Showing posts with label punk. Show all posts
Showing posts with label punk. Show all posts

Tuesday, 1 April 2025

The adventures of a Chinese Brit growing up in post-war liberal Britain

Anna Chen, UK’s first Chinese punk. Catsuit made for her by Vivienne Westwood. 
Pic Bob Carlos Clarke

Anna Chen launches her Substack account

Originally published at Anna’s Substack 25 March 25

“Charming, witty and sophisticated. ” – SUNDAY TIMES

“… extraordinary … independence and spirit. A very distinct voice, very funny …” – Jean Seaton, Director, ORWELL PRIZE

“Assured, funny, angry, exhilarating … A triumph.” – Alan Moore


Sui generis

Okay. In brief, here’s a bit about me before I throw myself into the world of Substack for your amusement and delectation.

I am the UK’s first Chinese punk, the first Chinese Brit to take a show to the world-famous Edinburgh Fringe Festival, a published poet at 14, Orwell Prize shortlisted and longlisted, a TED speaker, a BBC writer and presenter of groundbreaking programmes back when there was an inch of space to do such things, a dissenting journalist (formerly Guardian, New Internationalist, Asia Times), critical thinker and political analyst.And, yes, contrary to the template, I am capable of original thought.

I was born and raised in Hackney, east London, the child of a Chinese father and an English mother. Growing up in the heart of two major civilisations at a historic crossroads, it was hardly surprising that I would end up as a cultural outrider.

Born into the belly of the imperial beast, it was difficult to miss how no Chinese were positively reflected in the culture. Realising young it was only supposed to be vampires, not humans, who cast no reflection, I kicked up.

My disquiet went far beyond the ghetto of identity politics, the safe zone into which minorities are usually shovelled. I grew to recognise this erasure as a manifestation of a larger class conflict that required women and labour, as well as empire minorities, to submit to a grinding world order. I may have found myself on the immediate frontline of sinophobia but it was one battlefield in a wider class war.

One of my objectives — to demystify and humanise the Chinese as a counterweight to the Yellow Peril stereotypes embedded in western culture – was never an effort to empower the bourgeoisie of one ethnic group to which I happened to belong. It was a matter of survival and solidarity with everyone else who fell on the wrong side of the divide.

It was also good training in discerning truth from illusion.

The pressure was always to be submissive and why should I submit? I was sensitive but I wasn’t a delicate lotus blossom. I didn’t giggle. I didn’t have a bell-like, tinkling laugh, more a throaty guffaw like Fenella Fielding had just been told a rude joke. I was never tiny and doll-like. My glutes were built for running 100 metre hurdles and I was likely to squish you if I landed on you.

I won my chess matches, I argued my case. A classic autodidact, I was into dinosaurs, astronomy and science. I read The Little Red Book by six. By twelve, I could tear a telephone directory in half. (Technique, baybee!) I’ve survived being mauled by a puma and swum with sharks (the fishy kind). I was never going to defer to pasty-faced Masters of the Universe.

So …

Undeterred by the absence of role models and fed up with deeply embedded stereotypes that were taken for granted, I defied the degrading western narratives and carved out new ground in my activities, my writing and my commentary on British politics and culture.

“Whatever current western propaganda demands that you believe, we are capable of altruism, fellow feeling, critical thinking and original thought. Of course we are. We’re human.”

Thirty years of writing inside the belly of the empire beast

There was a lot to learn from a lifetime of watching geopolitics unfold while living through the West’s cycle of capitalism. From post-war austerity, through its sparkling zenith of The Beatles and the arts to an ignominious end in crushing austerity redux (which we’re entering right now), I realised that we were in danger of completing the circle and ending up in another world war if we didn’t pull a rabbit out of the hat.

Looking around me now, I’m shocked by how much that we took for granted we’ve lost. I’m a direct conduit back to a kinder time when the British working class were at peak confidence. Having the oldest working class in the world, the country had the greatest potential for social change for the benefit of the majority: AKA revolution. Karl Marx came to London and wrote about it. A century later, I lived it and saw the hope wax and wane.

In the expanding post-war economy we’d had it good compared to our cousins in the remnants of the British Empire. We were granted a National Health Service, housing, jobs and education which turned the majority into a society of high-functioning, apex proletarians with upward class mobility.

Don’t knock it; it gave us the space to raise the collective consciousness and for a while we soared.

