Showing posts sorted by relevance for query burns night. Sort by date Show all posts
Showing posts sorted by relevance for query burns night. Sort by date Show all posts

Sunday, January 25, 2015

Burns the Radical

Burns Night once more, the Scottish poet Robert Burns being born on this day in 1759. I have had my vegetarian haggis and a glass of Laphroaig...


Awa ye selfish, war'ly race,
Wha think that havins, sense, an' grace,
Ev'n love an' friendship should give place
To catch-the-plack!
I dinna like to see your face,
Nor hear your crack.

But ye whom social pleasure charms
Whose hearts the tide of kindness warms,
Who hold your being on the terms,
"Each aid the others,"
Come to my bowl, come to my arms,
My friends, my brothers!

'Friendship, in these poems, has a sacred quality. In one of his prose letters, Burns refers to the 'solemn league and covenant of friendship'... Burns' view of humanity's god-given sociability has political ramifications. It provides the basis for a strongly civic political ideology, an ideology rooted in the principle of duty to one's fellows... Burns and his correspondents (local poets and farmers, freethinkers and freemasons) are presented as an archetypal civic community: a society of equals, whose selfless cultivation of virtue, integrity and public spirit distinguishes them from the 'selfish, warly race' whose sole concern is with 'catch-the-plack'. In the classical republic, of course, it was the landed elite who formed the virtuous citizen class, while the disenfranchised poor took care of domestic 'economy' In Burns's epistolary republic, however, it is the poet's humble correspondents who devote their scanty leisure hours to public pursuits (learning, poetry, political discussion) while their supposed superiors - the 'cits' and 'lairds' - are wholly engrossed with money-grubbing' (Liam McIlvanney, Burns the Radical: Poetry and Politics in Late Eighteenth-century Scotland, Tuckwell, 2002) 


What tho’, like Commoners of air,
We wander out, we know not where,
But either house or hal’?
Yet Nature’s charms, the hills and woods,
The sweeping vales, and foaming floods,
Are free alike to all.

(advert from old book of my dads for '50 selected songs of Burns',
published by Mozart Allan, 84 Carlton Place, Glasgow)

See previously:

Friday, January 26, 2007

Burns Night

Rituals and other social occasions are defined by different mixtures of particular musics, intoxicants and behaviours. For Burns Night (25 January) the basic recipe is simple enough - whisky, Scottish music , a few Burns poems, maybe some haggis... Still, even with this recipe there's plenty of room for improvisation and last night saw a spontaneous Burns Night at 56a InfoShop - a small radical bookshop tucked behind a food co-op near the Elephant and Castle (South London). The shop has one of the largest stock of anarcho-punk CDs in London, so for music we turned to Oi Polloi's recent album of Scottish Gaelic punk (did play some more traditional Battlefield Band and Corries later). A bottle of Islay Mist was the beverage of choice, shared with anybody passing through provided they were prepared to open the collected poems of Burns at random and read a verse or two. A couple of nice Berliners told us about their place in the former East Berlin, a big ex-squat called Subversive with its own unlicensed bar and dancefloor downstairs. We dreamt of pulling something off like this in South London... maybe one day. Altogether... 'There's threesome reels reels, there's foursome reels, There's hornpipes and strathspeys, man, But the ae best dance ere came to the land Was-the deil's awa wi' the Exciseman'.

Friday, November 09, 2007

Dancing Questionnaire 8: Beyond the Implode

Martin from Beyond the Implode with tales of drunken dancing and snogging from Dunstable to St. Petersburg. Don't think we've met yet, despite both having spent time in dodgy Luton clubs, New Cross Venue, the Swan in Stockwell, Megatripolis and doubtless other places.

