn, the potato and “tobacco”. Furthermore, one can associate Raleigh with the introduction of “tobacco” to Europe from North America (notably in the context of the tobacco plant called Nicotiana, from Virginia and elsewhere).

What we found

There was unquestionable evidence for the smoking of coca leaves in early 17th century England, based on chemical evidence from two pipes in the Stratford-upon-Avon area.

Neither of the pipes with cocaine came from Shakepeare’s garden. But four of the pipes with cannabis did.

Results of this study (including 24 pipe fragments) indicated cannabis in eight samples, nicotine in at least one sample, and in two samples definite evidence for Peruvian cocaine from coca leaves.

Shakespeare may have been aware of the deleterious effects of cocaine as a strange compound. Possibly, he preferred cannabis as a weed with mind-stimulating properties.

These suggestions are based on the following literary indications. In Sonnet 76, Shakespeare writes about “invention in a noted weed”. This can be interpreted to mean that Shakespeare was willing to use “weed” (cannabis as a kind of tobacco) for creative writing (“invention”).

In the same sonnet it appears that he would prefer not to be associated with “compounds strange”, which can be interpreted, at least potentially, to mean “strange drugs” (possibly cocaine).

Sonnet 76 may relate to complex wordplay relating in part to drugs (compounds and “weed”), and in part to a style of writing, associated with clothing (“weeds”) and literary compounds (words combined to form one, as in the case of the word “Philsides” from Philip Sidney).

Was Shakespeare high?

Chemical analyses of residues in early 17th-century clay “tobacco pipes” have confirmed that a diversity of plants was smoked in Europe. Literary analyses and chemical science can be mutually beneficial, bringing the arts and the sciences together in an effort to better understand Shakespeare and his contemporaries.

This has also begged the question whether the plays of Shakespeare were performed in Elizabethan England in a smoke-filled haze?

One can well imagine the scenario in which Shakespeare performed his plays in the court of Queen Elizabeth, in the company of Drake, Raleigh and others who smoked clay pipes filled with “tobacco”.

**

This piece is based on an article published in the South African Journal of Science in July 2015.

Francis Thackeray is Phillip Tobias Chair in Palaeoanthropology, Evolutionary Studies Institute at University of the Witwatersrand.

This article was originally published on The Conversation. Read the original article.

United States ultra-conservative judge Scalia, animated cartoon


This video by Mark Fiore from the USA says about itself:

Scalia’s Poetry Slam

8 July 2015

It seems only fitting to use Antonin Scalia’s own words for a poetry slam, since the justice’s snarky dissents are filled with so many poetic gems. The Affordable Care Act victory was followed quickly by the same-sex marriage win, and Scalia’s dissents have become increasingly irate and colorful. You can read more on my site.

British ranting poetry, 1980-2015


This video from Britain says about itself:

Attila The Stockbroker – Airstrip One (Official Video, 1984)

Attila the Stockbroker (born John Baine, 21 October 1957, Southwick, Sussex, England) is a punk poet, and a folk punk musician and songwriter. He performs solo and as the leader of the band Barnstormer. He describes himself as a “sharp tongued, high energy social surrealist poet and songwriter.” He has performed over 2,700 concerts, published six books of poems, and released 30+ recordings (CDs, LPs and singles).

By Roxanne Escobales in Britain:

Ranting poets stand their political ground

Thursday 25th june 2015

Stand Up and Spit: the Main Event
Camden Centre, London WC1
5/5

If the only thing you know about ranting poetry in the early 1980s is Rick from the TV show, The Young Ones, it’s time to march yourself out to the yard and shoot yourself.

You remember Rick — he’s the self-proclaimed “People’s Poet” and adorably unlikeable character who wears badges of dissent pinned onto his suitably black jacket and pretends to be an anarchist.

I reckon readers of this fine publication know better than to think the ranters were of the same ilk as the puffed-ego wannabe that was Rick hiding behind his stuck-on badges.

Sure, ranters wore badges. Thing is, they haven’t taken them off. Unlike Rick it was no folly of youth, no lark for them.

They marched the march, arming themselves with the only instrument that was truly theirs — their voice — to protest against the misuse of power as they saw it. To this day they still fight the good fight, over 30 years since the mostly working class, white ranting youths and marginalised young West Indian dub poets found they were more alike than they were different.

Turns out that not much has changed since they were younger and slimmer. The government always gets elected back in. The poems and the poets still pack a punch that one cannot duck. The truths they speak remain true, and the messages have travelled through the years as fresh and as relatable as the first time they were performed — even if the poets themselves have grown distinguishably greyer.

Here’s the scene. A publicly funded civic centre, a stage with a single microphone in the centre, a simple black backdrop.

No fancy projections or banners to distract one’s attention. This was the original DIY generation, sticking together fanzines and starting indpendent record labels.

The audience queued up in front of the venue — old rockers, teenagers, ladies with dreadlocks, pensioners, 20-somethings, black, white, blue, red — every stripe accounted for.

Who else could compere a night like this but Mark Thomas. Witty, dynamic and unapologetically brazen, he warmed the crowd with his charismatic tales of travelling round the country building a manifesto or talking about his 100 acts of dissent, which included imagining the end of the monarchy, and encouraging German tourists in front of Buckingham Palace to do the same (illegal under the Felony Treason Act of 1848, an anachronistic law still on the books).

The line-up could read like a well-worn, hand-written, photocopied flyer. Tim Wells (the man behind Stand Up and Spit), Little Dave (now a healthcare worker), Ginger John (now bald and not so ginger), Janine Booth (trade unionist who still hates the Tories), Attila the Stockbroker (still stockbroking in any squat that needs a bard), John Hegley (with his ukelele and geeky love of facts), Linton Kwesi Johnson (LKJ, the elder statesman of dub poetry), Emily Harrison (not technically a ranter, as she was born in 1992), Joolz (“Ranting poetry was invented in my sitting room in Bradford”), John Cooper Clarke (no comment needed) and Porky the Poet (that’s Phill Jupitus to you).

