They Are Human and They Need to be Loved…

Does Morrissey Have a Problem with Immigrants?

It’s been over a month and I still can’t bring myself to listen to the Smiths. The controversy over Morrissey’s recent comments regarding immigration in the Britain’s NME is well worth examining on this side of the pond. It should be said straight away how disappointing and unacceptable they are. They also, unfortunately, shed light on an element completely absent from the narrow debate on immigration taking place this election season.

In late november, the former Smiths singer blurted in an interview with the NME that “the gates of England are being flooded. The country’s been thrown away.”

Moz didn’t stop there. In the interview he seemed troubled by what immigration meant for British culture. “Other countries have held onto their basic identity,” he said, “yet it seems to me that England was thrown away . . . If you walk through Knightsbridge [in London] on any bland day of the week you won’t hear an English accent. You’ll hear every accent under the sun apart from the British accent.”

It’s the kind of remark that smacks of Eric Clapton’s 1976 comment that England was becoming a “black colony,” where he urged fans to vote for anti-immigrant Member of Parliament Enoch Powell. Those comments would be one of the reasons for the foundation of Rock Against Racism, the forerunner to today’s Love Music Hate Racism campaigns against the fascist British National Party.

Ironically, Morrissey himself had only days prior agreed to endorse LMHR, and have its logo present at all UK shows in 2008. Yet he sees no conflict between formally being against racism, and letting slip remarks that make out immigrants to be a threat of some kind.

It brings up a fundamental question: who does Morrissey exactly think the BNP are whipping up their racist drivel for in the first place? Racism isn’t an abstract concept in the UK. Like the US, it has a large immigrant population that hails from places as diverse as Jamaica and India, and a large number of hate crimes are directed against these communities. “Paki-bashing” isn’t infrequent. Since the London bombings of 2005 the profiling of immigrants (mostly folks of color) has been quite common.

This is not the first time Morrissey’s racial politics have been questioned. In 1992 he draped himself in the Union Jack at a carnival in Finsbury where a sizeable neo-Nazi turnout was expected. The NME also took him to task for that move. His 1988 song “Bengali in Platforms” was immensely condescending toward its South Asian immigrant protagonist. Moz ends the song by saying it may be best for the young man to “shelve his western plans.” And his “National Front Disco” hardly seemed to take any kind of clear stance on the National Front.

His politics haven’t always been in question, though. Songs like “Margaret on the Guillotine” and “The Queen is Dead” were rather open protests against Thatcherism. More recent songs like “America is Not the World” have taken Bush to task. He has even been investigated by the FBI and British intelligence, so vocal is his opposition to Bush and Blair.

His alliance with LMHR was rightly welcomed. But these comments throw his actual commitment to the cause into question. While Moz hardly identifies himself as a racist, the fact is that putting British culture on a pedestal and trying to hermetically seal it off from “outsiders” creates an us-versus-them dynamic that Bush and Gordon Brown are all too happy to take advantage of.

Moz has given little sign of backing down from his comments. In fact, the ever-litigious rock star is now suing the NME for speaking ill of him. His behavior is that much more regrettable when one considers the fact that Stephen Patrick Morrissey was himself born to Irish Catholic immigrants. The culture he comes from seems to pose no threat to Britishness, but evidently those from non-English-speaking, brown-skinned countries do. No doubt, Morrissey hardly recognizes this as racist.

That recognition is also completely absent from the immigration debate in the US. Presidential candidates like Mike Huckabee can take advantage of the Pakistan crisis by exaggerating the number of Pakistanis here “illegally.” Lou Dobbs makes outrageous claims that Mexicans bring leprosy across the border. Though both may be called out for being incorrect, the media rarely has the guts to peg them as bigoted.

Morrissey is hardly as bad as these buffoons. Nonetheless, when an artist who enjoys sticking it to the worst politicians in society starts to sound like those very same politicians, it is, to say the least, disappointing.

The line needs to be drawn as boldly as possible: if you are an anti-racist, then you stand up for the rights of immigrants. As for Moz, one can hope he’ll apologize for what he said, but I’m not holding my breath. It’s going to be a while until I can listen to his stuff again.