1. Can you remember your first experience of dancing?
The earliest was probably throwing myself around to the theme tunes of TV shows like "The Professionals"and "Weekend World". You need a good, driving, dynamic theme tune to injure yourself to, and "Weekend World" ticked all the boxes with its crashing guitar blitz, tense drumming and moody organ. I was quite disappointed, years later, when I found out that particular piece was actually recorded by a '70s prog rock band called Mountain - I preferred imagining that it was knocked up by some eccentric 'TV jingle expert', frantically chain-smoking and directing a school-aged rock group in the London Weekend Television studios.

This primitive slam dancing would go on for weeks until I had permanent carpet burns and severe bruising, or til my dad kicked me out of the living room. After that, it was probably doing the Adam & The Ants "Prince Charming" dance at my (much) older sister's wedding reception in 1981 - well, until I realised that a bunch of pissed-up, middle aged Irish relatives were staring at me, causing me to bottle out and hide under a table.

But my first real communal dancing memory was a girl's birthday party. We were all about 7, I was wearing my MY SISTER WENT TO MALTA AND ALL I GOT WAS THIS LOUSY T-SHIRT t-shirt and me and some snot-nosed girl called Sheilagh were grooving to rubbish like "Young Guns", "D.I.S.C.O" and the one that went "Hands up, baby hands up, gimme your heart gimme gimme..." etc.

2. What’s the most interesting/significant thing that has happened to you while out dancing?
I can't identify one most interesting / significant thing - for me what was significant was the fact that, when I was younger, I considered myself a right ming-mong who'd never be able to cut it on any dancefloor. So just dancing at all without incurring any fatal consequences or humiliation was quite nice.

I don't really take dancing that seriously, I tend to arse around doing 'rave spaz' hand movements. I picked up a few tips on the dancefloor over the years, though. Some woman told me that men should dance with their knees rather than their hips, as it reduces jerky shoulder movements. I don't know if she was having me on, but as a result I've danced like M.I.A ever since. Also, if you do that '70s disco thing where you form 'V'-signs with your fingers, and then drag them across your eyes, it's a good way of reassuring people that you don't spend all your time practising in front of a mirror and that you're not going to start pelvic thrusting all over their legs.To be honest, as long as it's the right vibe with the right people, I could dance at a Norwegian country and western night and have a good time.

3. You. Dancing. The best of times…
A fair few. There was the time I went to see The Damned and the Anti-Nowhere League at the Astoria in1994. I'm not really a big fan of either band, but that was such a laugh, like splashing through a lake of spilt beer at a medieval public execution. Spoddy kids across the globe owe a debt of gratitude to Sid Vicious for inventing pogo dancing, anyone can do it and all it takes is a bit of basic stamina. I liked the unspoken code of honour at punk gigs, like if someone slipped over and hit the deck, everyone would clear a space around them and help them back up to their feet. There was a fat psychobilly bloke down the front of the gig, whose 'dancing' solely consisted of violently lashing his fists out in front of him, sending the occasional skinny punk reeling. At some point I just thought, "Sod it, it can't hurt THAT much", and gleefully flung myself into his path. He whacked me in the chest and I went flying, but I was too busy laughing to feel any pain. I used to love going to Slimelight too, I think I had some sort of affinity for dancing to EBM (which I hardly ever listened to at home) because I ended up getting snogged by random strangers on a regular basis.

I did my first vial of poppers there. I've never been a heavy drugs user, but I liked amyl nitrate because it gets straight to the point and makes you feel like your heart's about to come drilling out of your chest 'Manic Miner' style - you also avoid hours of talking shit about the hidden meanings of Smiley Culture lyrics. My favourite night at Slimelight was when I 'pulled' (or 'was pulled' more accurately) by some punk girl who later vomited all over herself at Angel tube station. She was barking mad but very sweet. Bizarrely, I still wonder how she's doing these days.

