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# Get up, get up, get up, stand up | 0:00:03 | 0:00:06 | |
# Get up, get up | 0:00:06 | 0:00:07 | |
# Stand up for your rights... # | 0:00:07 | 0:00:08 | |
Notting Hill Carnival - Europe's largest street festival. | 0:00:08 | 0:00:12 | |
It's a huge-scale cultural juggernaut, | 0:00:12 | 0:00:16 | |
reflecting Caribbean tradition, shaped by black British culture. | 0:00:16 | 0:00:20 | |
Over a million people from all over the world | 0:00:20 | 0:00:23 | |
invade this small corner of west London at the end of the summer | 0:00:23 | 0:00:26 | |
for a teeming two-day party | 0:00:26 | 0:00:29 | |
on some of the most expensive streets in Britain. | 0:00:29 | 0:00:32 | |
So, where did this event come from? | 0:00:32 | 0:00:34 | |
Who started Carnival, and when? | 0:00:34 | 0:00:37 | |
In this film, I'm on a mission to find out. | 0:00:37 | 0:00:40 | |
My name is when Wyn Baptiste and I have a special interest, | 0:00:40 | 0:00:44 | |
because I always thought my dad started Carnival. | 0:00:44 | 0:00:46 | |
Carnival Development Committee... | 0:00:46 | 0:00:48 | |
'My father was Selwyn Baptiste, | 0:00:48 | 0:00:50 | |
'a steel pan player from Trinidad who came to Britain in 1960. | 0:00:50 | 0:00:54 | |
'As a kid in the 1970s, | 0:00:54 | 0:00:56 | |
'I remember him running Carnival from his front room. | 0:00:56 | 0:00:59 | |
'And it was always my dad who was spokesperson | 0:00:59 | 0:01:02 | |
'when Carnival was on TV.' | 0:01:02 | 0:01:04 | |
And here, with the carnival committee's point of view, | 0:01:04 | 0:01:07 | |
is Selwyn Baptiste. | 0:01:07 | 0:01:08 | |
The Notting Hill Carnival began in the mid-'60s | 0:01:08 | 0:01:12 | |
and arose out of adventure playgrounds | 0:01:12 | 0:01:14 | |
in the Tavistock and Golborne areas. | 0:01:14 | 0:01:17 | |
Its purpose is to bring a little bit of heaven | 0:01:17 | 0:01:19 | |
to the desolate streets of North Kensington | 0:01:19 | 0:01:22 | |
and to enable the West Indian community to feel at home | 0:01:22 | 0:01:25 | |
in a country to which they are historically and spiritually tied. | 0:01:25 | 0:01:29 | |
'Arguments over the origin of Carnival have been | 0:01:29 | 0:01:32 | |
'rumbling in Notting Hill for some time. | 0:01:32 | 0:01:35 | |
'I've heard about a woman called Claudia Jones, | 0:01:35 | 0:01:37 | |
'a political activist and civil rights campaigner | 0:01:37 | 0:01:41 | |
'who staged indoor carnivals elsewhere in London as early as 1959. | 0:01:41 | 0:01:45 | |
'Then there was Rhaune Laslett, a community worker | 0:01:45 | 0:01:48 | |
'in Notting Hill who had the vision of bringing people together | 0:01:48 | 0:01:51 | |
'with a street festival in the mid-1960s. | 0:01:51 | 0:01:54 | |
'And Russell Henderson, who is said to have led the first | 0:01:54 | 0:01:57 | |
'procession in the streets with a steel pan hung around his neck. | 0:01:57 | 0:02:00 | |
'So, where does my dad fit into all this? | 0:02:00 | 0:02:03 | |
'Not only are there rival versions of who started Carnival, | 0:02:03 | 0:02:06 | |
'no-one can even agree when it started.' | 0:02:06 | 0:02:08 | |
- It was 1965. - 1966. | 0:02:08 | 0:02:10 | |
Whether it's '65 or '66 is neither here nor there. | 0:02:10 | 0:02:14 | |
'59 or '64 or '65, | 0:02:14 | 0:02:18 | |
everybody needs to be recognised. | 0:02:18 | 0:02:20 | |
- Claudia Jones. - Mr Russell Henderson. | 0:02:20 | 0:02:22 | |
- Rhaune Laslett. - You see the man | 0:02:22 | 0:02:25 | |
