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The Greater London Council, the city's local authority from 1964 to 1986, ran two major popular-music festivals to highlight what it was doing to fight unemployment under Margaret Thatcher's government, boost the London economy and help create and fund new jobs. It also ran several concerts for the unemployed – at various town halls across London, at a big top set up in Finsbury Park for a Christmas Party and at the Royal Albert Hall for an evening of jazz and African music. The events took place against a background of massive unemployment, a miners’ strike lasting a year and Thatcher's developing plans for the abolition of the GLC itself. The Conservative government issued a White Paper (''Streamlining the Cities'') in 1983, arguing that the GLC and the six metropolitan county councils were profligate and inefficient and should be abolished.〔(【引用サイトリンク】title=GLC abolition )〕 In 1985, a local government Act was narrowly passed by Parliament, cancelling the scheduled elections of that year and setting the abolition date for 31 March 1986. Thatcher objected to the anti-government nature of Ken Livingstone's GLC and of other metropolitan councils; her critics claimed she was politically motivated. The Jobs for a Change festivals, which were both free, attracted huge audiences. The first, on the South Bank in June 1984, drew about 150,000 people. The second, in Battersea Park the following July, attracted an estimated 250,000. The musicians included The Smiths, Billy Bragg, Hank Wangford, Aswad, The Redskins and The Pogues. There were also theatrical groups, cabaret, films and exhibitions, talks, debates and stalls set up by external organisations. The person mainly responsible for setting up and producing the events was Tony Hollingsworth,〔(Internet Movie Database entry for Tony Hollingsworth )〕 who later produced two concerts for Nelson Mandela: the first calling for his release from a South African apartheid prison; the second celebrating it.,〔(Internet Movie Database entry for the second Mandela concert, 16 April 1990 )〕 both watched in more than 60 countries. He was also responsible at the GLC for putting on ethnic-minority concerts featuring African and Asian music. Hollingsworth now produces the Listen Campaign, a multi-media event raising money for children's projects around the world. == Jobs for a Change Festival, 10 June 1984 == The first Jobs for a Change festival – named after the title of a GLC newspaper – was devised because the GLC's Industry and Employment committee was worried that its initiatives to combat unemployment and help create and fund jobs were not getting across to a wider public.〔Hoyland, John. ''Reggae On The Rates: The Jobs for a Change Festivals'', p373, from ''A Taste of Power'', Ed Mackintosh M, Wainwright H. Verso (1987). ISBN 0-86091-174-8〕 A day-long festival, it was thought, would provide a platform to show the public what the GLC was doing to combat unemployment and that there were ways for local government and, by implication, national government to help create jobs. At the same time, the GLC would be meeting its brief to put on cultural events for part of its diverse population.〔Roodhouse, Simon. ''Understanding Cultural Quarters in Branded Cities'', p80, from ''Branding Cities'', Ed Donald S, Kofman E and Kevin C. Taylor & Francis (2008). ISBN 0-415-96526-8, 97804 15965262〕 The festival was not aimed at fighting abolition: that issue was being fought elsewhere in the GLC. The authority had also put on several smaller concerts in its parks. Most important, it believed in formulating cultural policies, of which popular music was an important part, as a means of popularising "leftist sentiments".〔(Cloonan, Martin.''Popular Music and the State in the UK'', p19. Ashgate Publishing (2007). ISBN 0-7546-5373-0, ISBN 978-0-7546-5373-8 )〕 In this context, the first Jobs for a Change festival was a notable event. But Hollingsworth insisted that, although some of the music would be political, the music stages should not be used for political debate or anti-Thatcher slogans. To be effective, campaigning must be in the positive and must show what the GLC was doing about unemployment – rather than attack Thatcher. The GLC had intended to organise the jobs festival itself but it became obvious in late 1983 that the officers of the industry and employment branch could not produce a large festival on top of their normal jobs. So, late in the day, it brought in four consultants to do the job: Ken Hulme, Sue Beardon, David Bradford and Hollingsworth. Hulme had run trade-union campaign activities, was experienced at managing people and was to become, in effect, site manager; Beardon and Bradford had been involved in left-wing theatre and Hollingsworth had helped run the Glastonbury CND festivals for the previous three years. His time at Glastonbury, as manager to director Michael Eavis, had given him a broad