Megatripolis at Heaven was good fun, like running around inside a techno LSD carny. But one of my favourite nights out was New Year's Eve '98, me and my flatmate Kev had ended up in a pub in Edgware called The Railway. We were doing the standard, skint "This is such a rip-off, what a crap night" moaning when some incompetent DJ came on and started (very poorly) mixing "Renegade Master", a pile of big beat records, Run DMC etc. The whole pub suddenly transformed into the best nightclub in the world, we were rolling around the sticky carpet, trying to 'breakdance' with local bikers, people grabbing the DJ's microphone and giving surreal shout-outs to their bedridden grandmas...just good, dirty chaos all round! The whole thing fizzled out around 4am when the police turned up, the last thing I remember was a skeletal guy in nerdy glasses, a Santa hat and his boxer shorts, dancing with one of the barmaids to "Last Night a DJ Saved My Life" on the pool table and waving a poolcue around like a sword, while a couple of incredulous cops tried to get the DJ to sober up enough to unplug his decks.

I haven't linked dancing to sex yet - in 2002, I was down the Stockwell Swan with my then girlfriend. I've never been bewitched by someone dancing before but she completely blew me away, she seemed to transform herself into a snake goddess and did this odd dance in the middle of the floor. There were blokes craning their necks to get a look, it was something else, Ididn't dare go near her in case I broke the spell. I'm not making this up, and I wasn't on drugs. I just stood by the side of the dancefloor with my jaw scraping the floor. I remember telling myself, "Lap this up and enjoy every minute of it, because special moments like this don't last forever, and one day it'll all be gone" - and sure enough, me and the cowsplit up in 2003.

4. You. Dancing. The worst of times…
I remember an extremely unpleasant night in Ritzy's nightclub in Dunstable, which was situated in a shopping precinct - it was just a commercial club, playing chart music and a bit of house. I can't even remember why we'd bothered going there, but it was a complete nightmare. Groups of blokes who hadn't managed to pull were just roaming around beating the shit out of anyone they took a disliking to. Somebody got glassed in the toilet and then it all erupted, with two sets of blokes clashing, I can still remember seeing puddles of blood all over the floor and smeared up one of the cubicle doors. Outside, some bloke had collapsed in a heap on a metal bench and a group of lads were surrounding his comatose body, gobbing all over him and shouting stuff like "piss on the fat cunt".

There was a similar night in Mirage in Luton. The upstairs used to be for 'alternatives', whereas the downstairs area was a dance area. It operated on a kind of segregation basis, as if you had this 'peaceline' running across the back stairwell, so the punks/ goths / indie kids and 'straights' didn't come into contact with each other. It's funny to think these(mostly) gentle, polite kids were upstairs listening to grunge and Rage Against the Machine wailing about fucking up the system, while, downstairs (where we ended up one night) some squaddie would be kicking bejayzus out of another bloke and girls would be decking each other to "Saturday Night" by Whigfield.

Worst was last year when I went to Russia with some girl and it transpired she was actually on the rebound. I decided to get as drunk as possible, hoofed back a bottle of Russki Standart Platinum, and set out to dance myself into oblivion in some seedy Euro-techno club. Instead I ended up falling over, landing on my thumb and leg and having to be carried outside by her and her friends. The next day I had a nearly flight back to London, but when I got to Heathrow my hand had swollen up and I couldn't actually stand, so I had to be helped to arrivals by the cabin crew, which was highly embarrassing. I ended up in Whittington Hospital being X-rayed, patched up and prescribed a course of anti-flams and hobbling back home (it took me half an hour to walk a normal 10 minute distance). It was kind of full circle back to where I started, crashing into things and getting injured.

5. Can you give a quick tour of the different dancing scenes/times/places you’ve frequented?
Not really, it's kind of scrambled, but as a rough sketch: 1992-1994, London punk / riot grrrl bands; 1994-1996 - Megatripolis for techno, Lazerdrome in Peckham for jungle, Venue, New Cross, for indie / punk bands, Goldsmiths Tavern, New Cross, for the odd anarcho band, and Slimelight for goth / industrial.Ever since then, various clubs, ranging from outright commercial cattle markets to excellent dancehall nights like Kevin Martin's and Loefah's BASH in OldStreet.

