2,000 Views of The Four Fathers’ Video ‘Grenfell’, Remembering Those Who Died and Calling for Those Responsible to be Held Accountable

The Silent Walk for Grenfell, December 14, 2017 (Photo: Andy Worthington).Please support my work as a reader-funded investigative journalist, commentator and activist.

 

Today is 350 days since the defining UK-based horror story of 2017 — the fire that engulfed Grenfell Tower in north Kensington, in west London, on June 14, 2017, killing 71 people, and leading to the death of a 72nd person this January. You can find profiles of all 72 victims here.

Last summer, I wrote a song about the fire for my band The Four Fathers, lamenting those whose lives were so “needlessly lost”, and calling for those responsible — “those who only count the profit not the human cost” — to be held accountable. We first played it live, at a benefit gig for a housing campaign in Tottenham, in September, recorded it with a German TV crew at the end of October, and released the video in December, and we have continued to play it live across the capital and elsewhere, making a small contribution to the effort to refuse to allow those responsible for the disaster to move on without a serious change in the culture that allowed it to happen. 

That culture — cost-cutting in the search for profits, rather than ensuring the safety of tenants and leaseholders — came from central government, from Kensington and Chelsea Council, from the Kensington and Chelsea Tenant Management Organisation, which had taken over the management of all the borough’s social housing, and from the various contractors involved in the lethal refurbishment of the tower, when its structural integrity was fatally undermined. Read the rest of this entry »

Protest Music Now: My Interview with London Student Magazine Artefact as Lead Singer of The Four Fathers

Mark Quiney, Andy Worthington and Richard Clare of The Four Fathers playing at a protest against the DSEI arms fair in London's Docklands in September 2017.Please support my work as a reader-funded investigative journalist, commentator and activist.

 

A few months ago, I was delighted to be approached by Pavel Troughton, a student at London College of Communication (LCC), part of the University of the Arts London (UAL), who was writing an article about protest music for the student magazine Artefact. I promoted it at the time via social media, but I never got round to commenting on it here, so I thought now would be a good time, as my band The Four Fathers continue to play protest music, and to try to gauge what interest there is, or isn’t, in music that challenges the political realities of modern life, via the ‘No Social Cleansing in Lewisham’ gigs I’ve been organising, our appearances with bands like the Commie Faggots, who play theatrical singalong protest music, and our recordings, available via Bandcamp.

I met Pavel Troughton at a cafe near my home in Brockley, south east London, and we had a wide-ranging discussion about the role of protest music today, which is of great interest to me, as I grew up at a significant time for protest music, as a teenager in the late 70s and early 80s, not only following punk bands, post-punk bands and the Two-Tone movement, but also drawing on protest music from the 60s and early 70s as well. 

In Margaret Thatcher’s Britain, and with the counter-culture of the 60s and 70s so comparatively recent, it was difficult not to be politicised at that time. Some of the punks pretended to be apolitical, but really that was an affectation. Of course, many musicians only pretended to be political to get laid or get rich (or both), as had also been true in the 60s and early 70s (does anyone really think the colossally materialistic hornbag Mick Jagger genuinely had any interest in being a ‘Street Fighting Man’, for example?), but political engagement and counter-cultural impulses were genuine in this period, and elements of that effortlessly survived into the 90s, when, after Margaret Thatcher’s eventual fall from grace, John Major struggled to maintain control of a country in which dissent was widespread, via the iconoclastic hedonism of the rave scene and the extraordinary pagan and anarchic energy of the road protest movement. For more on the above, feel free to check out my books Stonehenge: Celebration & Subversion and The Battle of the Beanfield, which have chapters on this period in modern British history. Read the rest of this entry »

Protest Music: Forthcoming Gigs by Andy Worthington’s Band The Four Fathers, April to June 2018

The Four Fathers playing at a protest in Walthamstow against the proposed redevelopment of the town square (Photo: Emilie Makin).It’s been some time since I last posted about the activities of my band The Four Fathers, so here’s an update following our most recent appearances — at a protest against the proposed redevelopment of Walthamstow’s main square, on February 24, and as part of the Telegraph Hill Festival, with our friends the Commie Faggots, on March 16, a wonderful and very well attended protest music double bill.

Since I last wrote about the band, people have, we’re glad to note, continued to listen to us on Bandcamp (and we’ve even sold a few CDs!), and our video of ‘Grenfell’, the song I wrote after last June’s entirely preventable fire in west London, in which over 70 people died, has now had nearly 1,650 views on YouTube and Facebook.