Alexander Billet, a music journalist and solidarity activist in Chicago, runs the website Rebel Frequencies. He is a frequent contributor to SocialistWorker.org, Dissident Voice, ZNet and the Electronic Intifada. He has also appeared in TheNation.com, Z Magazine, New Politics and the International Socialist Review. His first book, "Sounds of Liberation: Music In the Age of Crisis and Resistance," is expected out in the fall; you can donate to the project on Kickstarter. He can be reached at rebelfrequencies@gmail.com Read other articles by Alexander.

19 comments on this article so far ...

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  1. Hugh said on January 14th, 2008 at 12:13pm #

    Does Morrissey have a problem with journalists who lie? How blinkered and unproperly researched your blog is. The Smiths spilt in 1987. Technically ’86. Morrissey’s Greatest Hits compilation is to be released in the UK on February the 11th and a single, “That’s How People Grow Up” will be released on 4 February in the UK. Time for you to catch up.

    If the controversy over Morrissey’s recent comments regarding immigration in the Britain’s NME is well worth examining. Why didn’t you?

    It isn’t racist to discuss immigrantion.

    This is not the first time Morrissey’s racial politics have been questioned. Nor is it the first time it has been badly reported.

    One can hope you’ll apologize for your article but I’m not holding my breath.

    Here is a statement from Morrissey on this issue from 3 December 2007:

    MORRISSEY CONDEMNS RACISM

    On Friday of last week I issued writs against the NME (New Musical Express) and its editor Conor McNicholas as I believe they have deliberately tried to characterise me as a racist in a recent interview I gave them in order to boost their dwindling circulation.

    I abhor racism and oppression or cruelty of any kind and will not let this pass without being absolutely clear and emphatic with regard to what my position is.

    Racism is beyond common sense and I believe it has no place in our society.

    To anyone who has shown or felt any interest in my music in recent times, you know my feelings on the subject and I am writing this to apologize unreservedly for granting an interview to the NME. I had no reason whatsoever to assume that they could be anything other than devious, truculent and unreliable. In the event, they have proven to be all three.

    The NME have, in the past, offered me their “Godlike Genius Award” and I had politely refused. With the Tim Jonze interview, the Award was offered once again, this time with the added request that I headline their forthcoming awards concert at the O2 Arena, and once again I declined it. This is nothing personal against the NME, although the distressing article would suggest the editor took it as such. My own view is that award ceremonies in pop music are dreadful to witness and are simply a way of the industry warning the artist “see how much you need us” – and, yes, the “new” NME is very much integrated into the industry, whereas, deep in the magazine’s empirical history, the New Musical Express was a propelling force that answered to no one. It led the way by the quality of its writers – Paul Morley, Julie Burchill, Paul du Noyer, Charles Shaar Murray, Nick Kent, Ian Penman, Miles – who would write more words than the articles demanded, and whose views saved some of us, and who pulled us all away from the electrifying boredom of everything and anything that represented the industry. As a consequence the chanting believers of the NME could not bear to miss a single issue; the torrential fluency of its writers left almost no space between words, and the NME became a culture in itself, whereas Melody Maker or Sounds just didn’t. Into the 90s, the NME’s discernment and polish became faded nobility, and there it died – but better dead than worn away. The wit imitated by the 90s understudies of Morley and Burchill assumed nastiness to be greatness, and were thus rewarded. But nastiness isn’t wit and no writers from the 90s NME survive. Even with sarcasm, irony and innuendo there is an art, of sorts. Now deep in the bosom of time, it is the greatness of the NME’s history on which the “new” NME assumes its relevance.

    It is on the backs of writers such as Morley, Burchill, Kent and Shaar Murray that the “new” NME hitches its mule-cart, assuming equal relevance. But the stalled views of the “new” NME sag, and readers have been driven away by a magazine with no insides. The narrow cast of repeated subjects sets off the agony, a mesmerizing mess of very brief and dispassionate articles unable to make thought evolve; a marooned editor who holds the divine right to censor any views that clash with his own.