that woman just mentioned? Right? | 0:02:25 | 0:02:27 | |
It was started by Selwyn Baptiste. | 0:02:27 | 0:02:29 | |
This community has created Carnival, | 0:02:29 | 0:02:31 | |
and rather than be like crabs in a barrel | 0:02:31 | 0:02:34 | |
and pull each other down, | 0:02:34 | 0:02:35 | |
it's about time the community starts working together, | 0:02:35 | 0:02:37 | |
document its history, be proud of that history | 0:02:37 | 0:02:39 | |
and let the world know what Notting Hill's taught the nation. | 0:02:39 | 0:02:42 | |
Thank you very much indeed. | 0:02:42 | 0:02:44 | |
Ishmahil Blagrove is a photographer, a researcher, a film-maker | 0:02:44 | 0:02:47 | |
and has spent a long time looking into the origins of Carnival, | 0:02:47 | 0:02:51 | |
and collecting the most amazing array of photographs | 0:02:51 | 0:02:54 | |
charting its history, and I'm hoping that he'll be able to tell us | 0:02:54 | 0:02:58 | |
a little bit about the characters and controversies of this story. | 0:02:58 | 0:03:02 | |
I recognise one of the pictures over here. | 0:03:02 | 0:03:04 | |
You should, it's your dad. | 0:03:04 | 0:03:06 | |
- I recognise that man. - Yeah, yeah. | 0:03:06 | 0:03:09 | |
I mean, Selwyn was a very, very important player. | 0:03:09 | 0:03:12 | |
I mean, an instrumental player in the history of Carnival. | 0:03:12 | 0:03:15 | |
I mean, in fact, he took over the carnival from Rhaune Laslett. | 0:03:15 | 0:03:19 | |
He was also training a lot of kids in the area to play steel pan, | 0:03:19 | 0:03:22 | |
and so he was he was working out of the Wornington Road Adventure Centre | 0:03:22 | 0:03:25 | |
whilst Rhaune Laslett obviously had Shanty Town - | 0:03:25 | 0:03:28 | |
two of the sort of key youth adventure playgrounds in the area. | 0:03:28 | 0:03:32 | |
'So, my dad took over Carnival from Rhaune Laslett, | 0:03:32 | 0:03:35 | |
'and they were both involved in playgrounds in the neighbourhood, | 0:03:35 | 0:03:38 | |
'but what about the date?' | 0:03:38 | 0:03:39 | |
There was no event in 1964. Nothing happened in '64. | 0:03:39 | 0:03:42 | |
There is absolutely no documentary evidence whatsoever. | 0:03:42 | 0:03:45 | |
However, Rhaune Laslett herself | 0:03:45 | 0:03:49 | |
says that the carnival first started in 1965. | 0:03:49 | 0:03:52 | |
You have others now who will corroborate that. | 0:03:52 | 0:03:54 | |
It might be fair to say that, prior to the 1966 event, | 0:03:54 | 0:03:57 | |
which was a larger, better-organised event, there was a precursor event. | 0:03:57 | 0:04:01 | |
Have you got a sense of why history of Carnival | 0:04:01 | 0:04:06 | |
has been so controversial, if you like, | 0:04:06 | 0:04:09 | |
and has stirred up such kind of fervent passion amongst people? | 0:04:09 | 0:04:13 | |
Claudia Jones is one of my heroes, without doubt. | 0:04:13 | 0:04:16 | |
What she contributed to the black political struggles | 0:04:16 | 0:04:20 | |
in this country is amazing. | 0:04:20 | 0:04:22 | |
However, she did not start the Notting Hill Carnival. | 0:04:22 | 0:04:25 | |
But then we have the situation of Rhaune Laslett, a white woman. | 0:04:25 | 0:04:29 | |
What does she know about Carnival? | 0:04:29 | 0:04:31 | |
The reality was that you had these people from Trinidad, | 0:04:31 | 0:04:34 | |
who weren't just small-time carnivalists is from Trinidad, | 0:04:34 | 0:04:37 | |
they were big players. | 0:04:37 | 0:04:39 | |
