Kill The Black One First

'Absorbing... revealing and affecting. There are pleasures here, and lessons to be learnt, whatever colour you are' - The Sunday Times 'Michael Fuller is an extraordinary man with a remarkable and interesting story' - Helen Mirren A story about race, identity, belonging and displacement, "Kill the Black One First" is the memoir from Michael Fuller - Britain's first ever black Chief Constable, whose childhood in care and career in policing is not only a stark representation of race relations in the UK, but also a unique morality tale of how humanity deals with life's unfairness. Hoping to tackle injustice and create change from within, Michael joined the police force. There, he experienced racism and inequality, from colleagues shouting racist insults, to the Brixton Riots where 'Kill the black one first!' was yelled from the crowds. Determined, despite everything, not to turn and walk away, he rose through the ranks and made his way to the very top. "Kill the Black One First" is an unflinching account of a life in policing during a tumultuous period, and how one man set out, against the odds, to try and belong.

A hard-hitting and honest memoir from Michael Fuller, Britain's first black Chief Constable, who reflects on his astonishing life growing up in care and his extraordinary experience of the race and cultural barriers in his career.

A blue figure in the corner, like a statue of resurrection, stretched his arms slightly, and the joints of his body gave off a burst of crispy beans.

A gay, black, British police officer’s memoir of prejudice, racism and homophobia on the force in the twenty-first century. Kevin Maxwell was a dream candidate for the police force—he had a long-held desire to serve his community, a strong moral compass and a clear aptitude for both the strategic and practical aspects of policing. And, as a gay black man from a working-class family, he could easily have been a poster boy for the force’s stated commitment to equal opportunities. Joining just after the 9/11 attacks, Kevin entered policing determined to keep communities safe in the face of a changing world. But instead, he came up against entrenched prejudice, open racism and homophobia. For more than ten years, Kevin strove against the odds, until he took the force to an employment tribunal—with devastating results. Forced Out is a revelatory exposé combining deeply affecting memoir with sharp analysis and a fascinating insider perspective on day-to-day life in the force. It is a touchstone for the silent many who have either tried to ignore abuse for the sake of their career or who have been bullied out of their jobs. It paints a sobering portrait of an institution that has not yet learned the lessons of the past and whose prejudice is informing the cases it chooses to investigate and the way it investigates them. And it asks the important question: what needs to change? “One of the most compulsive books I’ve read in a long while.” –Bernadine Evaristo, award-winning author of Girl, Woman, Other

A hard-hitting and honest memoir from Michael Fuller, Britain's first black Chief Constable, who reflects on his astonishing life growing up in care and his extraordinary experience of the race and cultural barriers in his career. 'Absorbing... revealing and affecting. There are pleasures here, and lessons to be learnt, whatever colour you are' - The Sunday Times 'Michael Fuller is an extraordinary man with a remarkable and interesting story' - Helen Mirren A story about race, identity, belonging and displacement, Kill the Black One First is the memoir from Michael Fuller - Britain's first ever black Chief Constable, whose life and career is not only a stark representation of race relations in the UK, but also a unique morality tale of how humanity deals with life's injustices. Michael Fuller was born to Windrush-generation Jamaican immigrants in 1959, and experienced a meteoric career in policing, from the beat to the Brixton inferno, through cutting edge detective work to the frontline of drug-related crime and violence on London's most volatile estates. He took a pivotal role in the formation of Operation Trident, which tackled gun crime and gang warfare in the London community, and was later appointed as chief constable of Kent. Kill the Black One First is a raw and unflinching account of a life in policing during a tumultuous period of race relations throughout the UK.