    The editorial treatment given to my present interview with the “new” NME is the latest variation on an old theme, but like a pre-dawn rampage, the effects of the interview have been meticulously considered with obvious intentions. It is true that the magazine is ailing badly in the market place, but Conor doesn’t understand how the relentless stream of “cheers mate, got pissed last night, ha ha” interviews that clutter every single issue of the “new” NME are simply not interesting to those of us who have no trouble standing upright. Strangely enough, my own name is the only one featured in the “new” NME that links their present with the NME’s distant past, therefore a Morrissey interview is an ideal opportunity with which to play the editorial naughtiness game.

    This, regrettably, is what has taken place with this most recent interview, which, it need hardly be said, bears no relation in print to the fleshly conversation that took place.

    I do not mean to be rude to Tim Jonze, but when I first caught sight of him I assumed that someone had brought their child along to the interview. The runny nose told the whole story. Conor had assured that Tim was their best writer. Talking behind his hands in an endless fidget, Tim accepted every answer I gave him with a schoolgirl giggle, and repeatedly asked me if I was shocked at how little he actually knew about music. I told him that, yes, I was shocked. It was difficult for me to believe that the best writer from the “new” NME had never heard of the song ‘Drive-in Saturday'; I explained that it was by David Bowie, and Tim replied “Oh, I don’t know anything about David Bowie.” I wondered how it could be so – how the quality of music journalism in England could have fallen so low that the prime “new” NME writer knew nothing of David Bowie, an artist to whom most relevant British artists are indebted, and one who single-handedly changed British culture – musically and otherwise.

    Tim’s line of questioning advanced with: “What about politics, then … the state of the world?” – which, I was forced to assume, was a well-thought-out question. It was from here that the issue of immigration – but not racism – arose.

    Me: If you walk down Knightsbridge you’ll be hard-pressed to hear anyone speaking English.

    Tim: I don’t think that’s true. You’re beginning to sound like my parents.

    Me: Well, when did you last walk down Knightsbridge?

    Tim: Ummm….
Knightsbridge ….is that where Harrods is?

    So, Tim was prepared to attack and argue the point without even being clear about where Knightsbridge actually is! The “new” NME strikes again. Oh dear, I thought, not again.

    I chose to mention Knightsbridge because it had always struck me as one of the most stiffly British spots in London. I am sorry Tim, but you are not yet ready to interview anyone responsibly.

    When my comments are printed in the “new” NME they are butchered, re-designed, re-ordered, chopped, snipped and split in order to make me seem racist and unreasonable. Tim had told me about his friend who did not like the 1988 song Bengali In Platforms because the friend had thought the song attacked him on a personal level. I explained to Tim that the song was not about his friend. In print, the “new” NME do not explain this, but attempt to multiply the horror of Tim’s friend by attributing “these people” and “those people” quotes to me – terms I would never use, but are useful to the “new” NME in their Morrissey-is-racist campaign because these terms are only used by people who are cold and indifferent and Thatcherite. 

All of the people I spoke to Tim about in the interview who are heroes to me and who are Middle-Eastern or of other ethnic backgrounds were of no interest to either Tim or Conor. Clearly, Tim had been briefed and his agenda was to cook up a sensational story that would give life to the “new” NME as a must-read national if not global shock-horror story. Recalling how Tim asked me to sign some CD covers, I do not blame him entirely. If Conor can provoke bureaucratic outrage with this Morrissey interview, then he can whip up support for his righteous position as the morally-bound and armoured editor of his protected readership – even though, by re-modelling my interview into a multiple horror, Conor has accidentally exposed himself as deceitful, malicious, intolerant and Morrissey-ist – all the ist’s and ism’s that he claims to oppose. Uniquely deprived of wisdom, Conor would be repulsed by my vast collection of World Cinema films, by my adoration of James Baldwin, my love of Middle-Eastern tunings, Kazem al-Saher, Lior Ashkenazi, Maya Angelou, Toni Morrison, and he would be repulsed to recall a quote as printed in his magazine in or around August of this year wherein I said that my ambition was to play concerts in Iran.