They would have turned any little street jump-up into a carnival. | 0:04:39 | 0:04:42 | |
So, that's why people try and push Rhaune Laslett out, by saying | 0:04:42 | 0:04:45 | |
that, well, Rhaune staged the event but we were the ones that made it. | 0:04:45 | 0:04:49 | |
'Rhaune Laslett worked tirelessly to improve social conditions | 0:04:49 | 0:04:53 | |
'in an area which, back then, was severely deprived. | 0:04:53 | 0:04:57 | |
'But did she actually create the first carnival? | 0:04:57 | 0:04:59 | |
'Rhaune passed away in 2002, | 0:04:59 | 0:05:01 | |
'so I've come to see her son Mike Laslett to ask him.' | 0:05:01 | 0:05:05 | |
When your mother had a vision of bringing together this community, | 0:05:05 | 0:05:11 | |
was there any feeling at that point that Caribbean culture | 0:05:11 | 0:05:16 | |
- should be at the centre of this? - No. No. | 0:05:16 | 0:05:19 | |
My mother's thing was, pretty much, she was going to be just here, | 0:05:19 | 0:05:25 | |
spilling out of the house into the street, just like a party | 0:05:25 | 0:05:29 | |
for the Queen's Jubilee, or something. | 0:05:29 | 0:05:33 | |
What year was that? | 0:05:33 | 0:05:35 | |
'65. | 0:05:35 | 0:05:36 | |
The reason there is this controversy is that all historians | 0:05:36 | 0:05:42 | |
rely on documentary evidence. | 0:05:42 | 0:05:44 | |
They want something written down somewhere. | 0:05:44 | 0:05:46 | |
When my mother did this thing, it wasn't... | 0:05:46 | 0:05:49 | |
There was no sense of it being an historic moment, | 0:05:49 | 0:05:53 | |
there was no sense of, "We've got to write this down, | 0:05:53 | 0:05:56 | |
"we've got to record this," it just happened. | 0:05:56 | 0:05:59 | |
Your mum's flat is just over here. | 0:05:59 | 0:06:03 | |
Yeah. | 0:06:03 | 0:06:04 | |
The mere fact that it's there | 0:06:04 | 0:06:06 | |
must give you some form of satisfaction. | 0:06:06 | 0:06:09 | |
It's good, yeah, only because that one's there. It's balanced. | 0:06:09 | 0:06:13 | |
There should be one for your father up here somewhere, probably. | 0:06:15 | 0:06:19 | |
'So, talking to Mike Laslett, you really got a sense' | 0:06:19 | 0:06:22 | |
there was no real plan for making a huge event | 0:06:22 | 0:06:26 | |
on that first little fete or fair, as it was, | 0:06:26 | 0:06:30 | |
and Mike Laslett, son of Rhaune Laslett, | 0:06:30 | 0:06:33 | |
thinks there might even be space for a blue plaque for my dad | 0:06:33 | 0:06:37 | |
somewhere on the wall not far from his mum's blue plaque. | 0:06:37 | 0:06:40 | |
That's quite nice. | 0:06:40 | 0:06:42 | |
'A blue plaque on a wall in Notting Hill? | 0:06:42 | 0:06:46 | |
'Maybe Dad would have liked that.' | 0:06:46 | 0:06:47 | |
And then there's a section in this book, Pioneers In Great Britain, | 0:06:47 | 0:06:52 | |
and at the beginning of the chapter, | 0:06:52 | 0:06:55 | |
here's Sterling Betancourt and Russell Henderson, | 0:06:55 | 0:06:58 | |
And then the next entry is Selwyn Baptiste. | 0:06:58 | 0:07:02 | |
"His greatest contribution was that he played a major role | 0:07:02 | 0:07:06 | |
'by the mid-'60s by actually teaching the steel pan | 0:07:06 | 0:07:09 | |
"to deprived children, English and Caribbean, | 0:07:09 | 0:07:11 | |
"from the Notting Hill adventure playground area. | 0:07:11 | 0:07:14 | |
"In the process, | 0:07:14 | 0:07:15 | |
"Baptiste literally turned many young lives away from violence and crime | 0:07:15 | 0:07:19 | |
"to become a hard-working, upright citizens of Great Britain. | 0:07:19 | 0:07:23 | |
