Earlier this month was the anniversary of what, to me, seems to be an important event from musical history that had passed me (and probably many others) by.
Now, growing up in the 80s, my understanding around musicians taking a perhaps more political stance on the subject of racism, and particularly against the apartheid regime of South Africa, pretty much began with the Rock Against Racism concerts of the late 70s, and then the Jerry Dammers led, Artists Against Apartheid. It was that, and the hoo-ha that surrounded the controversial making of Paul Simon's Graceland LP in the mid-80s, that opened my eyes to the issue of apartheid, the repression of the black majority in South Africa and the long-term imprisonment of Nelson Mandela.
Looking back, you can see a timeline of growing action from musicians around this topic, starting with Gil Scott Heron's Johannesburg in 1975, Peter Gabriel's ode to the 1977 torture and murder of Stephen Biko, and eventually the UN's 1980 cultural boycott of South Africa.
But go back more than a decade from all this, to December 1964, and you find one Englishwoman - Dusty Springfield - taking a seemingly lone stand against apartheid, much to the disdain of many in the 'establishment'.
Who was Dusty Springfield?
Dusty had been born Mary O'Brien in 1939, to Irish immigrant parents living in Hampstead, and then grew up in High Wycombe and Ealing. After school, she graduated from singing in folk clubs, to joining the Lana Sisters, and then forming The Springfields with her brother Tom (born Dionysius). She would eventually go solo in 1963.
Why is it important to know all this? Well, by the time of the South African incident, which we will come on to shortly, Springfield had already recorded five Top40 hits with The Springfields and three Top20 solo hits - meaning that she was an already established artist making that stand and not one that no-one knew anything about.
I Only Want To Be With You - here
The South African tour
As 1964 drew to a close, Springfield took her backing band, The Echoes, on a tour of South Africa. This was not all that unusual for British bands at that time, but what was different was her insistence on having a stipulation in her contract saying that she would not play to segregated audiences - effectively a 'no apartheid' clause.
Up to that point, only the Musicians Union had provided any real vocal opposition to the issue of segregated audiences, and in fact were advocating for artists to not go to South Africa at all.
Dusty had a great love of black music, and her trips to the States had already seen her strike up friendships with the likes of Stevie Wonder, Dionne Warwick and especially Martha Reeves. It seems there was perhaps some naivety in her decisions, and her understanding of global politics at that point. "It's my little bit to help the coloured people there. I think I am the first British artist to do this. Brian Poole and the Tremeloes were supposed to do the same, but I believe that in the end they had to play some segregated concerts. If they force me into anything, I'll be on the first plane home."
The tour had started okay, and it seemed that the South African authorities had somehow missed her contractual pledge (which was effectively breaking their laws). Two unsegregated shows in Johannesburg went by without any problems, and in fact they got through five in all, before trouble hit.
By the time of their second Cape Town show, the authorities had caught up with them, issuing the tour party with deportation notices for "blatantly flouting apartheid laws."
I Just Don't Know What To Do With Myself - here
Deportation and the aftermath
After being held for several days in their hotel, the band were finally flown home on 17 December 1964, with several shows remaining unplayed.
Tour Manager Vic Billings recounted those events in Cape Town.
"The police arrived just before our second show there, took us to the hotel, took our passports and said, 'We're going to have to sort out your work permit.' They back the next day and said that we could continue, but only if we played to segregated audiences. They gave us four hours to stay in South Africa, which was tantamount to deportation. It got very nasty. Dusty was very upset, we were scared and marooned in a hotel for three days, not allowed to make calls home to London and surrounded by people who were alien and opposed to us."
The South African governments view was quite forthright:
"Miss Springfield was on two occasions warned through her manager to observe our South African way of life in regards to entertainment and was informed that if she failed to do so, she would have to leave the country. She chose to defy the government and was accordingly allowed to remain in the country for a limited time only."
Many of the old school British entertainers and beyond, were less than amused by Springfield's tour. They felt it was subversive and was rocking the boat. People like Derek Nimmo and Max Bygraves called her "publicity seeking" and "foolishly irresponsible".
But Springfield hit back at the situation. "I'm disgusted at the way I've been treated. I don't want a penny of my salary". And indeed, her £2,000 tour fee was donated to several black South African charities.
Douggie Reece, bass player in The Echoes, admitted they had all been very naïve around politics outside the UK. Springfield had also remarked, "I don't know the first thing about politics. All I know is... anybody if they want a ticket should be allowed to do so."
It wasn't all negative though. On her return, fifteen MP's signed a motion in parliament, congratulating Springfield for standing up to apartheid.
Reece recalled, "They just loved it. I don't think they cared if they were sitting next to a white person, or black person - just enjoyed the music." Of Springfield's motivation - "We knew it happened. It's just that she couldn't live with herself, with her friends, knowing that she was going to go there and only do specific concerts."
Adam Faith would make the same trip the following month. But it was Dusty who paved the way - not just an incredible voice and talent, but someone prepared to stand up for what they believed in.
Wishin' And Hopin' - here
(A simply stunning performance by Dusty and Martha Reeves, two of the greatest
voices of the 60s - on Ready Steady Go)