Black
Bros White Hoes if
you want to see nasty white hoes gettin' split into by the mighty black oak,
this is the site you've been looking for! These girls combined, take on over a mile
of black cock and they still beg for more!
London's black boys white girls teenage crisis
By Alison Roberts, found at Evening
Standard this is London 07.08.07
Kiyan Prince was stabbed to death outside his Edgware school
When 16-year-old Kiyan Prince, the promising black footballer signed to QPR,
was stabbed to death outside his school in Edgware last year, the revulsion and
grief was felt throughout London.
For playwright Tanika Gupta, who lives nearby, the tragedy was particularly
significant. "I remember on the day of the stabbing hearing police sirens
screaming up and down the road, and I remember standing in the doorway looking
out, like lots of other worried mums, watching the police helicopter
circling."
Gupta's two eldest daughters, aged 16 and 14, both knew Prince; the local
girls' school they attend was closed that day as pupils poured out to express
their sorrow and confusion.
"He was a local hero, really," she says, "a very handsome lad
that all the girls had a crush on. We went up to the school and there was a
shrine there - all these children crying, a real outpouring of public
feeling."
We are talking at the National Youth Theatre rehearsal space in Archway where
Gupta is leading rehearsals for White Boy, her play based loosely on the murder
of Prince, which opens next week at the Soho Theatre.
Starring a group of white, black and Asian teenagers from all
over the capital, White Boy was originally commissioned by the National Youth
Theatre as a piece about "identity" - and expressly about the
confused, newly-emerging identity of white kids growing up in multicultural
London - but the essential plot strongly echoes the real-life events surrounding
the murder of Prince.
Victor, her black hero, is a talented footballer signed to Spurs; he is
stabbed to death by a Sudanese refugee while trying to stop a fight outside the
school gates. Prince's killer, Hassan Hamad, sentenced last month to 13 years in
prison, was a Somali asylum-seeker.
"I didn't want to write explicitly about Kiyan Prince," Gupta says,
"but he was in the back of my mind when I was asked to do this. I've used
his story as a base, because it's universal in terms of what's going on in
London at the moment."
Just yards from the rehearsal studios, a 14-year-old schoolboy, Martin
Dinnegan, was fatally stabbed by a gang of youths a few weeks ago. The day
before our meeting, a young black boy was shot by a gang in Stockwell and last
Friday youth worker Nathan Foster was gunned down in Brixton.
"As I was researching, I was suddenly conscious of what was happening
every day," says Gupta. "On the first week of rehearsal, the cast went
to Martin Dinnegan's shrine and came back very shaken."
Gupta has long mined the rich seam of material that exists where cultures
meet and clash. In last year's Sugar Mummies at the Royal Court she examined
white female sex tourists in the Caribbean, while the acclaimed Gladiator Games
dramatised the racist murder of Zahid Mubarek at Feltham young offenders'
institution in 2000.
For White Boy she investigated the culture of bullying in inner-London
schools and was stunned to discover how blasé some children were at the
near-constant threat of violence.
"I find it shocking that kids are taking blades into schools. Girls have
them in their bags. A lot of it is about bravado and having 'protection'. These
kids don't necessarily know how to use a knife, but they have one because it
makes them feel safe - obviously the opposite of what actually happens. You ask
young people what goes on and they're very laid-back about it. As an adult, of
course, you're petrified for them."
The hero of the play - the eponymous white boy, Ricky - is almost incidental
to the killing itself. Ricky is Victor's best friend, a lad deeply unsure of his
own roots, his cultural inheritance and his place in London's racial mix. He
speaks, as many white kids in London do, not estuary English or even cod
cockney, but with the street English of his black Caribbean heroes. He calls
Victor "bredda" and Victor calls him "coz". It was this
counter-cultural imitation that first caught Gupta's ear.
"You hear kids on street corners and you think they are black. Then you
turn around and they're spotty white boys, whose friends are from all over the
world. I find it lovely, because there's no distinction between black and white.
But I also wanted to look at these boys who in a sense have lost their identity,
because the way they speak is not actually who they are."
Gupta does not resolve Ricky's confusion; indeed, it is deepened by the
murder of his best friend at the hands of a refugee, himself deeply scarred by
his experience not only of war in Sudan, but of a hostile reception in Britain.
White Boy is very much a London play, and despite its violent denouement, in
some respects it is also a celebration of London's multiracial youth.
"Forget all the dialogue and the acting," says Gupta, "if you
just look at this play visually and see the friendship between Ricky and Victor,
as they sit together on the stage and have a laugh - it's actually very
powerful. You don't see enough of that in the theatre.
"We still tend to have Asian plays, or black plays, or white plays. That
world of the Tube, where you sit and look around you and see all these amazing
faces, isn't depicted enough."
She also maintains that, while racism still exists, inner-London schools are
not inherently racist places. "You can't really be racist when
you've got 23 languages in the same class."
Her own experience as a child growing up in the 1970s was very different. Her
parents, a financial consultant and a civil servant, came from the Punjab in the
1960s and first settled in Hastings, East Sussex, where Gupta's most vivid
memory of school is of shocking racism.
"I remember it clearly. I was eight, and I said to this one teacher,
'So-and-so called me a wog, sir.' And he said: 'That's because you are one.' Can
you imagine? We moved to London a few years later, and that was great because
suddenly we were among lots of other Asians." Gupta went on to win an
assisted place to Mill Hill public school and then read modern history at
Oxford.
She always wanted to write, but became a community worker in Islington before
entering a BBC playwriting competition in 1991, which began a career on TV
soaps. She once wrote EastEnders scripts and asserts - correctly - that to
represent the modern-day East End accurately, the BBC should replace the
Mitchells et al either with Bangladeshis or Eastern Europeans.
Gupta's first single drama for BBC2, Banglatown Banquet, was broadcast to
acclaim last year, but her bread-and-butter writing these days is for Silver
Street, the radio soap on the Asian Network, where she is allowed to tackle the
issues that most interest her - Islamophobia, the radicalisation of young Muslim
boys and the day-to-day problems encountered by ethnic minorities of all faiths
and backgrounds.
Gupta never fights shy of controversy - she has written a screenplay for ITV
about honour killings in the Asian community but claims, angrily, that the
subject is too sensitive at the moment for a mainstream network. You can be sure
White Boy will provoke strong reaction - and that is exactly what she's after.
"You don't want to come out of the theatre thinking, 'Oh, that was all
right, I suppose.' If the audience comes out and they're weeping, or they're
freaked or shocked, then I've done my job. That's what good theatre should
always do - move you."
• White Boy is at the Soho Theatre from 10 August (0870 429 6883).
Ready
for some Black Bros White Hoes ?
Deliberate
Orgasm Duet