"He was also the first chairman of the Notting Hill Carnival." | 0:07:23 | 0:07:27 | |
And my dad used to carry this book around | 0:07:27 | 0:07:30 | |
and he used it as a bit of a calling card. | 0:07:30 | 0:07:33 | |
If he went to see someone official, | 0:07:33 | 0:07:35 | |
like a doctor or somebody where he needed to prove his credentials, | 0:07:35 | 0:07:40 | |
he'd often pull this book out and get them to read that entry, | 0:07:40 | 0:07:44 | |
and there's something makes me feel a little bit sad about that, | 0:07:44 | 0:07:48 | |
because I think part of my dad's story is that he felt he didn't have | 0:07:48 | 0:07:53 | |
the standing or the recognition that his work had deserved. | 0:07:53 | 0:07:57 | |
'The adventure playgrounds were really important in the mid-'60s | 0:07:57 | 0:08:02 | |
'because Notting Hill was a community | 0:08:02 | 0:08:03 | |
'still scarred by the race riots of 1958. | 0:08:03 | 0:08:06 | |
'To understand how that relates to the beginning of Carnival, | 0:08:06 | 0:08:09 | |
'I've come to meet Peter Joseph, | 0:08:09 | 0:08:12 | |
'a man who experienced those riots first hand.' | 0:08:12 | 0:08:15 | |
The teddy boys were a little bit, um... | 0:08:15 | 0:08:19 | |
They kept away from us in the grove | 0:08:20 | 0:08:24 | |
until they were wound up by Oswald Mosley. | 0:08:24 | 0:08:28 | |
And it spilled over on September 1st. | 0:08:28 | 0:08:33 | |
There was only about 60, 70 of us, but we held the grove. | 0:08:35 | 0:08:39 | |
'Peter was on the front line in Notting Hill, | 0:08:39 | 0:08:42 | |
'defending against racist attacks back in '58, | 0:08:42 | 0:08:45 | |
'but what does he know of the start of Carnival?' | 0:08:45 | 0:08:47 | |
My recollection...is quite simple. | 0:08:47 | 0:08:52 | |
1965, I can't remember the month, | 0:08:54 | 0:08:57 | |
but a friend of mine called me and said, | 0:08:57 | 0:09:00 | |
"Pan on the road!" Russell and Sterling and them, "Pan on the road!" | 0:09:00 | 0:09:05 | |
He just took the kids and all of that from around us. | 0:09:05 | 0:09:08 | |
We are in a position where we have human archaeologists right here, | 0:09:08 | 0:09:14 | |
men like Russell and Sterling, | 0:09:14 | 0:09:17 | |
who can tell you exactly what has happened | 0:09:17 | 0:09:20 | |
and make sure that the actual truth comes from that, | 0:09:20 | 0:09:26 | |
because they did it. Nobody else. | 0:09:26 | 0:09:29 | |
'The cry "pan on the road", | 0:09:29 | 0:09:31 | |
'meaning that a steel band was on the move on the streets, is key. | 0:09:31 | 0:09:35 | |
'That was the moment a street party became a procession. | 0:09:35 | 0:09:38 | |
'Peter is clear that his fellow Trinidadian pan players, | 0:09:38 | 0:09:41 | |
'Russell Henderson and Sterling Betancourt, were crucial characters, | 0:09:41 | 0:09:44 | |
'but what about my dad's involvement in Carnival?' | 0:09:44 | 0:09:47 | |
He was an aspiring pseudo-intellect... | 0:09:47 | 0:09:52 | |
..whose self-delusion and... | 0:09:53 | 0:09:57 | |
..ambitions, whatever... | 0:09:58 | 0:10:01 | |
..put him to the front... | 0:10:02 | 0:10:03 | |
..in order for him to... | 0:10:05 | 0:10:08 | |
..to feed. | 0:10:09 | 0:10:11 | |
Is it safe to say that you and my dad didn't really get on? | 0:10:11 | 0:10:15 | |
Well, it's not safe. | 0:10:16 | 0:10:17 | |
You can be sure. | 0:10:19 | 0:10:20 | |
Because I didn't find him a nice man. | 0:10:20 | 0:10:23 | |
'I knew my dad could be difficult, | 0:10:25 | 0:10:27 | |