We’re planning to record it soon, along with our anti-Brexit anthem, ‘I Want My Country Back (From the People Who Wanted Their Country Back)’, and we’ve also been working on new material — new songs about the history of the counter-culture, and about so-called “affordable” housing, and a positive anthem about solidarity and resistance — and some covers, with Aswad’s ‘Not Satisfied’ inching closer to a public outing. I was also recently interviewed for an article about protest music in Artefact Magazine, produced by students at London College of Communications, following up on another protest music interview, for the Icelandic website, Shouts! Read the rest of this entry »

Nine Months After the Entirely Preventable Grenfell Tower Fire, UN Housing Rapporteur Says UK Government May Have Breached Residents’ Human Rights

The Silent Walk for Grenfell, December 14, 2017 (Photo: Andy Worthington).Please support my work as a reader-funded investigative journalist, commentator and activist.

 

Today, survivors of the Grenfell Tower Fire last June — and supporters from across London —  are taking part in a Silent Walk that begins outside the offices of Kensington and Chelsea Council and ends by the blackened skeleton of the tower, where over 70 people died. The fire should never have happened, but did so because safety standards have been fatally eroded over many years by those responsible for the safety of tenants and leaseholders — central government, local government, management companies that have taken over the management of swathes of social housing, and contractors.

For me, the fire was the defining moment of 2017, and in summer I wrote a song about it, remembering those whose lives were “so needlessly lost”, and calling for ”those who only count the profit not the human cost” to be held accountable. Three members of my band The Four Fathers — myself, Richard Clare and Mark Quiney, accompanied by my son Tyler beatboxing — were recorded playing the song by a German film crew in autumn. We released it as a video in December, and I’m pleased to note that it currently has nearly 1,500 views on YouTube (posted below) and on Facebook. Please watch it, and share it if you like it. We hope to make a studio recording soon, and would be delighted to hear from anyone in the Grenfell community who would like to be involved, as we would love it to be used to help the survivors.

Read the rest of this entry »

Over 1,200 Views for The Four Fathers’ ‘Grenfell’ Video, Remembering Those Whose Lives Were Lost, and Calling for Those Responsible to be Held Accountable

The Silent Walk for Grenfell, December 14, 2017 (Photo: Andy Worthington).Last month, at a party of activists in Brooklyn, towards the end of my annual US visit to call for the closure of the prison at Guantánamo Bay on the anniversary of its opening (the 16th anniversary of its opening, on January 11), I played ‘Grenfell’, the song I wrote after an entirely preventable inferno consumed Grenfell Tower, a residential tower block in west London last June, killing 71 people.

I wasn’t sure how much the small audience of human rights activists knew about it — how much news of distant disasters spreads around the globe, despite the notion that technology has made us all inter-connected — but I realised when introducing it that it was, for me, the defining moment of 2017, and I’m sure my passionate rendition of it helped one small corner of Brooklyn to understand.

I wrote ‘Grenfell’ last summer, as my response to the disaster, and played it with my band The Four Fathers for the first time in September at a benefit gig for campaigners in Tottenham, as part of their opposition to the Haringey Development Vehicle (HDV), a deeply unpleasant proposal by Haringey Council to enter into a £2bn deal with the rapacious international property developers Lendlease (the destroyers of Southwark’s Heygate Estate), which would involve the council transferring all its social housing to the HDV, with the ensuing destruction of entire estates, and their replacement with new private housing, from which most of the existing tenants would almost certainly be excluded. Read the rest of this entry »

Shouts Interview: Andy Worthington of The Four Fathers Discusses the Importance of Protest Music with Halldór Bjarnason

The Four Fathers at Lewisham People's Day, July 2017 (Collaged photo by Dot Young).Check out The Four Fathers’ new album, ‘How Much Is A Life Worth?’ here.

Last month, I was delighted to be approached by Halldór Bjarnason, an Icelandic journalist and musician, asking if he could interview me for his website, Shouts: Music from the Rooftops!, which features interviews with musicians who make political music, including Andy White, from Belfast, Yuca Brava, “a political rapcore band from Puerto Rico”, War On Women, a feminist punk band from Baltimore, and Keyz, a 20-year old rapper from Sudan. The interview is here, and is cross-posted below.

As I noted when I posted the link to the interview on Facebook last night, the “questions, about my band The Four Fathers, and my songwriting, were very interesting — about how we got together, why we perform protest music, and whether I think there’s an audience for protest music these days.”

Introducing the interview, Halldór, noting that I am both a journalist and am musician, wrote that journalists have a responsibility to be voices for the voiceless, to hold power to account, and to be “courageous in seeking the truth.” He also noted that “[m]usicians do not bear the same responsibility exactly, although it can be argued they have a powerful voice” that often has an international reach. He also noted that, although some musicians do not manifest a “socially conscious message,” because they believe in creating music based on their emotions, “Others are more explicit in their lyrics or performance and send a strong message of protest out into the ethos in every single song,” adding, “The Four Fathers are of the latter type.”

