Article
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Politics
7 min read

What’s up with activism and what it is missing

As local elections occur in England, Councillor Elizabeth Wainwright is stepping down. Finding herself increasingly distant from activism, she asks if there’s any room for love.

Elizabeth Wainwright is a writer, coach and walking guide. She's a former district councillor and has a background in international development.

A protestor hold a megaphone up at a demonstration outside a building
A 2017 protest against London Fashion Week.

During my term as a Green Party District Councillor, I was once publicly congratulated by the local Extinction Rebellion (XR) group for taking on the new role of ‘Cabinet Member for Climate Change’.  

A week or two later, I was questioned at a Council meeting about whether I was part of XR – opposition Councillors wanted to know if I’d be using their “extreme rent-a-mob tactics” in my role.  

The local XR group are kind and knowledgeable and are making things happen. But to my Council questioners, this seemed to matter less than the fear of the ‘other’ – in this case, what they perceived to be a mob of environmental extremists that might do harm to the Council. It works both ways – I’ve also seen activist groups paint all elected Councillors with the same brush, assuming none of us care. It feels like there is little grace and a lot of judgement going round.  

I’ve been curious why local non-activist residents and Councillors might not be keen to engage with activist groups (the term ‘activist’ is a broad one, and this article isn’t long enough to analyse it, but activist groups are generally engaged in activities to bring about social, environmental or political change).

Some tell me that they’re put off by what they perceive to be self-righteousness, judgement, anger, and the ‘hippy’ identity. I am put off by some of these things too, however much the media might falsely amplify these qualities – but still, perceptions close down relationship and possibility, and this is one of the things that keeps me at arm’s length from the ‘activist’ label, particularly when it gets caught up in group identity and expectation too. At a time when we need to see change in so many things – the state of the environment, politics, social equality – I’ve been wondering why I feel a distance from the ‘activist’ identity.  

As well as getting elected, I’ve taken part in marches, signed petitions, joined social and environmental action groups. I want to walk alongside others who are doing something about the things that matter. But I have struggled to find the in-between of ‘slacktivism’ on the one hand (supporting causes largely online with little commitment), and intense commitment to a particular group or tribe on the other. And I am tired, because despite the protests, volunteering, and organising, the challenges seem bigger than ever. These efforts are important, but protesting the status quo isn’t enough.  

I look at the NGOs, political groups, roles, funding proposals, slogans, meetings and glossy branding that are often part of activism and civil society more broadly – and are tools I’ve used myself – and I find myself doubting that these things can really bring about the change we need in our relationship with each other and the planet. We need more than better branding, or more funding, or more campaigns. As Audre Lorde said, the “master’s tools will never dismantle the master’s house.” I find myself distancing from the urgency of activism, volunteerism, and campaigning in their current forms.  

I’ve felt public discourse and action become less patient, more certain, more fragmented, with little room for curiosity and open conversations.

As well as form, I also feel a disconnection from engagement with and discussion of the issues of our time. In my involvement in social and environmental action over 20 years, I’ve sensed the shift brought about by rapidly evolving technology and media, which mean social and moral norms are evolving too. I’ve felt public discourse and action become less patient, more certain, more fragmented, with little room for curiosity and open conversations – sometimes explicitly through cancel culture or more subtly through othering and unintentional judgement. I think of a song by Sam Fender called White Privilege which includes the lines  

“Everybody's offended… I'm not entirely sure the nitpicking can count as progression… Nobody talks to each other for fear of different opinions…”  

Perhaps that closing down of conversation is in part down to social media and its algorithms which respond well to noise, performance, and oversimplification – it is not a space designed to help us relate across difference and understand each other, yet this is vital if we are to create the change needed in ourselves and in the world.  

I want to be part of meaningfully and wisely addressing the world’s sickness, not desperately and loudly treating its symptoms. I have been wondering if there’s another way I might think about creating change. 

Author, educator and social critic bell hooks (who prefers her name written in lowercase) wrote her book All About Love because she was 

“thinking about how we love and what is needed for ours to become a culture where love’s sacred presence can be felt everywhere”. 

She laments the lovelessness that is pervasive in our society. She goes on to say,  

“profound changes in the way we think and act must take place if we are to create a loving culture”.  

Sometimes, the issues at stake demand that we weep, raise our voices, get angry. Jesus turned over trading tables in the temple when he saw the sacred space had been turned into a marketplace – he got angry. But ultimately, he asks that we love our neighbours, including our enemies.   

And yet sometimes I wonder whether we know how to love in the world as it is today. hooks says,  

“In the realm of the political, amongst the religious, in our families, and in our romantic lives, we see little indication that love informs decisions, strengthens our understanding of community, or keeps us together.”  

