Joe has the riffs, the concepts and the method. Fionn speaks less but with weight and emphasis. They talk earnestly about “being honest with yourself”. Joe and Fionn first met properly at a Chemical Brothers gig in 2016. It’s drawing that parallel on so many levels.”įionn: “It’s also drawing parallels with Irish culture. And then a hundred years later, you had President Donald Trump telling white supremacist groups to stand back and stand by, when asked to denounce them. The President at the time (Woodrow Wilson) had a private screening in the White House. A film that was made over a hundred years ago. And that was just echoing the plot of that film. They were portraying black males as thugs. Joe: “It’s drawing a parallel between how media was portraying things. It was a depiction of the Civil War, the Reconstruction and the Ku Klux Klan. The title for America’s first film feature had originally been The Clansman. Joe: “As Imelda May said, perfectly, you don’t get to be racist and Irish.”Įven more contentiously ‘Birth of a Nation’ had stolen its title from the 1915 film by D.W.
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“It was written out of frustration,” says vocalist Fionn Reilly. She was vilified online and it was at that moment I thought, I wanna write about this.” They didn’t care that she had been raised around this environment that made her feel unwelcome. All they cared about was that line about the Union Jack. This video was then cut down and it was spread about by hate groups. A friend of mine was filmed, sharing her experiences as a young black woman growing up here. “That song originated from the City Hall protest.
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Spirit of Chuck D, fury of Zack de la Rocha plus strains of inflammable Irish punk. Their new song was called ‘Birth of A Nation’.
They were furious that a poet with South African roots, living in Portadown, should have been demonised for her words while a hip hop crew from West Belfast could say the same thing with little censure. They sang about George Floyd and the distress of Irish history. They considered the patriotic backlash and the raw grievances. Video clips were swiftly dispatched on social media and due uproar followed.Īnd so Enola Gay wrote about the many contradictions of the moment.
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On both occasions a BLM refrain had been raised: “there ain’t no black in the Union Jack”. Three days before, a crowd had gathered outside the City Hall with the same intent. The mood was a composite of rage and frustration. The public space was marked out in socially distanced boxes but still the law handed out fixed penalty tickets and Community Resolution Notices. Hundreds of protesters made their case at Custom House Square on June 6. I don’t remember a witch hunt for KneecapĬourse not – ’cause they’re not fuckin’ black.”Īn intense song came out of the Black Lives Matter demonstrations in Belfast last June. In the wake of that decision I resigned as the museum's director and left the Smithsonian.“I hear them say, get out of their countryįrom the same ones who owe us six counties Michael Heyman, in office only four months at the time, scrapped the exhibit as requested, and promised to personally oversee a new display devoid of any historic context. The Institution's chief executive, Smithsonian Secretary I. The Smithsonian tnstitution, of which the National Air and Space Museum is a part, is heavily dependent on congressional funding.
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Fifty years later, the National Air and Space Museum was in the final stages of preparing an exhibition on the Enola Gay's historic mission when eighty-one members of Congress angrily demanded cancellation of the planned display and the resignation or dismissal of the museum's director. World War II was over and a nuclear arms race had begun. No war had ever seen such instant devastation. There it exploded, destroying Hiroshima and eighty thousand of her citizens. For forty three seconds, the world's first atomic bomb plunged through six miles of clear air to its preset detonation altitude. At 8:15 A.M., August 6, 1945, the Enola Gay released her load.