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Most black people, like my dad, didn't understand the indie scene, and aggresively non-indie fans defined anyone who listened to it in pretty derogatory sweeping stereotypes. It's quite likely that indie, as we know it, might die out as my generation gets older. I mean, I was quite literally the black sheep. I was going to a gig and would try to confront him somehow. The black influence on his music wasn't something immediately apparent to me at the time, so consumed was I with Morrissey's achingly English words. And, while I'm still more likely to be seen at a Deerhunter gig than a Drake show, I'm not immersed in it much anymore. When I saw the pictures I felt nervous. I reached the barriers, and looked up to see Morrissey, arm outstretched, glacial blue eyes staring into mine, his large, surprisingly strong hand reaching down to pull me onstage. The 'racist' label meant that unsavoury right wing characters began to attend his infrequent concerts. It began to feel more noticeable and kinda odd. Yeah, I never noticed that me and my brother were the only black kids at gigs, but when it came to festivals, it was a little harder to ignore that you are the anomaly among tens of thousands of white people. Being the odd one out back then was an exciting feeling. These were songs about real people. I found it on a fan forum years later. Looking back, I think maybe indie was part of my youthful rebellion, in the same way white kids listened to blues records in the s. Sonic Youth released a single called "Youth Against Fascism" in Carter USM were openly left wing, and Nirvana told racists, sexists and homophobes not to buy their records. When the time finally came around it was I was 19, and Morrissey had been absent from the music scene for a while. The teachers looked at me, amazed and slightly concerned. He didn't think he had to. I remember hearing the news on the radio that he had been pelted offstage with coins at Madness' Madstock reunion gig in Finsbury Park, just a couple of miles from where I lived. I was It was the first time I had heard the band that would become the most enduring influence on my life. I listened to all of those bands. And one artist above all leapt out at me: Morrissey. Nobody came forward to support Morrissey. Back then in London, whether you were black, white, Asian, Greek or Turkish it didn't matter: cool music meant black music. Quite the opposite. He had cancelled the second night. But no amount of expressing his actual views, or being photographed with ethnic minority fans or black boxers in a Bethnal Green boxing hall, could shift the stigma attached to him. Where were all the black indie fans? It was just exciting to have a genuine youth movement to cling to as opposed to the steady stream of American pop culture we'd been force-fed. Sniping, outrageous and all sung in such sweet tones. Without getting too deep about it, perhaps music, just like human beings, all goes back to one original source.{/INSERTKEYS}{/PARAGRAPH} Cornershop burned photos of him outside EMI. Hearing Morrissey openly reveal his shyness in such poetic terms in a glorious, self-assured voice changed something inside of me. I was well versed in black music and there were things I found exciting, like Snoop Dogg's debut album and the emergent house and garage scenes. As the 90s gave way to the s, things changed marginally. A bouncer approached, attempting to waylay me but he had no chance. I was completely in touch with my Englishness, and it felt like that man Morrissey was voicing things I didn't even know I was thinking. The video — grainy images of industrial chimney stacks billowing out smoke, interspersed with hypnotic live footage of Morrissey twirling round onstage — was shown on Top Of The Pops. And this was enough to stop me going to see Morrissey play live. I went to all four shows. This level of emotion was there in black music of the mid-twentieth century, in blues, soul and Motown records. I wanted to be like Morrissey — sensitive, bookish, lonely, cynical, outspoken, quite probably gay and with immaculate taste in absolutely everything. He retreated from the public eye, rarely playing live and rarely giving interviews. It felt good that Britishness was something to be celebrated again, instead of being ashamed of or embarrassed by, even if it was a Britishness that mostly spoke to the experiences of being young, white and male, rather than black. My heart sank like a brick in a cess pool. People distanced themselves from him including, eventually, the record labels. It led me to thinking about how the Pistols evolved into PiL and their dub-heavy, sound-clash inspired sound. I loved distortion pedals, the words singers sang and the physical release of moshing at live shows. Until then, I hadn't