However, it came with a dark perk: you, too, could join the ruling class should your moral compass fail. This perpetually dangling carrot kept profits high and seduced many of us away from the temptations of communism, a prospect that terrified our elites.

The 1960s were marvellous unless you were living in China or Northern Ireland or South Africa or the Gorbals or the USA’s deep south or any number of nations struggling to be reborn, but I digress.

We went on strike, we protested. We created marvellous cultural artefacts. The media had relative bandwidth, the press was benign up to a point. With access to the world’s art, literature, philosophy and politics, our souls and spirits were enriched, our empathy finely developed to embrace fellow humanity.

All these things we could do before the jaws of the State snapped shut. Because we understood too late that the State isn’t a charity. It isn’t our parents unless you count Wicked Stepmothers and brutish fathers. It does enough to keep itself in power and no more.

With the collapse of the Soviet communist bloc in 1991, our ruling elites no longer had to pretend to care. They started to claw back all our gains on turbo-charge.

As the elites of the declining empire cut us adrift like gangrenous limbs, preserving the core organs, I’m addressing a new generation I see cheated out of what was possible: dreams made concrete reality through cooperation rather than the fetish of “competition” — for which, read dog-eat-dog and devil take the hindmost.

Oh, but here comes an upstart: a Cinderella story of the world’s factory transformed into a fabulous Golden Goose. Our global lifeboat and growth engine bringing peace, stability and affordable stuff.

I bet the Wicked Stepmother and the Ugly Sisters are going to have something to say about that. “Load the cannon, fire the torpedoes and break out the bubbly. We have a class war to win!”

A detailed biography and blog archive can be found at Anna’s About page

Renew the spirit, free the mind, change the world. In the meantime, maintain.

In the tiny sliver of time that is my life, I managed to carve out a space in the culture from being the first Chinese Brit to take a show to the prestigious Edinburgh Fringe Festival 30 years ago, the satirical trailblazer Suzy Wrong, Human Cannon, to making groundbreaking programmes for the BBC. But the Obama Pivot to Asia and Trump’s Captain Ahab schtick with the white whale of China means that’s all closed down. In order for the West’s Viking raiding party to turn the Golden Goose into a dead duck, it requires a dehumanised, cartoon China on whom to unleash their worst impulses. And that means no Chinese with whom to empathise. Blank canvases only.

The same goes for the working and middle classes everywhere. The Empire wants to do to the whole world what they did to the Native Americans, to India, Africa and China.

I’m here for kindred spirits who say, hell no!

I want to talk to those interested in critical thinking, who look around and says wtf!? To Brits, Americans and Europeans who wonder where their lives, livelihoods and hopes went in some of the richest economies on the planet. To people of Chinese heritage who wonder what the hell’s happened in the West. And to the Chinese emerging into their day in the sun, breaking out of their centuries-long cocoon as beautiful butterflies only to find the predators lining up — don’t be seduced into our bad habits.

Anyone interested in clarity, a different perspective rooted in 400 years of the Age of Enlightenment, is welcome.

I feel a special kinship with the young women being buried by a Gamergate generation bringing back the old oppressions dressed up in new clothes. Bright young women who decline to submit to the hierarchy of delusional ass-hattery and plonkerdom.

Let this be your spiritual home.

Anna’s Substack account is now live.

Tuesday, 1 April 2014

Charles Shaar Murray visits Chalkie Davies at Snap Gallery at his rock photography exhibition in London


The great rock photographer Chalkie Davies was reunited with his old NME mucker, the great music journalist Charles Shaar Murray, when we visited him at his exhibition at London's Snap Gallery last week. 


All the photographs evoke the age of the Clash, the Sex Pistols, David Bowie and Mick Ronson, Blondie, The Specials whose Jerry Dammers is a bona fide genius, he tells us. Many are iconic. Ian Dury stares at his teeth in the dentist's mirror. A large print in three sections of David Byrne catches your eye and fixes it (1981). Johnny Rotten in handsome profile as if he can't be bothered to acknowledge your existence like all good punks, stares off camera at more important matters than your humble presence: a cat may look at a king. And then there's THAT Sid and Nancy photograph. Doomed lovers in the bathroom — where else?

Charles and I took some pix of Chalkie at the Gallery.



Not the first, though. Here's the one I took of Chalkie standing behind Keith Moon (who's wearing my Vivienne Westwood customised leather jacket) in younger days.

Tuesday, 25 June 2013

CRAP LYRICS: What do Siouxie Sioux and Rod Stewart share with Bernard Manning?