WINNER OF THE COSTA BIOGRAPHY PRIZE 2020 'This is the story of arguably one of the most important, yet least known, events in modern British history. Lee's journey and fight for justice are both inspiring and enraging' AKALA What would you do if the people you trusted to uphold the law committed a crime against you? Who would you turn to? And how long would you fight them for? On 28th September 1985, Lee Lawrence's mother Cherry Groce was wrongly shot by police during a raid on her Brixton home. The bullet shattered her spine and she never walked again. In the chaos that followed, 11-year-old Lee watched in horror as the News falsely pronounced his mother dead. In Brixton, already a powder keg because of the deep racism that the community was experiencing, it was the spark needed to trigger two days of rioting that saw buildings brought down by petrol bombs, cars torched and shops looted. But for Lee, it was a spark that lit a flame that would burn for the next 30 years as he fought to get the police to recognise their wrongdoing. His life had changed forever: he was now his mother's carer, he had seen first-hand the prejudice that existed in his country, and he was at the mercy of a society that was working against him. And yet that flame - for justice, for peace, for change - kept him going. The Louder I Will Sing is a powerful, compelling and uplifting memoir about growing up in modern Britain as a young Black man. It's a story both of people and politics, of the underlying racism beneath many of our most important institutions, but also the positive power that hope, faith and love can bring in response.

Ethnography has a long history in the humanities and social sciences and has provided the base line in the field of police studies for over 60 years. We have recently witnessed a resurgence in ethnographic practice among police scholars, and this Handbook is a response to that revival. Students and academics are returning to the ethnography arena and the study of police in situ to explain the evocative worlds of the police. The list of ethnographic sites is vast and all have fed the rejuvenation of ethnographic endeavour. Together they suggest innovation, theoretical depth, broad geographical boundaries, multi-site experiments, and multi-disciplinarity, all of which are central to the exploration of police and policing in the twenty-first century. This Handbook encapsulates the revival of police ethnography by exploring its multidisciplinary field and cataloguing the ongoing ethnographic work. It offers an original and international contribution to the field of police studies and research methods, providing a comprehensive and overarching guide to police ethnography. We see the previous classics in every page and still note the influence of the early ethnographers. At the same time, we see the innovative breadth and diversity of these narratives. The aim of this Handbook is to highlight the mosaic that is police ethnography at a point in time and note with pleasure its contribution to the field once more. Ethnography may be messy, difficult, and at times uncooperative, but its results offer a unique insight into the perspectives of people and organisations that can hide in plain sight. An accessible and compelling read, this Handbook will provide a sound and essential reference source for academics, researchers, students, and practitioners engaged in police and criminal justice studies.

This book discusses the theatrical history of Talawa, the work of Dr Yvonne Brewster OBE, her contribution to the genre of contemporary black British theatre generally, and her founding and subsequent directing of Talawa from 1986 to 2001. The analysis details how Brewster's theatre helped forge a black British identity in Britain, both on and off the British stage, through its strategic presentation of black language and culture in performance. Following explanations of definitions and sociolinguistic methodology in Chapter One: Voicing an Identity, Talawa's theatrical roots are shown in Chapter Two: Post Traumatic Slavery Disorder, to have begun in Africa, developed in Jamaica and further progressed by British Caribbean post war artists in Britain. In Chapter Three: A Stanger in Non-Paradise, Brewster's early life, her significant contribution to contemporary black British theatre, her founding of Talawa and the company's three year residency in the West End are discussed. Talawa's work is then explored by genre as follows; Chapter Four: The Island Plays highlights Talawa's Caribbean productions. These are; An Echo In The Bone, Maskarade, The Black Jacobins, The Dragon Can't Dance, The Lion and Beef No Chicken. In Chapter Five: The Black South, Talawa's American productions; The Love Space Demands, From The Mississippi Delta and Flyin' West point to the relevance of African American work to Talawa's audience. Chapter Six: Stay in Your Box illustrates Brewster's ground breaking work in the British classical genre. The productions discussed are; Anthony and Cleopatra, King Lear, Tis Pity She's a Whore, The Importance of Being Earnest and Othello. The book ends with Chapter Seven: Don't Tell Massa. Brewster and her work at Talawa are summed up, followed by an insight into her final attempt to secure a permanent home for black theatre in Britain.