12 April 1968: “The country has lost not just Dr King but the King”

Martin Luther King Jr was assassinated forty-five years ago today. Here, Alan Brien reports from a grief-stricken New York.

The only cheerful faces I have seen here since the assassination of Martin Luther King last Thursday have been those of the Negro looters on television. Colour is a great romanticiser of electronic images, painting tragedy as melodrama, tinting actuality with the pastel shades of Hollywood farce. Vietnam has almost vanished from the screens these last few days with its ketchup blood and dry-ice smoke, recalling inappropriate images of John Wayne wading novocaine-faced through the swamps of Iwo Jima. Now the long-distance camera eyes sprout on stalks in the riot areas of America's own cities, and many sequences we watch might almost be from some innocent, whimsical, indulgent, black-face musical of the Forties like Cabin in the Sky. The impulse-shoppers of the slums, celebrating an impromptu, out-of-season Christmas, could be observed queueing in an orderly fashion, like wartime civilians in Britain, outside broken-open shops. The fantasies of the commercials, where goodies rain down from Heaven and gadgets magically furnish empty rooms, were being acted out for real. The kind of easily portable wealth that professional criminals would search out - cash, jewellery, watches, etc - seemed often ignored. One woman staggered under the weight of a monster carton of Kleenex. A man almost danced down the street pushing a cumbrous dressing table with a huge mirror - and waved to the watching millions at home as he went. Another sat among the splintered glass, sparkling like tinsel in the TV spotlights, sensibly trying on a liberated pair of banana-yellow boots for comfort and style.

At first, the police stood by in most places, simply directing the traffic in flood-lit robbery as the exploited expropriated a little of the surplus profit of the exploiters - only to be gently rebuked by the New York Times next day for such un-American priority for people over things. Later, sniping and fire-bombing broke out and the law reasserted its traditional role. In Manhattan, rumour was full of tongues, pandering to that guilty thrill in anticipating the apocalypse which is one of the deep excitements of modern metropolitans. Reports of besieged suburbs, hijacked buses, mutinying schools and marching mobs leapt from lip to lip. The true facts, available instantly on such radio stations as WINS, which broadcast an uninterrupted flow of news around the clock, were barely more credible as the astonishing weekend began.

The curfew in the nation's capital retreated to 4pm on Saturday - earlier than that in Saigon. More regular troops were deployed to protect Washington than Khe Sanh. New York is the only American city I know at all well. I have spent an annual working holiday here every year since 1961. Each time I arrive I feel an intensifying weight of violence in the air which presses down on the visitor like the atmosphere of Venus on an exploring astronaut. The electric crackle of static which arcs from the hand to the doorknob or the lift buzzer - and makes many an unwary tourist imagine his coronary has caught up with him at last - seems to symbolise the bottled aggression stored in these human batteries. In the past, my friends here have vied with each other, whether expatriates or natives, in telling tales of life in the asphalt jungle - mad taxi-drivers who kidnapped passengers to tell them the story of their lives, sadistic vandals terrorising an entire subway carriage for an hour's journey, six-year-old children threatened by knife-carrying nine-year-olds on the fringes of the Park, lessons invaded by drug-addicts, alcoholics and sex perverts. My reaction has been shock and fear and a desire not to believe. Their's has been a rather callous bravado - like sixth-formers putting the wind up a cissy new boy.

Now, this week, I am the one who has always expected this hell to break loose. Looking from the outside across the Atlantic, like many Britons, I have seen the storm cones hoisted for a hurricane. Since the killing of President Kennedy and Malcolm X, it seemed inevitable that more sacrificial victims would follow in time. It is the residents who cannot believe their eyes and ears and implore you to tell them that what is happening is impossible. For once, the old liberal cliché about everybody being guilty for the crime of one psychopath seems, if not true, at least universally believed to be true. There is a widespread desire to canonise Martin Luther King, a great and good man fit to stand alongside Gandhi or Danilo Dolci, into a saint and martyr unrivalled in history. Each man loves the thing he kills and the civil rights leader is rapidly becoming an immortal. His reputation escalates from hour to hour. A Negro leader described him as the noblest human of our century. A rabbi called him the Black Moses. The Pope's comparison of him to Christ crucified seems to almost nobody even a trifle hyperbolic.