Charles Shaar Murray just read me a brilliant demolition of "Hong Kong Garden" by Siouxie Sioux and the Banshees and "Every Picture Tells A Story" by Rod Stewart from journalist and former NME writer Johnny "Cigarettes" Sharp who has written a most excellent book, Crap Lyrics (pub Portico).

Punk rock never had any truck with petty social rules or niceties. Yet when Siouxie sang, Slanted eyes meet a new sunrise, a race of bodies small in size, she seemed to be expressing a knowledge and empathy with immigrant peoples that had more in common with pre-punk figures such as, say, Bernard Manning. Chicken chow mein and chop suey, they rhymed questionably with Hong Kong Garden takeaway, displaying all the searing wit of the bloke who goes into a Chinese restaurant and asks for 'flied lice'. But let's not be too hasty in our condemnation. After all, Miss Sioux has since claimed that the song was 'kind of a tribute' to immigrant communities who were harassed by skinheads in the late 80's.

It's certainly an interesting way of showing respect for other cultures, especially coming from a band who once wore swastikas on stage. I'm sure they meant well, though. Anyway, I'm off down the Notting Hill Carnival dressed in an afro wig and boot polish — it's my tribute to the afro-caribbean community. I'm hoping for a warm reception.

I can't stand Rod Stewart so I was lucky enough to miss out on this lyrical masterpiece, "Every Picture Tells A Story".

Once the Beatles had taken the word by storm, the globe became a playground for tight-trousered troubadours eager to export some culture (usually a culture of sexually transmitted bacteria) to their foreign cousins. But like latter-day Marco Polos, they did at least report back on theier experiences, to educate us in the customs and peoples they met there. As Rod Stewart put it in this postcard from the edge:
On the Peking ferry I was feeling merry, sailing on my way back here.
I fell in love with a slit-eyed lady, By the light of an eastern moon,
Shanghai Lil never used the pill, she claimed it just ain't natural
... and so I did the decent thing, and put a condom on my Deng Xiao Ping.


OK, so I kind of made up that last line. But don't dismiss old Rod for any lack of chivalry, or indeed romance. He goes on to inform us how she won his heart, then refers to her once more as the 'slit-eyed lady'. How she must have loved that pet name. Sadly, history history does not record whether she affectionately dubbed him 'parrot face' in return"
Johnny's sharp book is full of equally funny take-downs, throwing like a top martial artist, actually not having to do much except have an eagle eye and present what's already there. The Beastie Boys telling us, Girls! To do the dishes! Girls! To clean up my room. Girls! To do the laundry!; Rod Stewart again, promising to make love to you Like fifteen men when he gets "Lost In You" (hmm); Prince coming over some poor woman's wedding gown in "Head" (double hmm); Prince once more coming where he shouldn't in "Come" (triple hmm). Who's this Liz Phair who wants to fuck you like a dog (presumably after sniffing your bum for the longest time) and threatens to make you like it in "Flower"? And Prince yet again, this time coming in his "Sister" like some sort of dribble-monster run riot.

Thank heavens song-writing giants like Bob Dylan and David Bowie set a better example. Oh, wait ...!

Buy this book!!!

Monday, 6 May 2013

Punk thrives in China: was I first British Chinese punk?


Love this piece about the punk movement in China.

I think I was the first home-grown Chinese punk in Britain, hanging out at Vivienne Westwood's shop Sex as a kiddie where she made me my first catsuit (pix above and below).

It was my armour, a shiny carapace that expressed my champion alienation as a working class Chinese kid in Hackney with added teenage angst. I wore that catsuit to shreds, shocking the locals as I did the weekly shop in Tescos.

The only other east Asian women punks I can remember from that era were Thai-born Suzie Dixon (with whom I hung out with the Boomtown Rats and the Sex Pistols) and, a bit later, Annabella Lwin (Anglo-Burmese) who Malcolm McLaren made lead singer of Bow Wow Wow in 1980.

I'd be really interested to know who else was around. I'm guessing that there must have been some Chinese punks in America following the New York Dolls in the 1970s. But in the punk genealogical branch that started in Vivienne's King's Road shop, I think I'm the first. So if you know of any others, please do let me know.

I auditioned to be a backing singer for the legendary punk band London SS — Mick Jones, Eunan Brady and then Tony James and a plethora of punk musicians — which became the Clash. London SS never got off the ground (stupid name that we'd hoped was short for London Social Security but probably wasn't) so we'll never know if the auditions were a brilliant way for the fellas to meet gurls in those early days before stardom struck. But it was a fascinating showcase and playground for the punk explosion that followed.