    My heart sank as Tim Jonze let slip the tell-all editorial directive behind this interview: “It’s Conor’s view that Morrissey thinks black people are OK …but he wouldn’t want one living next door to him.” It was then that I realized the full extent of the setup, and I felt like Bob Hoskins in the final frame of The Long Good Friday as he sits in the back of the wrong getaway car realizing the extent of the conspiratorial slime that now trapped him.

    During the interview Tim asked if I would support the “Love Music Hate Racism” campaign that the NME had just written about and my immediate response was a yes as I had shown my support previously by going to one of their first benefit gigs a few years ago and had met some of their organizers as well as having signed their statement. Following the interview I asked my manager to get in touch with the NME and to pledge my further support to the campaign as I wanted there to be no ambiguity on where I stood on the subject. This was done in a clear and direct email to Conor McNicholas on the 5th of November, which went ignored and last week we found out that it had never even been presented to anyone at the campaign as that would obviously not have suited what we now know to be the NME’s agenda. I am pleased to say that we have now had direct dialogue with “Love Music Hate Racism” and all of our UK tour advertising in 2008 will carry their logo and we will also be providing space in the venues for them to voice and spread their important message, which I endorse.

    Who’s to say what you should or shouldn’t do? The IPC have appointed Conor as the editor of the “new” NME, and there he remains, ready to drag the IPC into expensive legal battles such as the one they now face with me due to Conor’s personal need to misstate, misreport, misquote, misinterpret, falsify, and incite the bloodthirsty. Here is proof that the “new” NME will twist and pervert the views of any singer or musician who’d dare step into the interview ring. To such artists, I wish them well, but I would advise you to bring your lawyer along to the interview.

    My own place, now and forevermore, shall not be with the “new” NME – and how wrong my face even looks on its
 cover. Of this, I am eternally grateful.

    MORRISSEY.

  2. Hugh said on January 14th, 2008 at 12:30pm #

    You forgot to mention that Morrissey is in negotiations with the Iranian government to play a concert there. He wants to play there in June with the internationally-acclaimed Arab pop singer Kazem al-Sahir, if he agrees to it. He also plans to include places like Jerusalem and Beirut in a tour of the Middle East.

    That doesn’t sound like the Morrissey you have portrayed.

  3. Rob said on January 14th, 2008 at 1:36pm #

    possibly the least informed article I’ve ever read. Hang your head in shame.

  4. Rob said on January 14th, 2008 at 1:52pm #

    I live in Southern California, and I can tell you that the culture has changed. English is not the dominant language, you have to “push 1″ to hear messages in English. I do not want to live in Mexico. We need to deport these people!

  5. C Villarreal said on January 14th, 2008 at 2:21pm #

    I’ve been a fan since high school, first because of his sexual ambiguity, and later because I recognized the politics in some of his music, such as The Queen Is Dead, What Difference Does It Make, and recent songs like Mexico where he sings “In Mexico, I went for a walk to inhale the tranquil, cool, lover’s air. I could sense the hate of the lonestar state … It seems if you’re rich and you’re white, you think you’re so right. I just don’t see why this should be so.”

    But he does seem to have this quasi-nationalism about some of his music, and I’ve often thought Bengali In Platforms was mildly racist. Now there is this crack he made in the NME.

    What to do? Of course for me nothing (and no one) is sacred, and I would kick Morrissey to the curb if he turned out to be an outright bigot. But for now I’m withholding final judgment.

    http://www.shoplifters.us

  6. Marcus O'Buachalla said on January 14th, 2008 at 2:31pm #

    An amazing article – Morrissey = BNP = Enoch = P*ki bashing. Rather lazy really. Do you actually realise how offensive the word P*ki is? Whre are the qoutes that state Morrissey is anti immigrants having equal rights?
    If you actually read the words or listened to Bengali in platforms you would realise Morrissey also sings of himself as being an outsider, after all he is the child of working class Irish people who came to England (like myself)m seeking work and a better life.

    Most immigration to England is from within Europe. The vast majority of it is white. And England has rapidly become mutlicultural. As a result there is a big debate as to what is Englishness and is Britishness. This does not excuse racism, but if you actually visit Europe you could sense and possibly enjoy the changes.