6. When and where did you last dance?
That tendon-ripping night in St Petersburg, unless you count coolly nodding and shuffling (A BIT) at a grime night in East London a while back.

7. You’re on your death bed. What piece of music would make your leap up for one final dance?

It'd have to be "Body of an American" by the Pogues, a real mosh out way to go, preferably accompanied by streams of Talisker and (despite having quit earlier this year) a last Marlboro Light. Oh, and a couple of ex-girlfriends dabbing their eyes with a hankie as I drop to the ground and convulse around a bit at the end.


All questionnaires welcome- just answer the same questions and send to transpontine@btinternet.com (see previous questionnaires)

Friday, January 25, 2008

They reel'd, they set, they cross'd, they cleekit,

A low key Burns Night tonight (compared with last year's). There's a vegetarian haggis in the oven and a bottle of Laphroaig in the cupboard, but I'm not particularly in the mood for socialising right now. In a minute I am going to terrify the kids by blasting away on my dad's old bagpipe chanter (like him and Laphroaig, also from Islay), something that I have still to learn to play.

If you've never read any Robert Burns (25 January 1759 – 21 July 1796), can I just recommend a look at his Tam O'Shanter, a tale of a drunken night and stumbling on 'a dance of witches' on the way home?

'Warlocks and witches in a dance;
Nae cotillion brent-new frae France,
But hornpipes, jigs strathspeys, and reels,
Put life and mettle in their heels.
A winnock-bunker in the east,
There sat auld Nick, in shape o' beast;
A towzie tyke, black, grim, and large,
To gie them music was his charge:
He scre'd the pipes and gart them skirl,
Till roof and rafters a' did dirl....

As Tammie glowr'd, amaz'd, and curious,
The mirth and fun grew fast and furious;
The piper loud and louder blew;
The dancers quick and quicker flew;
They reel'd, they set, they cross'd, they cleekit,
Till ilka carlin swat and reekit,
And coost her duddies to the wark,
And linket at it her sark!

Or in English:

Warlocks and witches in a dance:
No cotillion, brand new from France,
But hornpipes, jigs, strathspeys, and reels,
Put life and mettle in their heels.
In a window alcove in the east,
There sat Old Nick, in shape of beast;
A shaggy dog, black, grim, and large,
To give them music was his charge:
He screwed the pipes and made them squeal,
Till roof and rafters all did ring...

As Thomas glowered, amazed, and curious,
The mirth and fun grew fast and furious;
The piper loud and louder blew,
The dancers quick and quicker flew,
They reeled, they set, they crossed, they linked,
Till every witch sweated and smelled,
And cast her ragged clothes to the floor,
And danced deftly at it in her underskirts!

There's some interesting Scottish dialect words in the light of later wider usage - Burns uses 'dub' to mean 'mud', and 'cutty sark' - the name of a famous tea clipper now in Greenwich - means a 'short skirt'.

Monday, January 25, 2010

Rabbie sings the blues

It's time for that Burns night post again:

Music historians have long noted the influence of the Scottish ballad tradition on the development of the blues and jazz, a product of the cultural encounter between Scottish and African American immigrants in the New World.

The Slave’s Lament (1792) by Robert Burns is pure blues in sentiment and structure as well as being a clear statement of solidarity with African slaves:

It was in sweet Senegal that my foes did me enthrall
For the lands of Virginia-ginia O;
Torn from that lovely shore, and must never see it more,
And alas! I am weary, weary O!

All on that charming coast is no bitter snow and frost,
Like the lands of Virginia-ginia O;
There streams for ever flow, and there flowers for ever blow,
And alas! I am weary, weary O!

The burden I must bear, while the cruel scourge I fear,
In the lands of Virginia-ginia O;
And I think on friends most dear with the bitter, bitter tear,
And Alas! I am weary, weary O!

