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Desert Island Discs

Linton Kwesi Johnson

Desert Island Discs

BBC

Society & Culture, Music Commentary, Music, Personal Journals

4.413.7K Ratings

🗓️ 8 December 2002

⏱️ 35 minutes

🧾️ Download transcript

Summary

Sue Lawley's castaway is dub poet Linton Kwesi Johnson. Linton Kwesi Johnson was born in 1950s rural Jamaica. He lived in a farming community and looked after the animals, helping with the sugar harvest and fetching firewood. He lived with his grandmother after his parents separated, loving being the man of the house. She would entertain the young Linton, who she called "me husband", with folk songs, stories and ghost stories. In 1963, when he was eleven years old, Linton came to live in England. It was a huge contrast: "I had this childhood idea that literally the streets of London would be paved with gold and everybody living affluent lifestyles. So it was a bit of an eye-opener for me when I came and saw all these grey buildings with chimneys and smoke coming out of them and to see a white person sweeping the street!" He experienced racism at school, from peers and teachers alike, and became interested in the black movement. He joined the British Black Panthers in his teens, discovered black literature and began to write poetry of his own. He gained a sociology degree in the mid-1970s and had poems, inspired by politics and the Black movement, published in the journal Race Today. He soon became known for his poetry written in dialect and would often use reggae music to accompany it. He still tours with his band and can command stadium-size stages. Linton Kwesi Johnson became one of only two living poets to be published in a Penguin Modern Classic in 2002. He says "I've made a small contribution to bring poetry back to the people." During the interview, Linton Kwesi reads extracts from the following poems: 'Sonny's Lettah' taken from Inglan is a Bitch, 'Five Nights of Bleeding (for Leroy Harris)' from Things an Times and 'New Craas Massahkah (to the memory of the fourteen dead)'. [Taken from the original programme material for this archive edition of Desert Island Discs] Favourite track: Embraceable You by Charlie Parker Book: 100 Years of Solitude by Gabriel Garcia Marquez Luxury: A bass guitar

Transcript

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0:00.0

Hello, I'm Kirstie Young and this is a podcast from the Desert Island Discs Archive for rights reasons

0:06.0

We've had to shorten the music. The program was originally broadcast in

0:10.6

2002 and the presenter was Sue Lolley

0:30.6

My cost away this week is a poet. Like many of his generation of West Indians he came to

0:35.2

this country as an immigrant. Unlike many of them he refused to be marginalised in an unskilled

0:40.5

job. He passed his O-levels and went on to get a degree. From then on he used his gift for words

0:46.4

to entertain but also to inspire the black movement, living working and campaigning for almost

0:52.6

40 years in Brixton in South London where he's known simply as the poet. He's written the

0:57.8

anthems for a generation who felt oppressed and victimised. With his trademark Trilby and

1:03.4

Goatee Beard he's now celebrated as one of this country's most influential cultural commentators.

1:09.2

His work is recognised by American rappers and on the streets of Soweto and he performs to

1:14.3

audiences in their thousands both here in Europe and across the world. Here's Linton Quasid Johnson.

1:21.8

Perform Linton because you're a performance poet and we're not talking here really about

1:26.1

little Recherche kind of poetry evenings. We're talking about you going out to kind of pop

1:30.6

concert-sized venues. Yeah I mean I'm lucky enough to have had the opportunity to play in big festivals

1:36.4

you know sometimes maybe 20-25,000 people. So you read your poetry most of the time to a kind of

1:43.2

reggae beat don't you but you do also just read poetry on the stage in front of that large audience

1:48.5

day. I wear two hats. I'm wearing the reggae artist hat and I'm wearing the poets hat. I normally

1:56.1

make sure I do at least one poem without the band's accompaniment to remind my audience that I

2:01.7

began with the word. I know they're quiet while you do it. Oh sometimes they're clapping along you know.

2:08.2

Because they're such a heavy beat. If they can pick up on the rhythm of the poem they sort of clap

2:13.4

along. You began with the word as you say back in the 70s but also a very special type of word

...

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