My thanks to Halldór for taking the time to interview me, and I hope you have time to read the interview, and will check out our music if you haven’t already heard it. Read the rest of this entry »

Grenfell, Six Months On: The Four Fathers’ New Song Remembering Those Who Lost Their Lives and Calling for Those Responsible to be Held Accountable

A screenshot from the video of The Four Fathers performing 'Grenfell' - with added titles.Before June 14 this year, anyone reflecting on the skyline of London would think about the Shard, the Gherkin, One Canada Square, the ostentatious towers of the face of modern capitalism; on the morning of June 14, however, a new vision of a tower was seared into the nation’s memory — the charred, still-smoking remains of Grenfell Tower, a 24-storey residential tower block in North Kensington, in west London, consumed in an overnight inferno with the loss of 71 lives.

The Grenfell Tower fire was entirely preventable. Designed so that each flat would be able to withstand fire until the emergency services arrived, the tower’s structural integrity was destroyed when it was given new cladding — through holes made in the body of the tower, through the use of flammable cladding to save money, and through the gaps behind the cladding that facilitated the extraordinarily swift spread of the fire. At every level, it seems clear — central government, local government, the devolved management responsible for Kensington & Chelsea’s social housing, and the various contractors involved in maintenance and refurbishment — safety standards were eroded or done away with completely,

When I wrote about the fire just two days later, I was deeply shocked to discover that the disaster had been foretold by residents in the Grenfell Action Group, who had stated in a post in November 2016, “It is a truly terrifying thought but the Grenfell Action Group firmly believe that only a catastrophic event will expose the ineptitude and incompetence of our landlord, the  KCTMO [Kensington & Chelsea Tenant Management Organisation], and bring an end to the dangerous living conditions and neglect of health and safety legislation that they inflict upon their tenants and leaseholders. We believe that the KCTMO are an evil, unprincipled, mini-mafia who have no business to be charged with the responsibility of  looking after the every day management of large scale social housing estates and that their sordid collusion with the RBKC Council is a recipe for a future major disaster.” Read the rest of this entry »

How Much Is A Life Worth? New Album Released Today by The Four Fathers, London Journalist and Activist Andy Worthington’s Band

The cover of The Four Fathers' new album, 'How Much Is A Life Worth?'I’m delighted to announce that today my band The Four Fathers are releasing our second album, How Much Is A Life Worth? via Bandcamp, where you can buy it on CD (which can be sent anywhere in the world), or as a download (either the whole album, or individual tracks). The CD costs £8 (about $10.67), plus postage and packing, while the download of the album costs £5 (about $6.67), with individual tracks available for $1 (about $1.33). These are the minimum prices, but you can always pay more if you want to provide us with extra financial support, to help us recoup the costs of recording and production.

The album features ten original rock and roots reggae songs — eight written by me, as lead singer and rhythm guitarist, and two written by lead guitarist Richard Clare. It follows the release in 2015 of the band’s first album, ‘Love and War,’ and continues to demonstrate a commitment to political issues, with six of the album’s ten songs being protest songs. The band also features Brendan Horstead on drums and percussion, Andrew Fifield on flute and harmonica, and Louis Sills-Clare on bass (replaced after the album was recorded by current bassist Mark Quiney).

Followers of the band on Bandcamp — or those who have seen us live — will already know some of these songs, as six of them have previously been released online, although all of them have now been slightly remastered. Those songs are, in order of release, ‘Close Guantánamo’ (used for the ‘Close Guantánamo’ campaign that I run), ‘Dreamers’ (a song about friendship, written for a friend’s 50th birthday), live favourites ’Riot’ (about austerity and the need for social and economic justice) and ‘London’ (a lament for how the capital’s vibrancy in the 80s and 90s has been destroyed by housing greed), ‘She’s Back’ (Richard’s song about Pussy Riot) and ‘Equal Rights And Justice For All’ (my celebration of habeas corpus, which always gets a laugh when I say live that no set is really complete without a song about habeas corpus). Read the rest of this entry »

‘No Social Cleansing in Lewisham’: After Success of Gig in Deptford on Nov. 12, Campaigners Plan to Stage Events in Other Boroughs

No Social Cleansing in Lewisham! A logo for the campaign made by Lilah Francis of the Achilles Street Stop and Listen Campaign.Please support my work as a reader-funded investigative journalist, commentator and activist.

 

It was hard to move in the legendary music pub The Birds Nest in Deptford on Sunday night. I’d arranged a benefit gig there — also intended as a consciousness-raising event, and an opportunity for all kinds of different campaigners to meet — under the umbrella heading, ‘No Social Cleansing in Lewisham’, and it had proved to be so popular that the place was rammed, with sets from the acclaimed spoken word artist Potent Whisper, my band The Four Fathers, playing punky political rock and roots reggae, the theatrical singalong politics of the Commie Faggots, the talented Southwark-based rapper Asher Baker, Deptford spoken word artist Agman Gora passionately tackling current crises, the massed voices of the Strawberry Thieves Socialist Choir, and the ukulele-wielding women of Ukadelix, with their wonderful vocal harmonies. Check out all my photos here.