Monday, March 14, 2016

What did you do in the strike? A miners strike mix



It is now more than 30 years since the 1984-85 miners strike, the last great stand of what had once been seen as the most militant and powerful section of the working class in Britain. The dispute started in South Yorkshire in March 1984 with miners walking out in response to the announcement that Cortonwood pit was threatened with closure. The miners claimed that there was a Government and coal board plan to close down large parts of the industry, and the National Union of Mineworkers called a national strike.

The strike finished a year later in defeat. The miners’ claims that the industry was under threat were soon proved correct – the last deep mine in the UK closed last December. The full forces of the state were mobilised against the strike. New laws were passed, more than 11,000 arrests were made and almost 200 miners were imprisoned.

On the other side there was significant support for the strike, with miners support groups being set up across the country. On the music front there were many benefit gigs involving a wide spectrum from folk singers to punk bands, and as the strike progressed songs were written about it and records released. What follows is a mix I have put together of music related to the miners strike. It includes songs and tracks about the strike, mostly from the time of the dispute but in some cases looking back in its aftermath. The mix also includes some spoken word recollections from the strike, including my own of one particular day in Mansfield. It reflects the diversity of the musical output related to the strike, so does leap from industrial noise to acoustic ballads – and in some cases mixes the two together. The collision of Norma Waterson and Test Dept sounds great!

The mix is based on a set I played in March 2014 at an Agit Disco benefit night for Housmans bookshop, held at Surya, Pentonville Road, London N1. It included a selection of DJs most of whom had contributed to Stefan Szczelkun’s Agit Disco project/book on political music. The full line up included: Sian Addicott, Martin Dixon, John Eden, Marc Garrett, Nik Górecki, Caroline Heron, Stewart Home, Paul Jamrozy (Test Dept), Micheline Mason, Tracey Moberly, Luca Paci, Simon Poulter, Howard Slater, Andy T, Neil Transpontine. Tom Vague and Stefan Szczelkun. I chose to focus on music relating to the miners strike as the event took place in the week of the 30th anniversary of the start of the strike. This is not a recording of the live set, but a mix put together later reflecting what I played that night. If some of the sound quality is not great, hopefully it will stimulate you to search further...

Here's the full playlist with some details of the tracks:

00:00 Keresley Pit Women’s Support Group - You won’t find me on the picket line

From 7” EP ‘Amnesty – reinstate and set them free’ put out by Banner Theatre company in 1985

00: 21 South Wales Striking Miners Choir – Comrades in Arms

From the album Shoulder to Shoulder by Test Dept and South Wales Striking Miners Choir (1985)


01:19 – John Tams - Orgreave

From BBC Radio Ballads: The Ballad of The Miner's Strike (2010), including miners recalling  the Orgreave picket.

03:58 - Test Dept – Fuel to Fight

From the album Shoulder to Shoulder by Test Dept and South Wales Striking Miners Choir (1985)

04:32 – Norma Waterson – Coal not Dole

Song written by Kay Sutcliffe and originally recorded by Eve Bland for the album 'Which Side Are You On: Music For The Miners From The North East' (1985). The song has also been recorded by artists including The Happy End (1987), Chumbawamba (1992), The Oyster Band and Norma Waterson. The song’s popularity perhaps relates to its melancholy anticipation of the actual outcome of the strike – not a heroic victory but the desolation of closed mines and industrial ruins. Sutcliffe asked ‘What will become of this pit-yard, Where men once trampled faces hard?’, imagining a future of ‘tourists gazing round. Asking if men once worked here, Way beneath this pit-head gear’. Now all the pits have closed all that remains is the National Coal Mining Museum

 

07:46 - Dave Burns – Maerdy, Last Pit in the Rhondda

A song written by Dave Rogers of Birmingham-based Banner Theatre, it was recorded by Dave Burns for his album ‘Last pit in the Rhondda’ (1986), released with the backing of South Wales NUM with proceeds ‘to help miners sacked as a result of the 84/85 strike’. Like ‘Coal Not Dole’, the song’s image of the strike-imposed silence of the mine foreshadows its future: ‘There's mist down in the valley and the snow lies on the hill, No men walk through the empty street the pit lies quiet and still’

11:29 – Bourbonese Qualk – Blackout

From the compilation album Here we go: A celebration of the first year of the U.K Miner's Strike 1984-1985 (Sterile Records 1985), featuring bands associated with the industrial scene.