realised my idol had been exploring skinhead imagery or, as the music press put it, flirting with the right. There was nobody else doing anything like it — Morrissey knew it and so did I. Whatever it was that got me, I was hooked. Echobelly's lead singer Sonya Aurora Madan was born in India and brought up in England, while their guitarist, Debbie Smith, formerly of Curve, was virtually the only black British woman in indie music, until Skin came along with her hard rock band Skunk Anansie and achieved international success. And they couldn't. Despite that, the headlines came from another part of the interview where Morrissey said the BNP ought to be given a platform in the media, as a democratic right. Paul Weller and others openly criticised him. My musical tastes have become broader and, well, more black. The fact that they were all white didn't occur to me as something I should be conscious of, even coming from a family where our white mother listened to Bob Marley, Nina Simone and Hugh Masakela. He didn't explain himself for a couple of years. Surely we weren't the only ones? I was comfortable being the outsider in a scene of outsiders, but part of me yearned for indie fans to be more diverse. As part of his world tour he played four nights in a row at Kentish Town Forum. I hear groups such as Echobelly and The Blaggers and I'm fuelled by excitement. Amid all that, I found indie bands to be a completely seductive alternative to these norms. When the slide guitar descended like a train blowing its horn in the night and the song kicked in, with Joyce's perfect drumming skittering out the steady beat, I knew I was hearing greatness. But, I decided fuck it, I had to find out for myself. How did these performers have the balls to be so weird and yet so cool? And were their haircuts for real? The problem was, the indie scene didn't reflect me, a middle class, half-Jamaican boy. Looking at the indie scene now though, it looks just as white as ever: particularly at festivals. Within a few years, the Union Jack would become ubiquitous in everything from the Spice Girls' knickers to Noel's guitar, but back in the flag was still an everyday symbol of the National Front and the British National Party. Suddenly I was up there, embracing my idol. But I was appalled by the homophobia in dancehall acts like Buju Banton and rather ashamed that my Jamaica was producing most of it. This was Britain under John Major. I was dragged offstage. Walking around the north London suburbs wearing ripped jeans, eye-liner, brightly-coloured hair, my mum's shoulder-padded work jacket and Dunlop Green Flash instead of the Reebok Classics and baggy sportswear was an open invitation to get your head kicked in. When he defended himself a couple of years after, it was almost too late. I wasn't a shy kid. It wasn't quite like entering a Klan rally in a Boy George costume, to quote Bill Hicks, but it did mean I stood out and got more looks than the average floppy-haired white kid. I was too late for The Smiths as a present form obviously they split in , but I was determined to make the most of Morrissey's solo career. Yes, I liked to read books alone in my room, but I was also centre forward in my school football team and popular with girls. Nobody ever ever could, and that irked me. Instead it was full of bragging, posturing and deceit. Cornershop were thrilling, punk and lo-fi at the same time, and never sidestepped the fact they were British Asians. His quotes were buried under other controversial things he said. Marr's chugging guitar sounded almost computer-generated. Today, black music means more to teenage kids than ever, and the indie scene offers little in the way of rebellion to rival grime and US rap. But just as I was falling in love with him, the music press was falling out of love with him. All my mates started to warn me off him; being a Morrissey fan became uncool and problematic. Maybe something to do with camping? Young men were characterised as either straight-laced bankers or football hooligans. That thought was reflected onstage, where there were only a handful of non-white indie stars. {PARAGRAPH}{INSERTKEYS}It wasn't easy growing up as a black indie fan in 90s Britain, but it was a shitload of fun. When Johnny Marr describes his influences for much of the material he includes funk, Bo Diddley and West African high-life as well as the expected folk and 50s rock'n'roll. Even though, simply in the voice on all of those songs, on 'Asian Rut' or 'Bengali In Platforms' or 'The National Front Disco', one can plainly hear that here is no hate at all… If the National Front were to hate anyone, it would be me. Senser were part of a short-lived, far-left, rap-rock scene along with anti-fascist group Blaggers ITA, hip hop trio Credit To The Nation and protest-rockers Chumbawumba.