Tag: Ive

  • Tennessee Has Two White Faces. I’ve Seen Both of Them.

    Tennessee Has Two White Faces. I’ve Seen Both of Them.

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    My family’s history in North America begins in North Carolina, where an ancestor, Lucy Hardiman, was enslaved. She must have been a resistor because her daughter, Mary Coleman, would weep when recounting the lashes Lucy received during her involuntary entrapment.

    Mary moved to Chattanooga, Tennessee, where my family lived from the late 1800s to 1941 during the first phase of their inhabiting the state; a younger generation returned to Tennessee in the early 1990s.

    The first phase of my family’s Tennessee history was marked by abandonment, murder, mental illness and alcoholism. Like many Black southern families, there exist cold cases. My grandfather Mack Hopkins was murdered by a white man who said my grandfather had threatened him with a knife. One version of the murder was that my grandfather knocked on the wrong door. There was an inquest, and the white man went free.

    My grandfather, a laborer, supplemented the family’s food supply by hunting. My only photo is of him posing in front of a car. About a dozen rabbits, a source of protein, are strung up. It’s bad enough that the capitalist system has opposed Blacks acquiring assets, but the murder of Black men compounds the loss, depriving their survivors of assets these victims might have accrued.

    My mother was 17 when she visited my grandfather in the hospital; his clothes were soaked with blood. As he was lying near death, he told her he’d overheard the doctor say, “Let that n—-r die.” Years later, when I received a copy of the death certificate, his cause of death was listed as “shock,” with the sentence, “stabbed by some man.”

    Four years after my grandfather’s death, I was born in the hallway of the same hospital.

    I haven’t been able to obtain the inquest report, but in court my mother called the murderer of my grandfather a liar. She was tough like that, an attribute she inherited from her grandmother, Mary Coleman, who opened a food stand in her front yard after her Irish husband abandoned her. Mary catered to white workers who were employees of the pipe manufacturer located near the Tennessee River in Chattanooga. She insisted that they call her Mrs. Coleman.

    The 1930s were difficult for my mother. In 1930, Mary Coleman, her grandmother, died. In 1934, her father was murdered. In 1938, she became pregnant by a Knoxville college student. He refused to support her, leaving her and me in poverty while he married into the Black aristocracy.

    We ultimately moved to Buffalo, New York, in search of a safer existence, but until then, my mother found a way for us to survive in the Tennessee of the 1930s and 1940s. In her 2003 memoir, “Black Girl From Tannery Flats,” she called it her “Southern Strategy.”

    What she had learned was that good white people would protect you from the bad ones. That was her Southern Strategy. My grandfather’s murderer represented white evil. And my mother could call her father’s murderer a liar because present in the court was Mrs. Clifford Grote, a member of one of the most powerful Chattanooga families, a family that represented the other side of white Tennessee. She employed both my mother and grandmother. Even though my mother was unmarried, Mrs. Grote pulled strings to get her an apartment in the projects. When my grandmother became schizophrenic (the family version was she was under a HooDoo curse), the Grotes were there to support her. They lived in a plantation-styled estate, columns and all. I remember there being an elevator that connected the floors. Mrs. Grote called me G.W. because I was born on February 22, sharing a birthday with the first president. Family members still call me by that name.

    They weren’t the only good white folks. When my mother’s boyfriend, a pretty boy with “good hair,” was caught in bed with a white woman at the Read Hotel where he worked, another employer, a white man named Herbert Spencer, helped to get him out of town safely. When my mother was stabbed during a race riot on a Knoxville bus, her employer, a white woman, insisted that she receive a settlement from the bus company. “You’d do it for me,” she said. My mother also used this strategy in Buffalo. When it came time for my younger brothers to be ensnared in the criminal justice system, she warned the cops assigned to the ritual that young Black men must maneuver that she worked for Judge Sedita, a member of an important Italian American family. His brother Frank was mayor. The cops backed off.