12:00 – Neil Transpontine – Mansfield Memories

My recollections of the violent end to a miners demonstration in May 1984

13:25 - Dick Gaughan – Ballad of 84
 
First performed at a benefit for sacked miners at Woodburn Miners Welfare Club in Dalkeith, Midlothian in 1985, this song recalls the strikers who died amidst the massive police operation:

‘Let's pause here to remember the men who gave their lives, Joe Green and David Jones were killed in fighting for their rights / But their courage and their sacrifice we never will forget / And we won't forget the reason, too, they met an early death / For the strikebreakers in uniforms were many thousand strong / And any picket who was in the way was battered to the ground / With police vans driving into them and truncheons on the head’
 
17:26 – The Enemy Within – Strike

The Enemy Within was John Deguid and Marek Kohn, produced by Adrian Sherwood and Keith LeBlanc with sampled speech from Arthur Scargill. Released on Rough Trade 1984 – insert sleeve included statement – ‘Play this record at six and support the miners' campaign to create a surge of demand for power at six o'clock every evening!’

19:18 Council Collective – Soul Deep

Paul Weller and Mick Talbot’s Style Council with guests including Motown singer Jimmy Ruffin, Dee C. Lee, Junior Giscombe, Dizzy Hites and Vaughan Toulouse: 'Getcha mining soul deep with a lesson in history, There's people fighting for their communities, Don't say their struggle does not involve you, If you're from the working class it's your struggle too'.

19:30 – Ann Scargill

Spoken word reflection on women joining the picket line by one of the founders of Women Against Pit Closures.

22:34 and 24:55 - Alan Sutcliffe

Excerpts from speech by Kent miner, taken from the album Shoulder to Shoulder by Test Dept and South Wales Striking Miners Choir (1985). Last April (2015) I went to a great Test Dept film/book launch at the Ritzy Cinema in Brixton. Alan Sutcliffe was there in the audience and said a few words.

25:28 – Nocturnal Emissions - Bring power to its knees

This track was included on the compilation album Here we go: A celebration of the first year of the U.K. Miner's Strike 1984-1985 (Sterile Records 1985).  This version is from the 1985 album 'Songs of Love and Revolution'.

27:33 – Pulp – Last day of the miners strike

‘overhead the sound of horses' hooves, people fighting for their lives’. From the 2002 album ‘Hits’

31:54 - Chumbawamba – Fitzwilliam

From the compilation album ‘Dig This: A Tribute To The Great Strike’ (Forward Sounds International, 1985). 'Smiles for the cameras as the miners return,  They say no one has lost and no one has gained,  But wiser and stronger the people have changed,  And it won't be the same in Fitzwilliam again'.



34:23 – Banner Theatre song group - Amnesty

Includes spoken word by miners from Keresley Pit, Coventry. From 7” EP ‘Amnesty – reinstate and set them free’ put out by Banner Theatre company in 1985

38:50 - The Country Pickets - Daddy (what did you do in the strike)

From the album ‘Which side are you on ?’ (Which Side Records, 1985) – song written by Ewan MacColl, his version was included on a cassette he and Peggy Seeger put out in 1984. ‘Daddy what did you do in the strike’ on their Blackthorn records was 'a musical documentation of the 1984 miners strike' with 'profits to National Union of Mineworkers'.

42:35 - Style Council – A stone’s throw away

An internationalist response linking the miners strike with other struggles across the world at that time: 'For liberty there is a cost, it's broken skull and leather cosh, from the boys in uniform, now you know what side they're on... In Chile, In Poland, Johannesburg, South Yorkshire, A stone's throw away, now we're there'.


See also other posts about the miners strike: