'Bizzy B - creator of the dark style' (article by Adrian H from Ravescene zine) |
A letter to the record shop from Peckham junglist venue The Lazerdrome |
The politics of dancing and musicking and other dark matters
'Bizzy B - creator of the dark style' (article by Adrian H from Ravescene zine) |
A letter to the record shop from Peckham junglist venue The Lazerdrome |
'Welsh band Anhren are bringing out a Rock Against the Rich benefit single' |
Source: Nora Duckett and Helen Spandel, Radically seeking social justice for children and survivors of abuse, Critical and Radical Social Work, 2018 |
One of the groups that operated from the bookshop was Luton Women's Action Group. Some of their material has been deposited in Bedfordshire Archives who have written this summary of the group:
'The Luton Women's Action Group held their first meeting in June 1974. At that time the partner of Liz Durkin (now Dr Liz Davies), one of the group's founder members, ran a non-profit political bookshop, Partisan Books, in Dallow Road. This book shop became the centre for lots of groups, including the Women's Action Group and the Luton Street Press.
The Women's Action Group had about 8 women at the core and others that came and went over time. The group was very inclusive and as well as women they had male supporters, including Andrew Tyndall of the Luton News who wrote a number of pieces relating to their campaigns.
The group campaigned for various women's rights and also for nurseries and an adventure playground for children. They believed in direct action and took action, for example, against advertisements that they found offensive. Other activities included writing anti-sexist stories for children and running a women's study course at Luton College. Members of the group attended national conferences and meetings.
In 1976 Liz and her husband moved back to London and the shop in Dallow Road closed. Some of the group's activities carried on for a little while after this and some of the members continued to be active in campaigning for women's rights but the group had ceased to be active by about 1977. The two former members who were responsible for depositing material with Bedfordshire Archives remember being part of the organisation as very exciting and energising. Although the group was only active for a relatively short period it was an important period for the women's liberation movement'.
Source: Libertarian Struggle, July/August 1975 |
A 1975 jumble sale for Partisan Community Bookshop |
Source: Jon Hochschartner (2017), The Animals' Freedom Fighter: a biography of Ronnie Lee . |
Undercurrents, June/July 1976 |
This 1987 Luton News report of Ronnie Lee being jailed for ten years in relation to ALF activities mentions the earlier Luton campaign in his support in 1975 with meetings 'at a bookshop in Dallow Road and at the Recreation Centre in Old Bedford Road' as well as 'youngsters in the Dallow Road area' planning a sponsored swim to raise funds. (as an aside there's an interesting 2023 interview with Lee at DIY conspiracy where he talks about being in an animal liberation punk band Total Assault and about the influence of the Situationists and the Angry Brigade on him. He also recalls being in an ALF group who would play The Flamin Groovies 'Shake Some Action' before going on a raid) |
Not sure how many folk music revivals we have had now, of course it's never really gone away but I am enjoying the latest queer friendly iteration with the likes of Shovel Dance Collective and Goblin Band. Have seen the former's Jacken Elswyth and Mataio Austin Dean performing solo at the Goose is Out folk night in Nunhead, likewise Sonny Brazil of the latter. And Broadside Hacks used to do a session at pub in my road in SE14.
The Broadside Hack (Live from Real World) 2022 is the soundtrack to a short film that includes some interesting reflections on the politics of folk song. In a 'collective authoring of history' interview, members of Shovel Dance describe how 'Folk music's kind of like an act of solidarity across time I think… a real kind of genuine act of sharing across hundreds of years and millions of people... A different kind of history than what you get from mainstream history, from capitalist history if you will, it's a kind of intergenerational, intertemporal collective authoring of history'. Simlarly Thryis discuss how 'We place ourselves within this greater chain of history by playing these songs, we're figuring ourselves within this collective narrative...There's this sort of collaboration across space and time, you are engaging with other musicians from other times that you’ve never met and yet you feel like perhaps you have something of an intimate relationship with them, I like that sort of distanced intimacy'. Naima Bock says 'it’s a kind of history of people that have no voice so it’s a beautiful and poetic way of hearing people from the past who you wouldn’t otherwise have heard'.
Echoes here of Ewan MacColl who used to tell the Critics Group of folk singers meeting at he and Peggy Seeger's Beckenham home in the 1960s: 'I find it necessary to close my eyes and shut the audience out, and to identify, either with some character in the song, or with the kind of person I think may have originally sung the song, or even may have created the song. This means that you have to equip yourself with a fair amount of the data about the period in which the song was created ... say this song was perhaps written in 1736, written by a ploughman in Dorset. What was it like? I wonder what it felt for a bloke like that to create a song like this, and all the other people who contributed to the song later. All the other men and women who polished it over generations.. suddenly you find yourself filled with an extraordinary sense of compassion and respect for all those people who went before. And suddenly you find yourself in the tradition - you're with them. And at that moment you also disappear in a strange way, and the song really takes over ... the audience comes with you' (quoted in Ben Harker, Class Act: The Cultural and Political Life of Ewan MacColl, 2007).
