My Tram Experience: Racism vs the people

The appalling and shocking views of the woman on the Croydon tramlink have led to controversy over the past week.

The viral video received thousands of hits after being uploaded and rose to prevalence through the trending and sharing of social network users. In a whirlwind domino effect, widespread news outlet took a hold of the piece, broadcast the video, slammed the mother and police were informed.

Now, 34 year old Emma West, whose views about immigrants were extremely racist to say the least, is in police custody and awaiting a trial for her foul and abusive language used to attack other innocent passengers on the rush hour London tram service.

West has been remanded in custody until Tuesday December 6^th, but her comments are much more the subject of debate than the sentencing.

The difficulty of the hearing hangs on the crux of freedom of speech. Whilst I by no means condone the harsh opinions of Ms West (following my own viewing of the video, I sat in a stunned silence for some time), her words are surely safeguarded under human rights acts. Freedom of speech and of opinion are constitutional requirements in this country and it in order to maintain such standards, it would appear the case should be laughed out of court.

And here, the phrase is quite hurtful. Because why should such a case be laughed out of court? In moves to avoid dictatorship, it would be in the interest of all peoples to be able to speak freely without consequence.

However, no law goes untested and restrictions need ensure that freedom is managed and controlled: otherwise, we would all be at liberty to abuse other members of society: and such fragmenting is all too reminiscent of the August riots across the country.

Indeed, Ms West’s misunderstanding and lack of prowess regarding those of foreign origins is probably much more widespread than we would care to admit and the views of racial superiority that were once commonplace are certainly subsurface factors in tensions between different groups.

Of course, there comes a point where such tensions boil over and not only were Ms West’s allegations proof of this, but the fellow passenger who was quickly aggravated by her onslaught adds to our comprehension of the problem. Thankfully, another commuter calmed the retaliator with some speed: for otherwise, the focus of the video may have been overshadowed by a supposedly unprovoked violent attack.

Balancing public protection and freedom of speech comes with a fine line. However, due to the incompatibility of the two, it is common that free speech come first, lest further action and civil unrest take place.

Yet this only leaves malcontent to breed. Won’t somebody please think of the children? One of the more distressing aspects of the video for myself was watching the toddler sat on Ms West’s knees, apparently oblivious to the shouting mother. Either oblivious, or numb to its consistency as a feature in his life. Hopefully, the child is being placed with other family members in order to ensure a much more rounded and happier youth – the difficulties in impoverished London boroughs are known all too well by any city residents.

However, what next for Ms West? Rehabilitation of sorts? Counselling? Social service intervention? Whatever a judge determines is satisfactory course of action to educate the woman of a proper sense of community… even if that is just to keep xenophobic comments to oneself on the public tram.

Nonetheless, this uncomfortable experience is the most daily and frequent occurrence of casual racism. For ‘unlucky’ Emma West, one fast-thinking commuter recorder her, thousands of other people brand and scorn without a comeuppance.

More, do we judge without knowing the facts? Had Ms West had an unfortunate incident with some person of foreign origins herself? Was she drunk or drugged? Is she recently bereaved? Or was it simply a bad day?

Our understanding of such people is key for social unity. Otherwise, we risk widespread riots on repeat. Of all the reasons suggested for the summer riots, this is but one of a never ending list of possibilities. 

Pixie, Young and Foolish.

Pixie burst onto the pop scene in 2009 with lotts of success thanks to some aggressive marketing. Her first two singles hit number one on the UK charts, the debut album Turn It Up remained a fixture in the official album charts for well over a year and she earned a place in the Guinness World Book of Records. In the short interim, she’s launched multiple fashion lines, starred in movies and collaborated with a wide range of musicians and producers.

 

One might expect then that the talented youngster, who has turned herself to so many tasks successfully, would be able to deliver on the difficult second album: having promised a more mature sound and attacked those who branded her a manufactured pop puppet.

Unfortunately, Young, Foolish, Happy comes off as a clichéd attempt to find a niche in what has become a year eclipsed by Brit leading ladies, with the vocal prowess of Adele or sass of Jessie J. The innocent and fun pop of Turn It Up may have been an antidote to the dominating R’n’B Timbaland and synth partying Black Eyed Peas in 2009, but here the album struggles to find momentum or direction.

Take lead single ‘All About Tonight’, which reads much in the same vein as ‘Boys and Girls’. There is little hint of any progression or change, rather Pixie comes across rather unenthused, uninspired and uncommitted in the lack of middle eight, or the continuous need to remind us “It’s all about tonight” at every opportunity, verse or chorus. Follow up ‘What Do You Take Me For?’ only managed to 'make up' for this, at least for the boys, by providing a video of Pixie in tight leather.

This stereotypical pop base really prevents any movement. Cheesy centric ‘Kiss The Stars’, widely rumoured to be the next single, sounds like a track one may expect to here at a 5 year old’s birthday, but then jars with its euphemisms “Get in position: Put your plug in the socket… when you turn it on I can go for hours.” The rather contradictory tone almost dictates that Pixie doesn’t understand the direction of her new release; which is shame, as a reworking of lyrics and experiment with rock or dub influences (popular trends in the charts) may have proffered a much more interesting listen.

Similarly, numbers akin to ‘Perfect’ and ‘Birthday’, both harmless pieces in themselves, are instantly forgettable and commonplace filler material that the album could do without.

Most disappointingly, Pixie promised a more soulful album, and the maturity doesn’t shine through. Lyrics and ideals of her debut actually spoke more meaningfully about the troubles and strife of young love and life: ‘Gravity’ and ‘Broken Arrow’ both exceptional in this respect.

Where Pixie attempts to imitate this, there are glimmers of hope for the album. ‘Bright Lights’ with Tinchy Stryder actually reflects neatly on chart trends this year, speaking of the hopelessness of city life, its pitfalls and problems masked by the luring lights. ‘Dancing On My Own’ equally talks of the struggles of a relationship formed on dreams, but hit by the problems of money and job loss. These tracks connect with the audience for their true to life form and simplicity.

However, the focus on formulaic pop leaves Pixie out in the cold. Perhaps next time, she shouldn’t spread her career so thin, and consolidate efforts into the production of the album. The two very different sounds on Young, Foolish, Happy clash quite horribly and there needed be a greater exploration and development of one particular area. A mediocre album with only a handful of standout tracks and promise, we guess it’ll be another batch of material heavily promoted by sex appeal.

An Obvious Economic Announcement...

Never one to point out the obvious at rather a late stage in proceedings, Prime Minister David Cameron took to the podium at the CBI conference to announce that the current economic climate and crisis in the Eurozone were having a “chilling effect” on the UK economy.

Now, this fact was probably widely re-acknowledged around about six months ago; the world having watched continued Greek financial woes and the growth of Italian instability. Add to the melting pot the downgrading of American credit and the shrinking of forecasts for growth and most people were under no illusions to the state of the economy.

However, we must certainly thank the Prime Minister for pointing out these obvious facts that are supposed to be being addressed firmly by his government: alas, apparently to no avail.

He blamed the current lack of growth on the continuous string of bad news about economy matters, but did not announce any ground breaking scheme himself. Rather, this task is dutifully left to burden George Osborne’s shoulders next week.

Whilst the PM is under a great deal of pressure to reverse the position of Britain amidst these financial troubles, surely highlighting the problems and not proffering any solution himself is but counter-productive. 

Although some may say truth is the best tactic, these facts were already wide-held public views: their reaffirmation by Cameron only serves to further down-hearten British workers, contractors and entrepreneurs and shake the foundations of faith in both commerce and the government.

Mr Cameron also told the conference: "Everyone agrees now that in the past Britain's economy had become lopsided: too dependent on debt, on consumption, on financial services.” Unfortunately, the continued upholding of a policy of cuts is doing nothing to reverse the trend, but rather stagnate the economy.

This concept that it takes money to make money and debt must preceed profit only just now appears to be clicking as the PM is set to detail housing schemes, but the projects are somewhat received only to mild appreciation: the economy cannot take much benefit from such a slow burning enterprise.

Perhaps, rather than continuing to be a staunch coat and continuing to plug policies that are not working, Cameron and his faithful Clegg should consider redressing their approach and apologising. It could be the making of a great economic boom in the long run. New tactics worked for Roosevelt. Was no one making notes? Did no one pay attention in history class?! Would his approach hurt the support of the Tory party too much and appear like socialism? Probably, and that why politics no longer involves the public right; it’s just a game of opposition policies…

Fresh Fear In Egypt.

Over the past few days, fresh violence has erupted in the Egypt capital of Cairo, amidst growing concern for the stability of the country and the surrounding regions.

Tahrir Square, quickly becoming dubbed Terror Square, once again has been the centre of an occupation movement from many thousands of the capital’s citizens, in the longest demonstration campaign since the February revolutions that caused waves across the continent.

At first, the scale of the violence was not appreciated, with the claims of two deaths on Saturday also being widely disregarded. However, this first inclination to ignore the problems of a nation led to the dramatic uprising some nine months ago: this has to be one of the fastest repeats of history known in modern times.

By Monday morning, morgues had confirmed over 30 deaths, whilst number amassing to almost 2,000 were reported as casualties.

TV reports have shown the widespread use of tear gas, aggression, and make shift weapons from wood and other loose materials, including concrete. More importantly than the February demonstrations, other prominent Egyptian cities are now taking up arms in the protest, with action reported in Alexandria, Suez and Aswan.

The unrest has risen from the continued presence of the military as the official power keepers of the country. When first introduced as the interim preservers of peace in the winter months, they promised elections would be held in September, but notoriously these have been delayed.

Although elections are now due to start next week, the action already spreads a sombre tone over what was supposed to be a joyous moment for the Egyptian people to vote for the first time after three decades of autocratic rule under Mr Mubarak. Since the Egyptian people served their own warning notice of resolution to the government and army back in February, taking to the streets despite the widespread attempts from officials to uphold the then current system, it seems rather foolish of the current army officials to have taken the situation so likely.

Propositions to delay elections till the end of 2012 have however only serve to paint the current officials in the most dictatorial light.

Moreover, it provides an ample opportunity for any successor and their government to highlight the need for stronger control, resulting in a complete turn back to a tyrannical or oppressive parliament.

Undoubtedly, the fresh waves of violence and deaths will ultimately stain the transition to democracy and highlight the need for a civilian administration: the worry is that the violence could grow into a mob and the revolution play out in a much similar way to the struggle seen in close Northern territory, Libya. However, will the West sit back and have an ambivialent role before they step in again?

Just as happened at the beginning of the protests against Hosni Mubarak's rule earlier this year, it was the deaths above all that really brought the people out on the streets. Perhaps this totalitarian nightmare is an Egyptian curse not quite yet broken…

Rihanna - Talk That Talk

Rihanna’s sixth studio album, Talk That Talk, comes as a little bit of a surprise. Earlier in the year, the star announced a repackaged version of Loud would be released in time for the impending holiday season and that seemed quite satisfactory considering the album was still providing singles that were dominating the charts worldwide. However, in a production whirlwind, Rihanna tweeted the prospect of a new album, bagged a number one single with producer extraordinaire Calvin Harris, and found studio time amidst a hectic tour schedule.

Of course, the major concern is that the material will be rushed and unsatisfying. With more critics suggesting music industry saturation and a lack of creativity in the charts, the release of an entire new album just one year after the overwhelming success of Loud almost appears premature and manufactured. However, interviewed last week, Rihanna said that she “did not want to appear a gimmick” and her manager defended the quick turn-around of material. Nonetheless, the polished pop of Loud is a difficult act to follow.

The solution is a tightly packed album that places itself between the rocky angst of fan favourites Rated R and the party pieces of its predecessor. Debut single, ‘We Found Love’ is quite atypical of the material as a whole: offering a party vibe, whilst haunting in the new found fragility in Riri’s vocals. Whilst some have criticised the single for its simplicity and repetitive lyrics, this is artistic reflection of the simple and pure love desired by the star and is all the more meaningful for its powerful delivery.

Indeed, despite any wayward comments regarding lyrics, the new strength of the album appears to be that Rihanna’s vocals are flaunted in a much more emotional manner than on Loud and it adds an extra dimension to the work to counter any worry of a churned out pop disaster. Particularly impressive in this regard is the bittersweet finale to the standard edition, ‘Farewell’, which sees a friend or lover leave for a better life, whilst Rihanna tries to cope with the change.

This theme of (absent) love forms the base of the album, and perhaps this is part of the refreshing appeal: no longer are the tracks generally built around euphemisms and the prospect of sex, but the more fragile and gentile aspects of relationships too. Highlight ‘Where Have You Been?’ superbly capitalises on Rihanna’s party vibe and could be played at the clubs without a remix, but lyrically, the song talks of the torment and anguish before finding romance.

Elsewhere, ‘Drunk On Love’ samples The XX’s ‘Intro’, which perfectly complements the hauntingly wistful voice of the musician whilst ‘Roc Me Out’ reads like the lovechild of ‘Hard’ and ‘What’s My Name?’, with its heavy electro rock synth and deep vocals.

Tracks ‘Cockiness’ and ‘Birthday Cake’ first appear somewhat at odds with the rest of the material, jarring with their prominent mid-point position. However, they help counter Riri’s public persona: her bravado, built up with the hype of ‘S&M’, leaves the star quite isolated and imposing. Here, both tracks feature to depict this is but one side of Rihanna, and that overwhelmingly, the Barbadian beauty has been alone for quite some time. Besides, the reggae-come-calypso infusion of ‘Cockiness’ is rather seducing and reminiscent of hot, hazy summer days.

Perhaps single life has provided this surge in raw emotion that sees the songstress connect more wholly and satisfyingly with her material. Whilst the album is far from experimental, solidifying avenues explored by Rihanna in previous work, this release carries some poignancy as the 23 year old looks to other matters in her life than the stardom acquired at 17. Before out of her teens, she had released three albums and broken worldwide records with ‘Umbrella’. The demure and reflective tone is testament to the hard work so far, whilst the club influences remain a gesture to how much fun the star is having nonetheless.

An album that is without doubt the most exciting mainstream release of the final quarter, due to this eclectic mix.

All music, Def Jam Island Records and Rihanna. Fair usage for comment.