'but it was hard for me to hear what Peter had to say. | 0:10:27 | 0:10:30 | |
'I've arranged to see my dad's old friend Darcus Howe, | 0:10:30 | 0:10:33 | |
'to see how he reacts to the accusation | 0:10:33 | 0:10:35 | |
'that my dad used Carnival for his own ends.' | 0:10:35 | 0:10:37 | |
What?! | 0:10:37 | 0:10:39 | |
He had a basement flat in Powis Square. | 0:10:39 | 0:10:42 | |
What is he talking about? | 0:10:42 | 0:10:44 | |
That is poison. | 0:10:44 | 0:10:46 | |
He may have been - | 0:10:46 | 0:10:47 | |
well, not to me - very harsh, and very vicious, | 0:10:47 | 0:10:51 | |
because he was surrounded by a lot of hustlers, | 0:10:51 | 0:10:55 | |
and that he was not. | 0:10:55 | 0:10:57 | |
I knew him well. | 0:10:57 | 0:10:59 | |
He was an intellectual. | 0:10:59 | 0:11:02 | |
He was an artist. | 0:11:02 | 0:11:05 | |
He was spiritual. | 0:11:05 | 0:11:07 | |
And he was brave. | 0:11:07 | 0:11:09 | |
'And in the mid-'70s, both my dad and Darcus needed to be brave. | 0:11:09 | 0:11:14 | |
'Attendance numbers at Carnival were pushing a quarter of a million. | 0:11:14 | 0:11:18 | |
Between 1973 and '75, a man called Leslie Palmer was in charge, | 0:11:18 | 0:11:22 | |
'and he recruited more steel bands, introduced other live acts, | 0:11:22 | 0:11:26 | |
'and, crucially, attracted sound systems to the event. | 0:11:26 | 0:11:29 | |
'The Caribbean influence now went beyond Trinidadian tradition. | 0:11:29 | 0:11:34 | |
'But as more people came, police numbers rocketed. | 0:11:34 | 0:11:37 | |
'Tensions that were simmering between black youth | 0:11:37 | 0:11:39 | |
'and the police all year round | 0:11:39 | 0:11:41 | |
'boiled over at Carnival in 1976. | 0:11:41 | 0:11:44 | |
'By then, Darcus and Dad were running an event | 0:11:44 | 0:11:47 | |
'facing widespread calls to close it down, | 0:11:47 | 0:11:49 | |
'and they had to stand firm. | 0:11:49 | 0:11:52 | |
'They had a clear message for the police and carnival-goers.' | 0:11:52 | 0:11:55 | |
There were too many policemen around the bands yesterday | 0:11:55 | 0:11:58 | |
and it created a certain amount of nervousness. | 0:11:58 | 0:12:01 | |
We say to the young blacks, | 0:12:01 | 0:12:03 | |
"If you steal in Carnival, it's like stealing | 0:12:03 | 0:12:06 | |
"from the purses of the guests who attended your big brother's wedding." | 0:12:06 | 0:12:09 | |
'But looking back now, | 0:12:09 | 0:12:11 | |
'what's Darcus's take on who started Carnival?' | 0:12:11 | 0:12:14 | |
So, can you put the start of Carnival down to one individual, | 0:12:14 | 0:12:20 | |
or is it a movement thing? What's... | 0:12:20 | 0:12:23 | |
It's a movement thing. | 0:12:23 | 0:12:25 | |
There is no one individual, nothing. | 0:12:25 | 0:12:27 | |
It has to come from your own... | 0:12:27 | 0:12:29 | |
in England. | 0:12:29 | 0:12:31 | |
You know, the only person who had that historical perspective on it? | 0:12:31 | 0:12:35 | |
A fellow called Selwyn Baptiste. | 0:12:35 | 0:12:38 | |
For some reason, | 0:12:38 | 0:12:40 | |
he knew that this thing is going to explode | 0:12:40 | 0:12:44 | |
as a huge cultural statement. | 0:12:44 | 0:12:48 | |
'But it didn't become a huge cultural statement overnight. | 0:12:48 | 0:12:52 | |
'It's time to rewind to where it all started for my dad. | 0:12:52 | 0:12:56 | |
'He's no longer here to tell me | 0:12:57 | 0:12:59 | |
'about the Notting Hill Adventure Playground, | 0:12:59 | 0:13:02 | |