I organised the event because I’d become aware that the plague of modern London — social cleansing by, predominantly, Labour boroughs — was starting to make its baleful presence felt in the borough of Lewisham, where I live, in south east London. This is not to say that Lewisham had previously been impervious to this greedy, class-based curse. The monstrous Lewisham Gateway development in the heart of the borough had begun with the destruction of a council estate, the Sundermead Estate, and the council is also currently involved in the long-running destruction of two estates on the border with Greenwich, Heathside and the wonderfully Brutalist Lethbridge Estate (which I’ll need to write about soon, as I can find absolutely no criticism of the estate’s destruction online, and very few photos), as well as demolishing the extraordinary Excalibur Estate of post-war prefabs high in the back streets of Catford.

The Four Fathers playing at 'No Social Cleansing in Lewisham' at the Birds Nest pub in Deptford on November 12, 2017.However, compared to its rapacious neighbour, Southwark, Lewisham is not yet a fully paid-up member of the Premier League of social cleansers. Lewisham’s biggest imminent project is the redevelopment of Convoys Wharf, a historically significant wharf on Deptford’s shoreline. This insulting effort to recreate Dubai at the end of Deptford High Street on the site of Henry VIII’s great dockyard is profoundly disappointing, but it doesn’t involve the destruction of people’s homes, whereas Southwark Council, at the Heygate Estate, working with the Australian-based international property developer Lendlease, has destroyed an estate of 1,034 socially rented homes, replacing them with 2,704 new homes, but with only 82 for social rent, and is currently undertaking similar destruction on the Aylesbury Estate, one of Europe’s biggest council estates, with Notting Hill Homes, a former social housing provider that has eagerly responded to government cuts by becoming an enthusiastic private developer. Read the rest of this entry »

No Social Cleansing in Lewisham! Fundraiser for Tidemill and Achilles Street Campaigns with Potent Whisper, The Four Fathers, Commie Faggots at the Birds Nest, Nov. 12

The poster for 'No Social Cleansing in Lewisham' at the Birds Nest in Deptford on November 12, 2017.

Check out the Facebook event page here — for ‘No Social Cleansing in Lewisham!’ at the Birds Nest, in Deptford, London SE8, on Sunday November 12 from 6-11pm, with Potent Whisper, the Four Fathers, the Commie Faggots, Asher Baker, The Wiz-RD and Ukadelix.

Followers of London’s housing crisis — and, particularly, the destruction of social housing estates and their replacement with new, private developments — will know, from the experiences of residents and leaseholders on the Heygate Estate in Walworth, in the London Borough of Southwark, that councils and developers talk sweetly about the right to return for tenants, and about adequately compensating leaseholders, but that in the end both groups are socially cleansed out of their homes, and often out of their boroughs, and even out of London completely, as they are excluded from the new properties built to profit the developers, and to appeal to investors (and largely, it seems, to foreign investors).

The biggest culprit to date has been Southwark Council, which is currently engaged in another huge act of social cleansing on the Aylesbury Estate, also in Walworth, but there have been other notorious examples — the West Hendon Estate, for example, Woodberry Down in Hackney and Robin Hood Gardens in Tower Hamlets — and other councils are queuing up to engage in their own social cleansing. Lambeth Council plans to demolish two well-regarded estates, Cressingham Gardens and Central Hill, and Haringey Council is currently trying to enter into a 50/50 partnership with the rapacious international property developer Lendlease (the butchers of the Heygate Estate) in a £2bn deal that will see the council handing over control of all its social housing, with plans for the destruction of several estates.

Until recently, Lewisham has not figured prominently in this story, having largely bypassed social cleansing issues by working with developers on brownfield sites. But at the end of September, Lewisham councillors approved the destruction of Old Tidemill Garden and a block of social housing on Reginald Road, in Deptford, and the council is also intending to demolish blocks of flats and shops on and around Achilles Street in New Cross. See the Tidemill Facebook page, the Achilles Street Facebook page, and also see my article, Social Cleansing and the Destruction of Council Estates Exposed at Screening of ‘Dispossession’ by Endangered New Cross Residents. Read the rest of this entry »

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Andy Worthington

Investigative journalist, author, campaigner, commentator and public speaker. Recognized as an authority on Guantánamo and the “war on terror.” Co-founder, Close Guantánamo, co-director, We Stand With Shaker. Also, singer and songwriter (The Four Fathers) and photographer.
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