    The NME has long had a vendetta against Morrissey, focussing on his beliefs, it’s sad you take their side. It was once a standard bearer for the Left, but is now a not so glossy celebrity magazine, own by a multinational corporation with a product to sell.

    Morrissey is the master of hyberbole – that makes him a raconteur, not a racist.

  7. Defamer Ninjas said on January 14th, 2008 at 2:54pm #

    The point, which you are missing completely, is that Morrissey’s statements were rearranged, misquoted, and reframed with questions that were not the ones asked during the interview. That is the basis of his lawsuit, that the NME saw an opportunity to increase circulation at his expense.

    Morrissey is a very kind, very open-minded person. He is not a racist, he is, at worst, naive in even commenting on British culture and the changes it’s gone through, given the fact that the NME have done this to him before. He’s made comments that are nearly word-for-word the same as he made in October in the NME interview many times before. In their proper context, they are clearly exactly what he meant them to be: a lament for the loss of a classic, cardigans-round-the-electric-fire, Coronation-Street-on-the-telly Postwar England that was already on its way out by the time he was born. It’s nostalgia, pure and simple. Nothing more.

  8. Elsie Tanner said on January 14th, 2008 at 2:57pm #

    This article displays the kind of narrow view that gives a bad name to anti-racism.
    Morrissey has expressed his opinion about the effect of immigration on a nation’s culture. That’s all.
    To accuse him of ‘racism’ for this is ridiculous and denies the facts that immigration does change culture.
    It is an interesting and important debate.
    Morrissey is as far from a racist as a person can be. But it would take some real journalistic research to discover the truth about him as it is hidden by the media behind the headline grabbing, self serving, lazy copy copying dunces that flourish in our shallow media.
    The writer of the above article has shown themselves to be as ready to follow the pack as most other hacks.
    It is a real shame. Do some research beyond the tabloids or biased music press. It might take a couple of hours, but it will be worth it to get to the truth.
    Then play your Morrissey records again and REALLY listen to the lyrics.
    That’s how people grow up.

  9. deang said on January 14th, 2008 at 5:44pm #

    Has Stephen Patrick Morrissey ever apologized for anything offensive he’s said or done? With his huge ego and insufferable arrogance, you won’t be surprised to find the answer to be no. He is mired in the postpunk attitude of being “ironic,” inconsistent, and difficult at all times, while he pretends to be a tortured, sensitive soul who is profoundly shy and misunderstood. His penchant for litigation and self-proclamation give the lie to that. Anyone who claims to be asexual and yet writes lyrics that are clearly about being attracted to members of his own gender really can’t be trusted to be forthright about much of social importance. And his lyrics aren’t all that great, despite his legions of smitten fans, nor is his grating falsetto. I would be interested to find out his opinions on the dark-skinned immigrants in the US, since it’s usually skin color more than residency status that white people are opposed to.

  10. Hugh said on January 14th, 2008 at 6:09pm #

    I’d imagine the majority of his audience in America who are Latino would find deang’s post offensive. Will the ego and insufferable arrogance demonstrated in your flawed post result in an apology? I wont be surprised to find the answer to be no.

    This link may educate you concerning your fascination with his sexuality:
    http://www.shopliftersunion.com/union/taina/morriss.htm

    It is laughable to criticise his lyrics but that is your opinion. My opinion is he has a lovely singing voice. Leave him alone, he was only singing.

  11. James said on January 15th, 2008 at 2:27am #

    “Other countries have held onto their basic identity,” he said, “yet it seems to me that England was thrown away . . . If you walk through Knightsbridge [in London] on any bland day of the week you won’t hear an English accent. You’ll hear every accent under the sun apart from the British accent.”

    I fail to see why this is an innacurate observation – there ARE many accents in London these days, and integration into Europe is throwing England away. Is Billet denying this is basically true? Besides, I’d have thought a contributor to Socialist Worker and Dissident Voice would be happy to hear about the demise of England’s native, white communities. It’s not like Socialist Worker ever supported anything patriotic or protested the destruction of London’s East End native culture.