'but I do have recording he made a few years before his death.' | 0:13:02 | 0:13:05 | |
These guys used to fight a lot, | 0:13:05 | 0:13:07 | |
the black and white kids in the playground. | 0:13:07 | 0:13:10 | |
I came in with pans, taught them, it was beneficial, | 0:13:10 | 0:13:13 | |
it was unifying, it was all embracing, | 0:13:13 | 0:13:17 | |
and the boys had a better understanding of one another. | 0:13:17 | 0:13:21 | |
'I've managed to track down some of the original | 0:13:21 | 0:13:24 | |
'members of my dad's band, the Adventurers, | 0:13:24 | 0:13:27 | |
'and they've agreed to meet me at the playground | 0:13:27 | 0:13:29 | |
'where it all began for them | 0:13:29 | 0:13:31 | |
'when they were teenagers in the mid-'60s.' | 0:13:31 | 0:13:33 | |
Do you know, this place has completely changed | 0:13:33 | 0:13:37 | |
to what I remember of it. | 0:13:37 | 0:13:39 | |
Very little now, you know, compares. | 0:13:39 | 0:13:41 | |
- But it brings back memories? - It do, it do. | 0:13:41 | 0:13:44 | |
Every child around come here. | 0:13:44 | 0:13:47 | |
The adventure playground at the time was famous. | 0:13:47 | 0:13:50 | |
Was it here that you guys were introduced to pan? | 0:13:50 | 0:13:54 | |
ALL: Yes, yes, yes. | 0:13:54 | 0:13:57 | |
Right here. | 0:13:57 | 0:13:58 | |
Selwyn knew my family back to front. | 0:13:58 | 0:14:01 | |
So, did it go beyond making and teaching pan? | 0:14:01 | 0:14:05 | |
- Was it more than that? - Of course it was. | 0:14:05 | 0:14:08 | |
We in the band used to call Selwyn Pharaoh, | 0:14:08 | 0:14:10 | |
because he was like the leader. | 0:14:10 | 0:14:13 | |
- He was the leader. - Yeah. | 0:14:13 | 0:14:15 | |
So, when the Adventurers' first took to the streets in Carnival, | 0:14:15 | 0:14:20 | |
would you be able to put a year to that? | 0:14:20 | 0:14:22 | |
- We were the kids' band. - Around '66, we would say. | 0:14:22 | 0:14:25 | |
The only thing is, I think | 0:14:25 | 0:14:27 | |
Selwyn in his lifetime, he deserved a bit more recognition. | 0:14:27 | 0:14:32 | |
He did not get the recognition he rightfully deserved. | 0:14:32 | 0:14:35 | |
When the carnival was in proper problem, | 0:14:35 | 0:14:39 | |
Selwyn was the one who took the mantra. | 0:14:39 | 0:14:42 | |
That's when the thing moved to his house. | 0:14:42 | 0:14:46 | |
Because that's after the police problem with the riots. | 0:14:46 | 0:14:50 | |
The whole thing, he couldn't get away from it. | 0:14:50 | 0:14:53 | |
He had sleep deprivation | 0:14:53 | 0:14:55 | |
because of the fact his house is the office 24 hours a day. | 0:14:55 | 0:15:00 | |
What I always remember about Selwyn, | 0:15:00 | 0:15:03 | |
he's on television and when you look at him, | 0:15:03 | 0:15:06 | |
he looked like a black leader, a militant leader, with his Afro. | 0:15:06 | 0:15:10 | |
We were his boys then. We were Selwyn's boys. | 0:15:10 | 0:15:13 | |
The Adventurers steel band became the Metronomes, | 0:15:15 | 0:15:18 | |
who are still going strong today. | 0:15:18 | 0:15:21 | |
CHATTER | 0:15:21 | 0:15:23 | |
All right! One, two, three, four... | 0:15:23 | 0:15:27 | |
'They practise all year round | 0:15:27 | 0:15:29 | |
'for the annual steel band competition, Panorama. | 0:15:29 | 0:15:33 | |
'Founder member Irvin Corridan is still involved. | 0:15:33 | 0:15:35 | |
'They still use my dad's pan in the band. | 0:15:35 | 0:15:38 | |
'They say it brought them that last year. | 0:15:38 | 0:15:40 | |