It is an awe-inspiring and rather unnerving sight to see the mass media of American opinion-making (what one British journalist unkindly calls “The Bullshit Machine”) firing on all cylinders to a single theme. Dr King's picture is in every shop window, in every paper and magazine, punctuating almost every programme on TV. The US flag, and this is a nation of flag-fliers, is everywhere at half-mast, sometimes upside down (the sign of a nation in distress). Public events which might seem tactlessly light-hearted, such as the Oscar awards, are postponed or cancelled. Radio announcers assure you that you will hear nothing frivolous all day on their channel. The country has lost not just Dr King but the King. These words and images have done more to damp down riot than all the police and troops. Any Negro anywhere is treated by whites as if he were personally a close relative of the murdered man. How long this spontaneous unity in mourning will last, no can tell. But it is an America I have never seen before.

Martin Luther King Jr calls after encountering a white mob in Alabama. Photo: Getty.

Alan Brien (1925 – 2008) was a critic, foreign correspondent and author of “Lenin: a novel”.

Photo: Catgod
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Gig economy: apps offering a small-scale solution to the decline of the UK's music venues

Could bands and fans increasingly start swapping concert halls for strangers' living rooms?

Most up-and-coming musicians rely on live gigs to win new fans, but their ability to find somewhere to play is increasingly under threat. Earlier this month, Arts Council England rejected a funding bid from the Music Venue Trust (MVT), the primary charity looking after the country’s grassroots music venues.

After encouraging the MVT to apply for several grants, the Council ended up awarding 85 per cent of its £367m music budget to the opera and classical sectors. There is no more Arts Council funding available for the next four years, which means that countless grassroots venues in smaller towns and cities that rely on support from the MVT will be left out in the cold.

Music venues are already disappearing across the country. Since 2007, more than 430 live music venues in London alone have had to close down. The majority of these were small, local spots that buckled under rising rents, increasing business rates, and the constant threat of avaricious property developers.

Unsurprisingly, such a dramatic decline in the infrastructure supporting the country's music scene hurts emerging musicians, but it also runs the risk of undermining musical heritage. Places like the 100 Club in London – which in its heyday played host to The Clash, Sex Pistols and Rolling Stones – are at risk of shutting their doors permanently.

Spanning several generations and musical movements, these spaces have helped give popular music a central role in the city’s cultural history. They have also shaped bands that at the time were merely looking for a chance to escape their parents’ basement.

The picture appears gloomy, but a potential solution is on the horizon that taps into two things the millennial generation can’t seem to live without: apps and social media. The success of services such as Uber and Deliveroo has inspired music start-ups to apply digital savvy to this very physical problem.

One such start-up is Tigmus, a platform for artists to find venues that are both interesting and affordable, while connecting them with both venue owners and fans. Venues can include cafes, warehouses, and even people’s living rooms.

Tigmus veterans Catgod are a soul and trip-hop collective who relied heavily on the service while establishing themselves in Oxford. Robin Christensen-Marriott, the band’s manager, says Tigmus gigs were “a vital income for us to pay for our studio recordings, as Tigmus take a small cut of the takings, whereas other promoters generally will take more.”

The platform has also helped Catgod unlock “lots of interesting venues in our hometown as you can virtually book anywhere” – meaning the band “played some really poky, cosy venues ...that have been fun and sweaty”.

Tigmus is not the only start-up offering a more unusual way to cater to a smaller budget. Similarly, Sofar Sounds works as a go-between, however it also adds a bit of old-school secrecy to proceedings. An intimate and authentic experience is the company’s main concern – fans apply for tickets, and only when they get accepted does the secret address get released. This adds a layer of mystery to seeing live music.

These days, fanbases are birthed and sustained on social media, so the extra opportunity to publicise events and venues on Facebook or Twitter is part of the allure of these platforms. Both Tigmus and Sofar encourage performers, once booked, to plaster their events all over fans’ news feeds and timelines. This makes them an appealing option for a band just starting out and looking to make a name for themselves.

The development of platforms such as Tigmus and Sofar mirrors the digitisation of music more generally. Just as streaming services such as Spotify and Tidal sprung up in response to the threat of piracy, as digital music replaced vinyl and CDs, digital platforms are emerging to deal with the decline of traditional venues. Could bands and fans increasingly start swapping concert halls for a perch on a stranger’s sofa instead?