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    #Tennessee #White #Faces #Ive
    ( With inputs from : www.politico.com )

  • I’ve at least 3-4 years left in the ring: Mary Kom mulls turning pro next year

    I’ve at least 3-4 years left in the ring: Mary Kom mulls turning pro next year

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    Kolkata: Indian boxing superstar MC Mary Kom, who is recovering from an ACL tear surgery, has not given up hope of returning to the ring and said she still has at least three-four years in which she can make a pro career.

    Mary Kom, who was heading the oversight committee enquiring into sexual harassment charges against Wrestling Federation of India (WFI) president Brij Bhushan Sharan Singh, remained silent on the ongoing controversy.

    Having failed in her attempt to win a second Olympic medal in Tokyo 2020, the six-time world champion sustained a grade-III tear on the anterior cruciate ligament in her left knee during the 2022 Commonwealth Games trials in June last year.

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    “(The) Injury is much better now. I can walk, run, though not on hard surface. I just started running on (a) tread mill,” Mary Kom told reporters after she was awarded the PC Chandra Puraskaar 2023 here.

    “I’m pushing myself. After one month, I’ll be fully fit and recovered. I’ll be ready to fight in the ring in two months’ time,” she said.

    Asked whether she will compete at the Asian Games in Hangzhou, Mary Kom said, “This year I’ve a chance to compete in any competition. Next year by force, I’m not eligible.”

    Her quest for a second Olympic medal is over as she will turn 40 in November and hence won’t be eligible to compete thereafter in any international championship, including the 2024 Paris Olympics.

    ‘Nobody can stop me from fighting’

    Mary Kom, however, said that while rules can stop her from competing in another Olympics, “nobody can stop me from fighting”.

    “By force I’m not eligible to fight in the Olympics because of the age limit. I’m very sorry for that. But I want to continue, keep fighting for another three-four years. I still have that confidence and willpower.

    “I’m thinking, I can also become a pro. I’ve that confidence. Nobody can stop me from fighting.”

    The boxing legend underwent surgery at a Mumbai hospital in August last year.

    Terming it as the worst phase of her career, Mary Kom said she would have preferred “death” to the painful phase.

    “It was so painful… I didn’t expect this injury. It was bad luck. It wasn’t a minor injury, but a major grade-III ACL tear. People said I won’t be able to run again, forget (about) fighting. Six months after the operation, there was still unbearable pain that (I) preferred death.

    “In my life, I’ve struggled a lot, did hard work… so much that I never cried and took all the pain. But this (recovery) was unbearable. Only once before in my life, I had cried when I had lost my passport and then I attempted suicide, as I did not have the money to apply for a fresh passport,” she recalled.

    India made history earlier this year, winning four gold medals (Nitu Ghanghas, Nikhat Zareen, Lovlina Borgohain and Saweety Boora) at the Women’s World Boxing Championships.

    In 2006, the quartet of Mary Kom, Sarita Devi, Jenny Lalremliani and Lekha KC had achieved the feat for the first time.

    Stay grounded: Mary tells Nikhat and Co

    Urging them to stay grounded, Mary Kom said, “Nowadays, whenever one becomes a champion, arrogance, attitude and indiscipline creep in because of money and fame.

    “They (boxers) have to guard against it. My uniqueness is that I always love everyone and care for everyone. I’m blessed, which is why I am here. They (young boxers) have to be guided well.”

    Asked about India’s medal chances in Paris, Mary Kom said, “Their fate is in their hands. The federation is doing its best. They (boxers) are not lacking anything, everything is being provided. Now, it’s all in the hands of the boxers… how many of them qualify and win medals in Paris.”

    Asked about Nikhat, Mary said, “She has been doing well. I just want her to keep doing well and become responsible. There’s a lot of stress, pressure at this level. If, she (Nikhat) handles the pressure well, she will do better. If she’s unable to handle pressure, she will falter. You have to guide them in a proper way.”

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    #Ive #years #left #ring #Mary #Kom #mulls #turning #pro #year

    ( With inputs from www.siasat.com )

  • ‘I’ve been terrible at partner work,’ says Hrithik Roshan about dancing

    ‘I’ve been terrible at partner work,’ says Hrithik Roshan about dancing

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    Mumbai: Bollywood star Hrithik Roshan spoke about a dancing style he wishes to learn and said that it is “partner work” he is terrible at.