'That luck, combined with skill and hard work, meant they came second, | 0:15:40 | 0:15:44 | |
'pipped to the first place by the Real Steel Orchestra, | 0:15:44 | 0:15:48 | |
'a band from Plymouth. | 0:15:48 | 0:15:50 | |
'Still, it's their best placing in 20 years. | 0:15:50 | 0:15:53 | |
'Dad would be pleased seeing the celebrations | 0:15:53 | 0:15:56 | |
'going on long into the night. | 0:15:56 | 0:15:58 | |
'My dad's band did remember being there in 1966, | 0:15:58 | 0:16:02 | |
'but can anyone put them, and my dad, at the first one? | 0:16:02 | 0:16:06 | |
'One man who should know is Sterling Betancourt. | 0:16:06 | 0:16:09 | |
'A legendary steel pan player, Sterling left Trinidad to come | 0:16:09 | 0:16:13 | |
'and perform at the Festival of Britain way back in 1951, | 0:16:13 | 0:16:16 | |
'and visiting him feels like I'm getting close to the source.' | 0:16:16 | 0:16:20 | |
1951, TASPO. | 0:16:20 | 0:16:22 | |
So, this is the band you came over with to the Festival of Britain? | 0:16:22 | 0:16:26 | |
Yeah, that's right. | 0:16:26 | 0:16:28 | |
And only three of us are alive now. | 0:16:28 | 0:16:31 | |
Wow. Are you in that photograph? | 0:16:31 | 0:16:33 | |
Yeah, look me here. | 0:16:33 | 0:16:35 | |
They said that we must take a band to Britain for them to see | 0:16:35 | 0:16:40 | |
the Trinidad culture, because this was something new. | 0:16:40 | 0:16:44 | |
No-one knew about the steel drum in those days. | 0:16:44 | 0:16:47 | |
They said, "Well, that is black magic." | 0:16:47 | 0:16:51 | |
I met your dad in the early days when we started the Notting Hill Carnival. | 0:16:53 | 0:16:59 | |
He was very involved with Mrs Laslett as well, | 0:16:59 | 0:17:05 | |
and the kids in the adventure playground. | 0:17:05 | 0:17:09 | |
And he was there, but he didn't actually come on the road with us | 0:17:09 | 0:17:15 | |
when we first started, but he was there. | 0:17:15 | 0:17:20 | |
This was not a Trindidad/West Indian thing. | 0:17:20 | 0:17:24 | |
It get like that after. | 0:17:24 | 0:17:27 | |
What year do you think... | 0:17:28 | 0:17:30 | |
what year would you say that first carnival was? | 0:17:30 | 0:17:32 | |
1964. | 0:17:32 | 0:17:34 | |
Sterling, what was my dad like as a man? As a guy? | 0:17:42 | 0:17:46 | |
As a friend of yours? How would you describe him? | 0:17:46 | 0:17:49 | |
Selwyn Baptiste was a very passionate person, you know. | 0:17:49 | 0:17:54 | |
And he used to get very upset | 0:17:54 | 0:17:58 | |
if people tried to do things that he did not agree with. | 0:17:58 | 0:18:04 | |
He was a nice person, I must say. He was a very nice person. | 0:18:04 | 0:18:09 | |
- Am I too old to learn? - No. | 0:18:09 | 0:18:11 | |
Can you teach an old dog new tricks? | 0:18:11 | 0:18:13 | |
Yes. You want to have a go? | 0:18:13 | 0:18:15 | |
- OK, then. Why not? - OK. | 0:18:15 | 0:18:17 | |
Dad started teaching me when I was a kid at school, | 0:18:17 | 0:18:21 | |
and I was too interested in playing football. | 0:18:21 | 0:18:24 | |
'Sterling clearly had fond memories of my dad, | 0:18:24 | 0:18:26 | |
'but according to him, it was the band HE was in, | 0:18:26 | 0:18:29 | |
'the Russell Henderson Trio, who took to the streets first. | 0:18:29 | 0:18:33 | |
'My dad's band came later.' | 0:18:33 | 0:18:36 | |
- Just one hand or two? - Two here. | 0:18:36 | 0:18:39 | |
And two here. | 0:18:39 | 0:18:40 | |
'In trying to find out who started Carnival, | 0:18:42 | 0:18:44 | |