In her lectures on ending racism and sexism, she notices that her audiences, especially the young,  

“become agitated when I speak about the place of love in any movement for social justice” 

despite the great movements for social justice having emphasised love. Her listeners seem 

“reluctant to embrace the idea of love as a transformative force.”  

We need to see love as a transformative force though. We say we believe in it; we make films and write poetry about it, we see it guide communities during collective experiences like global pandemics, we turn our faces towards it, we seem to want it. Perhaps this is where the hope is – that we want love in its various forms, even if we are embarrassed to say so. Love is not naïve, it does not ask us to be nice and polite, or eternally optimistic. Its presence does not remove negativity, disagreement, people who let us down. But I think it gives us the eyes and tools to work together, and to stand in compassion before judgement. 

If we take love and affection for our neighbour and places seriously, understanding what it looks like in practice, then movements for change can begin right where we are – in our language, in our community, in relationships that ripple out. In a placeless and disconnected age, perhaps this is the kind of activism that would help us heal ourselves as well as the world. Author Simone Weil said that  

“the gospel makes no distinction between the love of neighbour and justice.”  

I am becoming drawn to a love-led activism, an activism that is made from the hard day-to-day work of listening, and patience, and loving what’s sometimes hard to love. It might mean taking time to build relationships with people who aren’t like us. It might mean breaking out of our institutions and tribal groups, hearing each other across difference, and imagining new possibilities together rather than form ever-tighter clubs. It might mean getting soil not screens between our fingers, rooting in relationship, slowing down, paying attention. Whatever it looks like, it must appeal to both activists and non-activists, because we must all be involved in calling forth new worlds.  

The Bible is full of calls to love justice, to defend the weak, to provide for the poor and hungry, to defy the authorities when we need to – but to do all this, as Paul says, “rooted and grounded in love”. Micah says,  

“what does the Lord require of you but to do justice, and to love kindness, and to walk humbly with your God?”  

As bell hooks knew, justice goes hand-in-hand with love. It is hard for one to exist without the other.  

We can choose to open up conversations or shut them down, to walk with others or retreat behind ideological lines, to stand in judgement or relationship, fear or love.

Perhaps it doesn’t matter whether we’re catalysed by anger, indignation, love, or care – but it matters what we go on to do with that spark. We can choose to open up conversations or shut them down, to walk with others or retreat behind ideological lines, to stand in judgement or relationship, fear or love. I think about what might come next when I stand down as a District Councillor at the next election, following a pull to do justice, and to love kindness more than belong to a political tribe. If we choose, we could build a loving culture, weaving a social fabric where activists and non-activists can see past current paradigms and feel able to work together, holding each other up as neighbours whilst nurturing beauty, hope and the becoming world. It may have no clear identity, it may not suit the noise of social media, but this is work that I want to be a part of.

Article
Character
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Justice
Music
6 min read

A fan’s eye view of the fall of Sean Combs

We believed he was a good guy because we wanted to believe someone was

Giles Gough is a writer and creative who hosts the God in Film podcast.

Sean Combs sits on a golden couch.
Sean Combs, 2019.
Justiceonthebeat, CC BY-SA 4.0, via Wikimedia Commons.

As the weeks-long trial of Sean ‘Diddy’ Combs draws to an end, the world at large has seen an insight into his life that we wish we hadn’t. Combs has just been convicted of transportation to engage in prostitution. Combs had pleaded not guilty and vehemently denied all allegations against him. 

Podcasters and influencers have kept us up to date with every twist and turn of the prosecution’s case, along with a jury member being dismissed and a bizarre visit from Kanye West. Trials of powerful, successful men (and it invariably is men) have become a semi-regular occurrence in the last few years. The #MeToo movement brought justice for victims of abusers like R. Kelly and Harvey Weinstein. But something about the Diddy trial feels different. For hip hop fans of a certain age, the accusations against Diddy were both shocking and hard to accept. Let’s take a deep dive into why that might be.  

For fans who are forty or older, one night looms large in the history of hip hop; the 1995 Source Awards, which distilled the entirety of the East/West coast beef into one evening. West coast rap music was in the ascendence, and New York, the birthplace of rap music and hip hop culture, was not coping with it very well.  

The atmosphere was further exacerbated when a red-shirted man, as big as a house and twice as broad, took to the stage. Marion ‘Suge’ Knight was the head of Death Row Records, a West coast label that had been hoovering up talent like Snoop Dogg, 2pac and Dr. Dre. Suge was an intimidating presence to say the least. His red shirt was a sign of his affiliation with the ‘Bloods’, the notorious L.A. street gang. It was an image of notoriety that Suge leaned into and it was well-earned. In his award acceptance speech, Suge said the most infamous lines he was ever to utter:  

“Any artist out there wanna be a’ artist, and wanna stay a star, and don't wanna – and won't have to worry about the executive producer try’na be all in the videos, all on the records, dancin’ – come to Death Row!” 