    “…the fact is that putting British culture on a pedestal and trying to hermetically seal it off from “outsiders” creates an us-versus-them dynamic”
    Utter rubbish. Since when is preserving one’s own culture “putting it on pedestal”? Anyway, isn’t that what the numerous immigrant groups are encouraged to do under the guise of ‘multiculturalism’ which itself creates an “us-versus-them dynamic”?

    “Stephen Patrick Morrissey was himself born to Irish Catholic immigrants. The culture he comes from seems to pose no threat to Britishness, but evidently those from non-English-speaking, brown-skinned countries do.”
    Oh please – you’re trying to compare immigration from culturally similar, white Christian countries with massive third world immigration? What fantasy are you living in? What next? The various internal migrations of Australia’s native tribes was the same as the arrival of Europeans? I mean, it’s all just the same isn’t it? Would you sarcastically write “outsiders” in quotation marks when discussing European migration?

    “Lou Dobbs makes outrageous claims that Mexicans bring leprosy across the border.”
    But it’s not outrageous to say that Europeans brought smallpox to America? Or do only white immigrants carry diseases?

  12. Uncleskinny said on January 15th, 2008 at 8:46am #

    A relevant thread, from a website I moderate:

    http://forums.morrissey-solo.com/showthread.php?t=63820&highlight=skullcap

    If Morrissey doesn’t want to be mistaken for a racist, perhaps he should stop talking like one.

  13. Alexander Billet said on January 15th, 2008 at 10:46am #

    As for Rob’s comments that “we should deport all these people,” I find it laughable that he somehow thinks he’s oppressed for having to press 1 for English. His cruel and petty statement that “we should deport these people” is the kind of drivel we’re used to hearing from the Minutemen. I don’t think I’m the one here who should be hanging his head in shame.

    I agree with the criticisms levelled against the NME. Their standards have drastically declined. But however little Tim Jonze knows about music or where Knightsbridge is (both unacceptable), that doesn’t take away from what Morrissey actually said.

    He said “the country’s been thrown away.” While I can assume other parts of the interview were twisted and taken out of context, nowhere in his press release does Moz deny saying this. That is not nostalgia. That is not just a passive observation of how cultures change during the process of immigration. That’s saying that the quality of the country goes downhill when outsiders come in.

    Moz very well may have been emulating that indie-rock raconteur behavior. That doesn’t mean his comments don’t have consequences for the people he’s talking about.

    I have long respected and enjoyed both the Smiths and Morrissey. The stances he has taken in the past against Thatcherism have been inspiring. And I do not doubt his love for James Baldwin, foreign films, et al. What I’m saying is that his stance on immigration leaves something to be desired.

    To be clear, nowhere in the article do I outright call Morrissey a racist, as some seem to have interpreted. As a matter of fact I state that Morrissey’s nowhere in the same ballpark as bigots like Dobbs or Huckabee. I merely point out that his comments simply don’t jive with someone who has signed up to support an anti-racist cause. Morrissey is a human being entitled to his contradictions. I’m also entitled to write about those contradictions.

  14. Defamer Ninjas said on January 15th, 2008 at 11:48am #

    Yes, Alexander, you do have a right to comment on your perception of Morrissey’s contradictions. However, your perceptions seem to be based on irresponsible sources: the NME interview, as published. Did you not read Morrissey’s comment, posted here? He maintains that his words were twisted and taken out of context. If you ever liked his work, ever had any respect for him, why would you refuse to take his word on the matter? Two people were there when the words were said: Morrissey, and Tim Jonze. Why won’t you take both sides’ views into consideration before forming your opinion?

    And, as far as I can see, you are right that you aren’t stating outright that Morrissey is a racist. But you imply it, just as the NME did. And that is grossly unfair and irresponsible.

    I can cut and paste your article and comment to form the sentence, “I’m a racist.” But that doesn’t mean you said it, and it doesn’t mean it’s true, does it?