'and when, I've been looking for definitive answers, | 0:18:44 | 0:18:47 | |
'and all roads have led to this man.' | 0:18:47 | 0:18:50 | |
"Russell Henderson, musician and pioneering pan artist, | 0:18:50 | 0:18:55 | |
"led the first ever Carnival parade | 0:18:55 | 0:18:57 | |
"on the streets of Notting Hill in 1965." | 0:18:57 | 0:19:01 | |
They put '65, but it's '64. | 0:19:01 | 0:19:03 | |
'Russell Henderson is now 90, | 0:19:03 | 0:19:06 | |
'but he remembers how that first mobile procession - | 0:19:06 | 0:19:09 | |
'spontaneous, unplanned, momentous - | 0:19:09 | 0:19:12 | |
'created an immediate buzz as it set off through the streets.' | 0:19:12 | 0:19:16 | |
So, there was no intention for this event to move? | 0:19:16 | 0:19:18 | |
- You just came to play at this spot? - No, it was to play at that spot. | 0:19:18 | 0:19:22 | |
Do you remember which direction you went in? | 0:19:22 | 0:19:25 | |
- Towards Porchester Road. - That way? | 0:19:25 | 0:19:27 | |
Let's go. | 0:19:27 | 0:19:28 | |
Within few hundred yards, people were coming | 0:19:28 | 0:19:31 | |
and following, but it was so impressive, that first one, | 0:19:31 | 0:19:35 | |
that following, it caused it to continue, | 0:19:35 | 0:19:39 | |
and the same way that built up that day, | 0:19:39 | 0:19:41 | |
the carnival built up every year. | 0:19:41 | 0:19:43 | |
And your father came to me and said, "Russ, | 0:19:43 | 0:19:45 | |
"you realise this carnival is getting bigger and getting out of hand. | 0:19:45 | 0:19:49 | |
"I think we should have a committee." I said, "I agree with you." | 0:19:49 | 0:19:53 | |
And your father, Selwyn, formed the first committee | 0:19:53 | 0:19:58 | |
and called it CDC - the Carnival Development Committee. | 0:19:58 | 0:20:03 | |
'So, according to Russell, that's when things got serious. | 0:20:03 | 0:20:07 | |
'My dad's no longer here to give his version of events, | 0:20:07 | 0:20:11 | |
'but Sterling, Russell and some of the other old steel pan warriors are. | 0:20:11 | 0:20:17 | |
'And they still get together to jam and reminisce about how they, | 0:20:17 | 0:20:20 | |
'and others like them, changed the face of Britain. | 0:20:20 | 0:20:25 | |
'When was the first carnival? Well, that one will run and run. | 0:20:28 | 0:20:32 | |
'When you ask who started it, | 0:20:34 | 0:20:36 | |
'the answer is that Carnival has many authors. | 0:20:36 | 0:20:39 | |
'At the forefront, a dynamic white woman working to bring | 0:20:39 | 0:20:43 | |
'an impoverished community together, and a group of pioneering | 0:20:43 | 0:20:47 | |
'West Indian musicians who answered her call, | 0:20:47 | 0:20:49 | |
'a set of conditions including deprivation, immigration | 0:20:49 | 0:20:53 | |
'and racial tension set the stage. | 0:20:53 | 0:20:55 | |
'Hundreds of people have helped develop Carnival, | 0:20:55 | 0:20:58 | |
'and millions have danced to its tune over the years. | 0:20:58 | 0:21:01 | |
'I've learnt a lot about my dad and his Carnival story, | 0:21:01 | 0:21:04 | |
'and over the August bank holiday, I'm sure he'll be here in spirit.' | 0:21:04 | 0:21:08 | |
This is designed for people of the world. | 0:21:08 | 0:21:11 | |
You participate, it's a street theatre, you can be anything | 0:21:11 | 0:21:15 | |
on that day. It's free. It's a freedom thing. | 0:21:15 | 0:21:19 | |
And the carnival is the most dynamic thing that England has ever | 0:21:19 | 0:21:23 | |
seen in its history. | 0:21:23 | 0:21:25 | |
Selwyn Baptiste! | 0:21:29 | 0:21:30 |