This was widely perceived as an attack against Sean Combs, ‘Puffy’ or ‘Puff Daddy’ as he was known back then. As the head of Bad Boy Records, Puffy was not content to simply be behind the scenes; he constantly interposed himself into the songs and videos of the musicians on his label. Whilst these interventions might seem annoying to some, the success that Bad Boy’s artists had achieved couldn’t be argued with, and as a New York native, the audience at the Source Awards saw Suge’s words as an attack on one of their own. So, when Puffy took to the stage later, a response to Suge’s barbs was hotly anticipated. 

But on that occasion, Puffy took a different approach. He acknowledged that he was the executive producer in question, and added: “contrary to what other people may feel, I would like to say that I'm very proud of Dr. Dre, of Death Row and Suge Knight for their accomplishments... and all this East and West [conflict], that needs to stop. So give it up for everybody from the East and the West that won tonight. One love.” 

In this interaction, we saw the aggressive antagonist Suge be met with nothing but love and respect from Puffy. It seemed like a refreshing antidote to the perception of rap music being only violent and misogynistic. Without wishing to overstate the point, Puffy showed that hip hop could be measured, mature and positive. This was an image that, until recently, had held for decades. Yes, there was a fair amount of hedonism thrown in to his public image, but that is priced-in to the cost of being a fan of famous rappers –the excess comes with the territory. For decades we have been dealing with this false dichotomy that Suge Knight was the ‘villain’, and Puffy was the ‘hero.’  

This image of Puffy as, at the very least, a decent man, was further underscored following the deaths of Tupac ‘2pac’ Shakur and The Notorious B.I.G. aka Christopher Wallace. The murders of those two impossibly talented, painfully young men, less than a year apart, represent the point from which all other historical events are judged as ‘before’ or ‘after’. One of the things that came after was Puffy’s release of I’ll Be Missing You, a song in honour of B.I.G, his most popular artist and friend. Sampling The Police’s Every Breath You Take and featuring Biggie’s widow, Faith Evans, on the chorus, Puffy evoked explicitly biblical language with lines like:   

“It's kind of hard with you not around, / know you in heaven, smiling down / watching us while we pray for you / every day we pray for you.” 

These combined with the images in the video, hands in prayer, candles, children dressed in white all served as a fitting tribute. It could have been mawkish, but it met the moment and consolidated Puffy’s good guy image in our heads. We believed he was a good guy because we wanted to believe someone was. Other hits followed, with videos filled with shiny suits and relentless dancing; it was fun, and served as a counterbalance to the grit and grime of gangsta rap. For over two decades, Puffy, now going by ‘Diddy’, had an image that fans still associated with lightness and positivity. Critics like Murs from HipHop DX led conversations painting Diddy as the Superman to Dr. Dre’s Batman. Rumours about Diddy would occasionally surface, but without the mainstream media devoting much time to them, they were easily dismissed. That was until Cassie Ventura, Diddy’s ex-girlfriend, filed a civil lawsuit. 

If there are any lessons to be learned by his fans, they’re lessons that have sadly already been learned by fans of countless other powerful and successful men.

In late 2023, Cassie’s lawsuit accused Diddy of rape and sex trafficking. These allegations were explosive, but just one day later, both parties reached a settlement. The fire of Ventura’s accusations was dampened down by the release of the joint statement a day later. It seemed as if the whole thing was over and done with before many hip hop fans could even hear the news, let alone process it. Fans of Diddy clung to shreds of denial, whilst noticing that no-one else from the hip hop community seemed to be springing to his defence. Almost as if the people who knew him in person had a very different image from that of the persona he cultivated. 

But Cassie’s lawsuit was the first crack in the dam. Law enforcement agencies began investigating, Diddy’s property was raided and by the time CNN got their hands on the surveillance video of Diddy attacking Cassie, the dam had well and truly burst. The video from a Los Angeles hotel dated March 2016, shows Miss Ventura attempting to leave one of Diddy’s freak offs 'parties'. Only to have Diddy chase her down the corridor, grab her and violently assault her. Each kick, drag and object thrown at her slammed another nail into Diddy’s reputation. The ensuing apology he posted on his Instagram was completely invalidated by his earlier statement that his accusers were making false claims in search of a “quick pay day.”  

For those that loved Combs’ music and what it meant to us, it felt like something repellent had crawled into it and died, forever tainting those songs by association. If there are any lessons to be learned by his fans, they’re lessons that have sadly already been learned by fans of countless other powerful and successful men. Firstly, the more powerful a person is, the more they can hone and control their public image, and that they must be taken with a grain of salt. Secondly, always be ready to question a dichotomy. Is this really a hero versus a villain? Or in this case, an example of two demonstrably evil men, one with substantially better public relations.  

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