Pix of Anna by Bob Carlos Clarke

Sunday, 28 August 2011

Crosstown Lightnin' at Abbey Mills Blues Festival: punk jacket


First the important stuff. Last night, I finally gave my ancient punk jacket an outing after an absence of nearly 20 years.

Oh, and by the way, the grand occasion was Crosstown Lightnin's gig at the Colour House Theatre for the Abbey Mills Blues Festival.

Charles Shaar Murray, Buffalo Bill Smith, Marc Jefferies and special guest Dick Jude on drums (the Great Pete Miles is gigging in Poland) entertained us until the witching hour.

Here's Crosstown Lightnin' playing Muddy Waters' Can't Be Satisfied.


How I was reunited with my punk jacket here.

Friday, 26 August 2011

Lost 'n' found punk leather jacket brings joy to these trying times


Ring those bells, break out the cheap fizz, for I have been reunited with my original punk leather jacket which I thought I'd lost in various house-moves.

Clearing out the Vault Of Horror that is the hall cupboard, I finally mustered the courage to trawl through the crud and found a bag containing said item. It weighs a ton. Partially customised by Vivienne Westwood back in the days of Sex when kids could walk in and ask and receive individual styling tips from the Grande Dame of Punk Couture, she looped yards of heavy chain through the epaulettes and made me feel a million dollars, even though we were rejecting that sort of materialism back then. Or so I was told. I was young. I was wet behind the ears. My brain hadn't fully growed.

Emboldened by watching the Master do her thing, I then went to town and finished the job.

Here's a pic of Keith Moon wearing the early version before The Who's gig at Celtic FC. (Note photographer Chalkie Davies in suburban knitwear.)


First outing for the punk jacket since being reunited with it here


First Chinese British punk?


Pix (c) Anna Chen

Tuesday, 26 April 2011

Farewell Poly Styrene: O Death, Up Yours



Today we bid a sad farewell to Poly Styrene who has died from cancer.

One of the first women who swept to prominence on the punk wave of the 1970s, Poly made a massive impact. She challenged the insipid standards of female beauty of the time with unconventional looks that included a mouthful of metal, puppy-fat that had yet to melt, and a spiky attitude that refused to capitulate to the usual mind-numbing requirements of a moribund music industry but carved out an identity of her own.

When she sang, 'Some people think little girls should be seen and not heard, but I think, O bondage, up yours,' you knew something had changed forever.

She had a troubled life following her heyday. Hit by a fire engine, misdiagnosed with schizophrenia, she was incarcerated in a mental hospital and only seemed to find peace when she joined a Hari Krishna sect.

Goodbye, Poly. A cultural pioneer who made the world a better place. O Death, up yours.

Saturday, 10 July 2010

Bermondsey Joyriders at The 100 Club: Rat Scabies joins line-up



Last night Loved One and I trekked to The 100 Club in London's West End to see our friend Gary Lammin (Cock Sparrer, The Little Roosters) debut the new line-up of his band, The Bermondsey Joyriders, which sees powerhouse drummer Rat Scabies (The Damned) join Gary and Martin Stacey (Chelsea).

A great energetic gig, Gary isn't a man for the slow ballade so Rat's Keith Moonesque slamming fits in nicely.

I've posted "All The Darkness" and my favourite Lammin song, "Football". Very apt on this Word Cup Final weekend. Oh, there's Germany's first goal ...



OK, one more. Here's the much-covered "Runnin Riot" Gary wrote an age ago when he was in Cock Sparrer in the 1970s.

Bermondsey Joyriders at The 100 Club: Rat Scabies joins line-up



Last night Loved One and I trekked to The 100 Club in London's West End to see our friend Gary Lammin (Cock Sparrer, The Little Roosters) debut the new line-up of his band, The Bermondsey Joyriders, which sees powerhouse drummer Rat Scabies (The Damned) join Gary and Martin Stacey (Chelsea).

A great energetic gig, Gary isn't a man for the slow ballade so Rat's Keith Moonesque slamming fits in nicely.

I've posted "All The Darkness" and my favourite Lammin song, "Football". Very apt on this Word Cup Final weekend. Oh, there's Germany's first goal ...



OK, one more. Here's the much-covered "Runnin Riot" Gary wrote an age ago when he was in Cock Sparrer in the 1970s.

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