    Hrithik said: “I’ve been terrible in partner work. I feel relaxed when it’s just me, but when it’s partner work, there is a certain synchronising and coordinating, there’s beauty in that. I have never been able to achieve that. I am very fascinated with Ballet. Just the long lines, the expanse and flight of it.”

    “I had the opportunity in Guzaarish to train in the dance form and it was an incredible experience. It was like a ball and I was holding the ball and swirling. During the take, I was not able to get three turns – you know, the pirouettes. Finally, after two hours, we had lunch, and then we tried again. In a single take, somehow it happened.”

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    Hrithik also revealed to IMDb that some of the signature dance steps he enjoyed throughout his career are The Bang Bang title track, Ghungroo from War and It’s Magic from Koia Mil Gaya.

    Speaking about his way of working, Hrithik said: “It’s always about the process. I have a favourite process. Anybody who fits in the process, we create amazing things! The process is working with no egos, absolute communication, no feeling bad. And if you’re feeling bad, express it. Be honest and work hard. Give me time to work hard.”

    “If you tell someone, I want one month to rehearse, and if it’s coming from me, they will think I’m joking. Prabhu Deva, Farhan in Main Aisa Kyon Hoon (Lakshya), they gave me a month. Mr Bhansali once gave me two months. Once you have time and you have will, you just have to work hard.”

    On the work front, the actor will next be seen in ‘Fighter’ along with Deepika Padukone and Anil Kapoor.



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    #Ive #terrible #partner #work #Hrithik #Roshan #dancing

    ( With inputs from www.siasat.com )

  • Marvel Snap is the most positive addiction I’ve ever had

    Marvel Snap is the most positive addiction I’ve ever had

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    I don’t look cool. I have aged ungracefully. At 18 I was Morten Harket meets the Milky Bar Kid. Now I am Gary Oldman’s Dracula meets a potato. Yet I bonded with the coolest guy in my town this week. He and his mates invaded the bus en masse, all tumbling hair, skinny jeans and laughing eyes, fanning out around me, thinking it best not to bother the hobo in the ski jacket and ankle wellies.

    I caught sight of the screen on Cool Guy’s phone. My heart flipped and I said the words that have united a million people around the world recently.

    “That Shuri nerf, eh? Wow!”

    He looked at me and nodded. In a single moment I had leapt across the valley of unhipness and was part of his cool gang. We didn’t do anything silly like smile or fist bump, but we connected. Because we are part of the Marvel Snap community.

    Games communities are ace. As single-digit whippersnappers we would crowd round Pac-Man and Defender, gleefully slapping unwanted advice and even less welcome incursions on each other’s smart-bomb buttons. We would swap tips at school on the best routes for Pac-Man and talk in reverent tones about the first person we saw play right through the LaserDisc coin-swallower that was Dragon’s Lair.

    Butlins holiday camp in Skegness in 1982.
    Cool kids of yore … Butlins holiday camp in Skegness in 1982. Photograph: Barry Lewis/In Pictures/Getty Images

    Then I was part of the Spectrum Gang, who looked askance at those with Commodore 64s in the same way the Tiswas tribe looked at Swap Shoppers.

    I never got into the factionalism of Sega v Nintendo because, as the host of GamesMaster, it wouldn’t have been politic for me to pick one side. It would have been like admitting which of the Glasgow football teams you supported. Been there. Done that. Got the skidmarks to prove it.

    But I was part of the Sensible Soccer community. And the Championship Manager one. That produced glorious in-person tournaments and real Sunday league football teams. Then that thing called the internet came along and gaming communities bloomed internationally. And that was what made me part of the global FIFA community.

    In the 18 months since I left FIFA and its community behind, it’s the one thing I have missed. Not the game itself, with its dabbing celebration hellscape and instant-message toxicity. I have played oodles of games I wouldn’t have touched if I was still enslaved to FIFA Ultimate Team. Today my life – gaming and otherwise – is richer as a result. But I miss being part of something huge and constantly evolving.

    That’s what Marvel Snap gives me. Initially it was merely my fun, comic-fanboy gateway to card-deck games. Then I started seeking out websites, forums and feeds swapping tactics. I enjoy them as much as playing the game. My day now runs on Marvel Snap time. I get into work at some vague point in the day, I can make a guess at what time school starts for my kids, but I don’t even have to look at my watch to know it’s time for the thrice daily mission updates and new card issues. I feel it in my water, which, at my age, empties at far more regular intervals.

    I’m probably addicted to Marvel Snap. But the most alluring part of addiction (for me anyway) is that it gives you a framework and timetable. The older we get the more we look for something to run our lives for us. To make decisions and return to those childhood years where we were safe and looked after. Because making decisions is exhausting and we blame ourselves when we get them wrong. Much better to blame FIFA, or cocaine.

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    Marvel Snap Captain Marvel variants.
    Joy at the centre … Captain Marvel card variants. Photograph: Marvel

    But Marvel Snap is one of the more positive addictions I’ve had, because it is a game with joy at its centre. Joy in the gameplay, the animation, sound effects and card variants. Joy in the fact that the only way you can communicate with an opponent is through a small bank of public, onscreen, inoffensive pictures and words. The game designer Ben Brode is the most insanely joyful chap. His regular videos are full of infectious smiling enthusiasm. The April season features cartoon variations on the Marvel animal characters, with pride of place going to Jeff the Baby Land Shark.

    The game constantly evolves to keep it joyful. Not just with new card content but buffs and nerfs (as the kids say) to old ones. Online gameplaying happiness desiccates when one style of play dominates (“The Meta” – The Kids). The Marvel Snap gatekeepers never let these dominate for too long. That comforts a rubbish player like me. I never thought comfort and joy would be the two things I looked for in games, but they are a counterpoint to the frequent misery of existence, and comfort is fleeting in a world that is terrifyingly impermanent.

    Maybe it’s because I am at the age where parents (and contemporaries) are getting sick and dying, but I am this close to writing the great French existentialist gaming novel where a man finds his only real joy in Super Mario Kart. But not today. Today, I am only 2,300 tokens away from the 6,000 I need to buy Jeff the Shark. So, it’s clobberin’ time!

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    #Marvel #Snap #positive #addiction #Ive
    ( With inputs from : www.theguardian.com )

  • I’ve rented DVDs from Netflix for half my life – streaming is a poor substitute | Zach Schonfeld

    I’ve rented DVDs from Netflix for half my life – streaming is a poor substitute | Zach Schonfeld

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    Red Rock West, a twisty thriller from 1993 starring an uncommonly subdued Nicolas Cage, is one of the best neo-noirs of the 90s. But you won’t see it mentioned much on social media or included in what-to-stream lists, because Red Rock West is unavailable on streaming platforms – a fate that now renders it all but nonexistent. Even many Cage fans haven’t seen it.

    In 2021, when I needed to watch Red Rock West for a book I was writing about Cage, I accessed it the same way I would have a decade before: I rented the DVD from Netflix. Not only did I get to see it without crawling around sketchy torrent sites, I also got an insightful director’s commentary.

    I’ve been getting Netflix’s red and white envelopes in the mail since 2007 – half of my life – and, surprisingly, I’m not the only one still holding on. The company’s DVD arm reportedly generated $145.7m in revenue last year, with more than a million American subscribers. (Its DVD rentals were never available in the UK, where people may instead recall services such as LoveFilm, which stopped posting discs in 2009.) All that will be left behind at the end of September, when Netflix finally kills the DVD-by-mail service that once comprised its business model.

    While it may go unmourned by most of Netflix’s 230 million streamers, this amounts to a slow-motion murder of the greatest resource the early internet offered cinephiles. I’m only 32, but I feel like the grandma from the let’s-get-you-to-bed meme when I try to convince Zoomers that Netflix was once a boon for discovering classic films. It was a virtual video store with an enviably vast selection, but its transformation into Hollywood’s leading manufacturer of mediocrity (with the occasional Roma or The Irishman thrown in for prestige points) is now complete. Netflix is now in its austerity era, cracking down on password-sharers and Nancy Meyers alike.

    I’m not quite as sentimental for Netflix DVDs as I am for the suburban video stores of my youth, but I’m pretty nostalgic for the service’s golden era. When I first signed up I was still in high school, and Netflix’s offerings helped expand my still-burgeoning taste in film. I remember ordering Akira Kurosawa’s Ran (1985), which amazed me with its gargantuan scope, because someone had recommended it to me on the Flaming Lips message board. I remember using Netflix to explore Pedro Almodóvar’s dazzling filmography – All About My Mother (1999), Talk to Her (2002) – after seeing Volver (2006).

    In 2009, I went off to college, and my Netflix subscription became a reliable lifeline now that I was no longer within driving distance of those floundering video stores. I remember receiving Stanley Kubrick’s brutal Paths of Glory (1957) during freshman year and watching it with my roommate on a dorm-sized TV, bonding over a shared interest in movies from before we were born.

    Look, I rented tons of crap from Netflix, too. In 2015, when my girlfriend and I were on a Winona Ryder kick, I rented long-forgotten duds like Square Dance (1987) and Boys (1996). Even now, plenty of the beloved and dated trash of yesteryear has fallen between the streaming cracks. “My dad can’t get his favourite comedy series (Police Academy), Steve Martin’s bombs [flops] or Charles Bronson’s oeuvre,” a fellow journalist told me when I began writing this piece. “Those – and other more valuable dated films – had huge audiences who would surely like to see them again.”

    A closing down Blockbuster Video shop in Sidcup, Kent.
    A Blockbuster Video shop before it closed down in Sidcup, Kent. Photograph: UrbanImages/Alamy

    By the mid-2010s, as streaming options such as Prime and Netflix supplanted physical media, I began to sense that the central promise of streaming – every movie or show ever, available at your fingertips – was false. Too many great films are inaccessible. In 2017, I wrote about Netflix’s abysmal catalogue of classic films to stream. As of 2023, the US service offers just 35 movies released before 1980. Far more are available to rent on Amazon, but certainly not everything. Many culturally significant films, like Pink Flamingos (1972) or Rebecca (1940), remain mysteriously unstreamable.

    Speciality services such as the Criterion Channel in the US are wonderful and smartly curated, but it’s not a replacement for breadth. Besides, the ghettoisation of classic cinema as a separate service means it’s only available to those who deliberately seek it out across multiple platforms, and not the curious kid who, 25 years ago, might have stumbled upon Mean Streets (1973) on a Blockbuster shelf.

    Meanwhile, streaming content seems increasingly disposable because the corporate powers treat it as such. In the US, HBO Max (soon to be Max) recently removed a handful of its own original films and shows, including The Witches (2020) and An American Pickle (2020), starring Seth Rogen. If HBO Max can’t even be trusted to care for and preserve its own original movies, how can it be trusted to care about anyone else’s?

    Netflix likes to cosplay as a home for film lovers, but it’s a hollow claim. When you’re lucky enough to stream a classic film, they vandalise the end credits with a pop-up ad. Compared with that indignity, watching a DVD feels weirdly luxurious these days: you don’t need to worry about intrusive ads or the wifi cutting out, no one’s shouting at you about what to watch next.

    We were told that “everything’s on streaming now”. We thought we’d have access to 120 years of cinema history. Instead, we have access only to the content that can be readily and easily monetised, trapped in garish and unreliable platforms. There’s no guarantee your favourite movie will still be streaming next month. It feels as if the internet’s vast early possibility has shrunk.

    DVDs won’t die out. They’ll probably go the way of vinyl – overpriced boutique items prized by stans and collectors, and cherished by canon-building organisations like the Criterion Collection. You’ll be able to find mainstream DVDs at the public library (for now) and the rarer ones on eBay. As for me, I’ll cling to my modest personal library of about 130 DVDs. A few years ago, during the streaming boom, I thought I might eventually get rid of them. Now I expect to carry them to the grave.

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    #Ive #rented #DVDs #Netflix #life #streaming #poor #substitute #Zach #Schonfeld
    ( With inputs from : www.theguardian.com )

  • Jess Cartner-Morley’s forever fashion: ‘I’ve had this dress 21 years. When I say “this old thing”, I mean it’

    Jess Cartner-Morley’s forever fashion: ‘I’ve had this dress 21 years. When I say “this old thing”, I mean it’

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    This is how long I’ve been wearing this dress: I thought about reproducing the older photo you see here when having my picture taken for this, but I couldn’t make it work because Alfie, the baby son I’m holding, is at university in a different city. Alfie is now 20; the dress is almost a year older.

    The funny thing is that, when I bought it, I wasn’t at all sure I’d get much wear out of it. The year was 2002, Net-a-Porter had recently launched and “internet shopping” was an exciting new world. Diane von Furstenberg and her wrap dresses were enjoying a renaissance. Her New York fashion show that season was a headily glamorous scene, Ellen Barkin clinking champagne glasses with Paris Hilton. Also, I go weak in the face of leopard-print anything, always have done. I saw this dress, dropped a few heavy hints to my husband, Tom, about my upcoming 29th birthday and before I knew it I was lifting it out of layers of black tissue paper and putting it on for the first time for a birthday dinner at our local Italian.

    But then – plot twist! – about a week later, it turned out that I was pregnant with Alfie. A wrap dress doesn’t really work without a waist, so within a couple of months this dress was relegated to the back of my wardrobe.

    By the time Alfie was six months old, the dress was back in my life – as was the champagne, as you can see. (Yes, I was still breastfeeding – but it was the 00s, we did things differently.) And I’ve been wearing it ever since. I’ve worn it to two weddings and a christening. I’ve worn it to Ascot – with a dodgy asymmetric fedora hat, not its finest hour, with the benefit of hindsight – and to interview Von Furstenberg herself. (Never underestimate the power of sucking up to an interviewee.)

    Jess Cartner-Morley with her son Alfie
    20 years ago … Jess Cartner-Morley with Alfie. Photograph: Suki Dhanda/The Guardian

    I used to dry-clean it, but I’ve found that washing it on cold in the machine and letting it air-dry works just as well. It is pretty much as good as new. And it isn’t, actually, the oldest thing that I still wear – there is a Gap flippy black above-the-knee skirt, still a staple of my summer wardrobe, that I have had since I was a student. When I say “this old thing”, I mean exactly that.

    This is quite categorically not intended to portray me as a saintly pioneer of sustainability. I am nothing of the sort. For many years I bought way, way too many clothes. In the glory years of the big Topshop at Oxford Circus, I sailed up those escalators laden with shopping bags on a Saturday afternoon in blissful ignorance, like a passenger on the Titanic knocking back the Moët even as the ship tilts. I overshopped, and I wish I hadn’t. I have a lifetime of buyer’s remorse, and more clothes than anyone could ever need. The least I can do now is keep wearing the clothes I already own, instead of buying more. A leopard doesn’t change his spots, after all. And I have no plans to change out of these ones.

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    #Jess #CartnerMorleys #fashion #Ive #dress #years
    ( With inputs from : www.theguardian.com )

  • If you ever doubt the hateful effects of Tory migrant policy, go to Calais and see what I’ve seen | Jeremy Corbyn

    If you ever doubt the hateful effects of Tory migrant policy, go to Calais and see what I’ve seen | Jeremy Corbyn

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    Hell is a teargassed scrubland crawling with infectious disease. Hell is toddlers scavenging to survive. Hell is a refugee camp in Calais.

    Each time I visit, I learn more about the diabolical conditions that human beings are forced to endure in the camp. Having fled the horrors of war, environmental disaster and destitution, refugees there have sacrificed everything to find safety. Instead, they die slowly in a hopeless wasteland. Muddied tents provide the only shelter from the freezing cold. Children beg for water contaminated by faeces, as rats scurry into people’s makeshift homes.

    The human shrieks of a rodent-sighting are nothing compared to the wails of infants longing for their mother’s embrace. One of the main sites of separation is Calais itself. Since the destruction of the “jungle” in 2016, the French police have enforced a policy of “zero-fixation points” to prevent refugees settling elsewhere. Evictions are carried out daily; tents, blankets, identity papers, mobile phones, clothes and medicines are confiscated or destroyed.

    During this campaign of harassment, refugees are regularly beaten, shot with rubber bullets and choked with teargas. Human Rights Observers – an independent watchdog in northern France – told me they’ve witnessed French authorities urinating on people’s belongings. In the melée, mothers are routinely separated from their children. It’s often the last time they see each other, at least alive.

    It may be French authorities who assault the refugees, but it is the UK government that gives them the batons and bullets. In 2021, the UK paid £55m for French border patrols to clamp down on border crossings; the money goes on barbed wire, CCTV and detection technology. Absolving itself of any international or moral responsibility toward refugees, the UK is paying France to criminalise them instead.

    The police have the same desire as the French and British governments: for refugees to disappear. Even before Suella Braverman took office, the UK had one of the lowest rates of asylum approvals in western Europe. Under Braverman’s plans, anybody who crosses the Channel would be banned from claiming asylum in the UK altogether.

    For most people, being told that their plans violate the 1951 UN refugee convention and the European convention on human rights might compel them to reconsider. Not Braverman. We need to breach these conventions, she says, to finally crack down on people smugglers. She knows the truth: by refusing to provide safe routes, the government forces desperate human beings to search for alternative, more dangerous means of transit. Far from taking on human traffickers, it is her policy that creates the market for them in the first place.

    Undeterred by international law, Braverman is determined to fulfil a dream: to witness flights sending refugees to Rwanda. On the plane to Rwanda is Britain’s colonial baggage; from this country’s previous role in the slave trade to its current role in the arms trade (most notably in arming the Saudi-led war in Yemen), Britain bears culpability for the economic and political roots of displacement.

    By criminalising the very refugees they create, successive governments have handed over their international responsibilities to the voluntary sector. Calais Appeal, an umbrella group encompassing eight organisations, provides humanitarian assistance to those in need. From Refugee Community Kitchen (which seeks to “serve food with dignity”) to Project Play (which provides displaced children with a space to rest, learn and play), dedicated staff and volunteers fill a gap that the French and British authorities have callously created.

    I asked how we can best support them. One is through donations. Another is to amplify what they’ve been saying all along: safe routes save lives. We can stop people drowning in the sea tomorrow – by enabling them to come here safely by plane, train or ferry. Instead of bankrolling the persecution of refugees trying to reach our shores, the UK should be playing a leading role in renewing international commitments to the rights of displaced people around the world.

    The only way we can defeat a politics of hatred is with a politics of compassion. The Tories’ assault on refugees must be opposed – not because it lacks fiscal prudence, but because it lacks a basic regard for human life. Refugees are not political pawns to be debated and disempowered. They are human beings, whose hopes and dreams should not be sacrificed in calculations of electability. When looking to justify an alternative policy toward refugees, surely their humanity is enough.

    We need an immigration system grounded in compassion, dignity and care. One that brings an end to the poverty, environmental collapse and wars that are displacing people around the world. One that stops spewing the hateful rhetoric of “invasions” and instead says loudly: refugees are welcome here. As Warsan Shire writes in her poem Home, “no one puts their children in a boat unless the water is safer than the land”. For some, a politics of pragmatism is more important than a politics of principle. Maybe a trip to Calais would change their mind.

    • Jeremy Corbyn MP is a former leader of the Labour party

    • Do you have an opinion on the issues raised in this article? If you would like to submit a response of up to 300 words by email to be considered for publication in our letters section, please click here.

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    #doubt #hateful #effects #Tory #migrant #policy #Calais #Ive #Jeremy #Corbyn
    ( With inputs from : www.theguardian.com )