hands-on experience of most facets of producing large-scale concerts and festivals and it led naturally to him becoming the key organiser and producer of the Jobs festival. The event took place over 12 hours on a Sunday on a long stretch of the South Bank, taking in County Hall, the Royal Festival Hall, the Queen Elizabeth Hall, the National Film Theatre, the National Theatre, the GLC car park and Jubilee Gardens. The music was presented from two stages. There were also theatrical groups, films and talks on film by, among others, director Ken Loach, and interviews with the actors from Alan Bleasdale's tough black comedy ''Boys from the Blackstuff''. There were also a large number of stalls manned by community groups and other external organisations; an exhibition of the GLC's work; speeches and a five-hour rolling debate about jobs and employment in the council chamber of County Hall. The atmosphere of County Hall must have been a shock for those who knew the place. Throughout the day, it "swarmed with young punks, skinheads, Rastafarians and a host of other Londoners. They camped on the grand staircase (in the past reserved for VIPs only) and in the wood-panelled corridors of the Principal Floor".〔 At one point during the rolling debate, the council chamber was given over to speeches by miners’ wives, including Anne Scargill, wife of miners’ leader Arthur Scargill. The festival's music was provided by a huge array of artists that included The Smiths, Billy Bragg, Hank Wangford, The Redskins, Aswad, Mari Wilson, Misty in Roots and Ivor Cutler. They were chosen because they were known to be supportive of the cause, either through their songs or in comments to the press, or because they were simply willing to appear under the Jobs for a Change banner. A few wrote political music. With the aim of creating a culturally diverse mix, Hollingsworth brought in black artists from the US and Africa, including the American poet, singer and writer Gil Scott-Heron and several who had never appeared in London before. One of the bands was the socialist a cappella group, The Flying Pickets,〔(The Flying Pickets – and Thatcher's favourite song )〕 whose debut single ''Only You'' was the 1983 Christmas No.1 and, oddly enough, Margaret Thatcher's favourite record. A few weeks earlier, Hollingsworth got the band to write a song called ''Give us Jobs, Jobs, Jobs for a Change'', sung like a barber-shop quartet and with the speaking voice of GLC leader Ken Livingstone. A vinyl disc of the piece was distributed inside ''Time Out'' magazine the week before to promote the festival. The Smiths, who had been booked as the main event before they had had a hit, were due to be introduced by Livingstone and, according to Hollingsworth, "he asked me just before he went what he should say. I told him: 'Flatter the audience and then say 'The Smiths'. He went on stage and said 'Ladies and Gentlemen, I have walked through this car park every day for the last five years and it's never looked as good as it does now. 'The Smiths'. The whole crowd, perhaps 50,000 people, some climbing up the walls, erupted. In terms of using entertainment and culture to create an atmosphere under a title of Jobs for a Change, it was a perfect end-point." Livingstone's memory was that he spoke for rather longer, though far shorter than normal: "I was expected to go on () and make one of my fascinating political speeches just before the Smiths were due to perform, by which time the gathered crowds had been waiting for hours for them to appear. It was at this point that I learnt the importance of keeping the politics brief when you're standing in front of a huge festival audience that, however politically sympathetic, really isn't there for the rhetoric. I risked five quick minutes of viciously denouncing Margaret Thatcher before introducing the band to plenty of applause. Any more and it might have been a different story…" 〔(''Observer'' newspaper, June 19 2005 )〕 The day was mostly trouble-free, with one notable exception. The Redskins were on stage when a large number of National Front supporters arrived after being turned away by the police from a march on Trafalgar Square. The Redskins, who were known for their far-left politics, were an ideal target. A fight broke out in the crowd and several NF skinheads stormed the stage,〔(The Redskins attacked on stage - passionsjustlikemine website )〕 injuring one of the guitarists who was taken to hospital accompanied by the compere, Hank Wangford. The NF supporters were chased off by the festival security people – Yorkshire miners who were on strike and had been employed by Hollingsworth as a way of providing support for the miners’ strike fund. Their employment was unusual because the GLC and its unions usually insisted that jobs be done within the GLC. 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「Jobs for a Change」の詳細全文を読む スポンサード リンク
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