  15. Alexander Billet said on January 15th, 2008 at 2:09pm #

    First of all, there’s a lot of evidence that white soldiers gave smallpox to the American Indians. It’s accepted as fact by most historians. Lou Dobbs made up the Mexican leprosy story out of thin fucking air. There’s a big difference there, and I won’t entertain any debate on that.

    I’m not the kind of writer who “implies.” If I want to say something, I come on out and say it. I called Morrissey’s comments “disappointing.” Never racist.

    As I said before, this isn’t the first time we have had a less than favorable view of Moz’s racial politics. The NME weren’t the only ones who took issue with the Union Jack incident. And I’m not the only one who finds “Bengali in Platforms” a little off politically. There’s a history here.

    Perhaps I should have included my own criticisms of the NME. Maybe I should have made clear that Morrissey is someone long shrouded in his own ambiguity. Other than that, I stand by the core of this article. I do not believe Morrissey is a racist, as I say, once again, in the article. He is politically contradictory.

  16. Peter said on January 16th, 2008 at 3:54am #

    letting slip remarks that make out immigrants to be a threat of some kind?

    what the hell is it with this blog/site? this is the second article in two tries that i have serious issues with. if the dude said anything about immigrants being a threat, then you certainly didn’t point them out when you make this claim. talking about culture should be permissible. what’s the problem?

    gd.

  17. rob said on January 23rd, 2008 at 7:11am #

    why is it racist to speak of immigration .
    why is it racist to want to not mix with asians or african or east europeans ,many of whom hate our guts .
    the rich ,the intellectuals the middle classes those with second and third homes dont or the politicians so why should poor white britons have no say or choice in who lives in their modest over crowded towns and cities ,why is this racist .
    it boils down to the behaviour of many of them their attitude……………
    why do we try to be all things to all people but end up being nothing to anyone .
    why is it a crime to be proud of being english ,scots ,welsh or irish regardless of where you prents or grand parents were born .
    wake up you swine and see what is happening in our poorest most crowded areas .
    you can bury your head in the sand for only so long .
    why do people like me feel angry all the time ?
    white flight ?
    i wonder why ?
    what of those left behind the poor ,the old ,the single mums ,
    do you realize just how much vermin are flooding yes flooding into this country ?
    is this racist ,i dont think so ……..i believe their is only one himan race .
    however we really have to look after our own improve our infrastructure ,if we are short of p[eople then encourage our own to have larger families .
    why is being english ,british a dirty word why shouldnt we look after and favour our own ,why is this racist ?
    what do you think happens in the countries a lot of these people ,eco migrants are coming from .
    do you think they are tolerant ?
    we are seen as weak ,in effect tossers……………
    i know you will not publish but at least i know you have to read to edit .
    there is far to much intellectualising on these matters and what is required is action bold action .though that will not happen till its just too late .
    then it will be bloody sadly history of this nation has shown this .
    people in power seem to be sleep walking or dont give a f…k that is until it hits them and threatens their selfish insular world ,time will tell .

  18. rob said on January 23rd, 2008 at 7:23am #

    im all out of comments hows about you commenting back to me you have my email ?
    winds of change are blowing through this land ..our so called leaders in my opinion have deserted the peoples that built this land .
    there are lots of no go areas……….
    lots of gated communities ,gents clubs ,little societies for this and that .
    its about power and people just love to play the race ,religion and sex card to further their ends .
    not to say there is no discriminatin there is we do it all the time in a negative or positive way ,no its about power and right now the poor indigenous brits feel they have little they are the true minorities in these inner city areas that have changed radically in the last few years the true minorities dont have a flippen voice or a club or a society .
    every other buger does .
    where are our grants who speaks for us ,the weak ,unemployed ,dispossed, the old the forgotten mmh where i ask .

  19. Alexander Billet said on January 23rd, 2008 at 11:10am #

    Wow… I suppose one of the advantages (or drawbacks) of the internet is you get to be a racist without putting your hood on, eh Rob?

    You don’t think maybe the degradation of communities has more to do with disinvestment than with the immigrants coming in?

    It’s racist to not want to mix with people of other races because it assumes a purity or superiority of your own race. And, well, judging from your spelling, grammar and syntax errors, I think we all can clearly see that’s not the case.