While the ranting poets are known for their strident voices of political dissent, they didn’t bash the audience over the head with the sledgehammer of ideology, although they did deliver this in measures.

These are poets after all, humans highly attuned to humanity. Humour, tragedy, love, mental health — all made an appearance.

Wells’s I like My Flag I Do, written when he was a teenager, set a youthful tone pointing out the hypocrisy of the British ruling classes. Little Dave, who’s Being Short can be found on the seminal album The Oi! Of Sex, wrote compassionately about the challenges of being a nurse. Ginger John used absurdity to great comical effect while describing the life of someone on the outside looking in and scratching his head in wonder — his poem about making excuses as to why he wasn’t able to sign on on time took one surreal and hilarious turn after another.

Booth, a ranter who took a decades-long break to become a trade unionist and campaigner for disability rights, got the audience chanting along to her Mostly Hating Tories from her new collection of poetry by the same title.

The spirit of the late original ranter, Stephen “Seething” Wells, was kept alive by Attila the Stockbroker who read Wells’s Roger and who also brought the audience to tears with his poem about his step-father.

Seething Wells’s partner in crime Joolz delivered grave and ponderous observations so heavy the words plunked into our ears like rocks into a still lake. Her poem about watching the prostitutes outside her flat get exploited by the male punters delivered a line that could be a slogan for the ranting and dub poetry scenes: “I’m not supposed to talk about this./I’m not supposed to notice.”

Clarke had everyone in stitches and in awe at how he could have such cutting insight into the human condition and make it all rhyme and scan at the same time. His banter between poems is equally entertaining and it’s difficult to separate the two, although Get Off Drugs, You Fat Fuck pretty much sums it up.

Porky the Poet managed to rescue the difficult spot of having to follow Clarke, which he realised, he couldn’t. Like a true pro he played this up by described himself as “like that bloke who had to come after The Beatles on the Ed Sullivan Show.”

Upcoming talent was represented by Harrison, who writes about her mental health issues with self-effacing grace and humour. “When Your Girlfriend Tells You She’s Bi- But You Soon Find out She Meant Polar” is all you need to know.

If you’re reading this and you didn’t attend, you missed this century’s rarest and most valuable performances by one of the country’s most important living poets.

When LKJ, the definitive voice of British West Indians from the ’70s and ’80s, took the stage — “It was apparent to the black youth of my generation that the police had declared a war on us,” he said as an opener — the audience already knew they would be treated to an unforgettable experience, but they didn’t realise the significance of the venue to him, or to dub poetry.

During his time helping organise the International Book Fair of Radical Black and Third World Books in the Camden Centre, the very hall where this event was taking place, a young Jamaican by the name of Michael Smith read poetry and blew the minds of everyone there at the time.

LKJ understood his audience, a crowd who knew Smith was a commanding Jamaican dub poet in early-’80s Brixton who, at 29, was killed in Kingston, Jamaica, allegedly by political thugs because of his views.

When LKJ began reading Smith’s iconic Mi Cyaan Believe It this was the closest anyone was every going to get to hearing Smith perform himself — LKJ channeled a voice from beyond the grave in the very place where he first heard the poem.

The next Stand Up and Spit event, Crossing Over: The Legacy of Ranting Poetry, a Michael Smith tribute at the Black Cultural Archives in Brixton on Thursday, 25 June. You can find more about the upcoming Stand Up and Spit series of events at: www.speaking-volumes.org.uk/sus/. Tim Wells has been documenting the ranting poetry scene and you can read about it at: standupandspit.wordpress.com/.

See also here.

Poetry International Festival in Rotterdam, the Netherlands


Poetry International Festival in Rotterdam

From the organisers of the Poetry International Festival in Rotterdam, the Netherlands:

From 9 – 13 June, in the Rotterdam Schouwburg, you will be able to encounter poets that embrace the language of the streets, poets that create new languages in the space between existing ones, and poets that call for the end of creative writing altogether. There will be poets that try to keep their words awake, build a new Babel with their sentences, make contracts with clouds, mimic the migration of birds, or deem that Thursday’s child shall be called a liar. With pleasure I invite you to meet them at the opening of the 46th Poetry International Festival Rotterdam.

Reasons to be Cheerful!

Tuesday, 9 June, 8 p.m., in the Rotterdam Schouwburg

With 19 remarkable poets and numerous readings, lectures, master classes and craft talks, two prize ceremonies, the VPRO Academy, translation workshops, garden and roof readings, the Poetry Café, a new language & Art route through Rotterdam’s most noteworthy galleries, and a full film program, the Poetry International Festival Rotterdam celebrates poetry for the 46th time. Under the theme ‘Reasons to be Cheerful,’ the 19 guest poets will open the festival with joy-inspiring work that underscores the power of poetry. Their readings also will be interspersed with music and film that closely complement the poems.

Reserving tickets for ‘Reasons to be Cheerful’ is simple, via the link below. But even if you can’t join us in Rotterdam, you can always experience the Poetry International Festival via our LIVESTREAM. All of the main readings will be livestreamed with subtitles in English, as well as available on-demand on our YouTube channel. Check the online program for more details. We look forward to greeting you on 9 June!

Yours sincerely,

Bas Kwakman,

Poetry International Rotterdam

 

TICKETS


POETS AND PROGRAM 

LIVESTREAM CHANNEL

FESTIVAL APP