Folk singing here is a historical method, a form of 'history from below' of the kind pioneered by E.P. Thompson as famously stated in the preface to 'The Making of the English Working Class' (1963): 'I am seeking to rescue the poor stockinger, the Luddite cropper, the ‘obsolete’ hand-loom weaver, the ‘utopian’ artisan, and even the deluded follower of Joanna Southcott, from the enormous condescension of posterity.” Thompson's approach was characterised by his fellow radical historian Raphael Samuel as a form of 'resurrectionism', an attempt 'to give a voice to the voiceless and speak to the fallen dead' (Theatres of Memory, 1994).
For Walter Benjamin, remembrance was not an act of passive contemplation but a motor of radical change. For him the 'enslaved class' has to be 'the avenger that completes the task of liberation in the name of generations of the downtrodden' (On the concept of history, 1940), giving a redemptive voice to those who came before. As Michael Löwy summarises it in his 'Fire Alarm: Reading Walter Benjamin’s ‘On the Concept of History' (2005), ' It is clear the remembrance of victims is not, for him, either a melancholic jeremiad or a mystical meditation. It has meaning only if it becomes a source of moral and spiritual energy for those in struggle today... During a conversation with Brecht on the crimes of the Nazis in 1938, Benjamin notes: ‘While he was speaking like this I felt a power being exercised over me which was equal in strength to the power of fascism, a power that sprang from depths of history no less deep than the power of the fascists.’ Or again from Löwy: 'the last enslaved class, the proletariat, should perceive itself as heir to several centuries or millennia of struggle, to the lost battles of the slaves, serfs, peasants and artisans. The accumulated force of these endeavours becomes the explosive material with which the present emancipatory class will be able to interrupt the continuity of oppression'.
The radical theologian Jürgen Moltmann (1926-2024) was influenced by Benjamin and the Frankfurt School. He wrote of 'The community with the dead... We suffer almost dumbly under the unreconciled hurts of the past. But we hardly perceive any more the sufferings of the dead which cannot be made good. A wall of silence, hard to break through, has been built up between us and the dead. Who feels the silent protest of the dead against the indifference of the living? Who is still conscious that the dead cannot rest as long as they have not received justice?... Are the murderers to triumph irrevocably over their victims? Can their death be their end? 'Theology', said Max Horkheimer at that time, 'is the hope ... that injustice will not be the last word. [It is] the expression of a longing, a longing that the murderer may not triumph over the innocent victim. ' It is profoundly inhumane to push away the question about the life of the dead. The person who forgets the rights of the dead will be indifferent towards the life of his or her children too' (The Coming of God, 1996).
It is not necessary to believe in a literal afterlife to recognise that the dead have a presence, not least in our language and our music (though of course in many spiritual traditions engagement with the ancestors is central). Isn't the singer of old songs of the downtrodden and apparently defeated resisting this indifference of the living to the dead and drawing on the power of the ancestors? I like to think so.
Dave Lawson (1972-2021) was a London and North Wales based artist whose Indieprints series features numerous music themed designs, often inspired by 1980s indie bands and songs. I came across a display of his works recently at Caffi Caban in Brynrefail, lots of very striking vintage style images.
Pogues 'Fairytale of New York' as book jacket |
'If I could settle down, then I would settle down' (lyric from Pavement, 'Range Life') |
'I will love you til I die, and I will love you all the time' (lines from Spiritualized 'Ladies and Gentlemen we are Floating in Space' translated into Welsh in this version) |
His prints are still available from Indieprints, which has been kept going by family members.
By the way if you find yourself in the Yr Wyddfa (Snowdon area) I strongly recommend checking out Caffi Caban, great coffee and food (including vegan options) and five minutes walk down the road you could be swimming in Llyn Padarn.
Caffi Caban |
Llyn Padarn |
A fascinating Derek Jarman talk and film at London's Farsight Gallery last month, featuring a 1984 LWT (London Weekend TV) documentary from the series 'South of Watford' about Jarman's life in London. It includes lots of great footage including Jarman on a boat going down the Thames pointing out the site of the warehouses he lived and worked in during the 1970s, including on the South Bank at Upper Ground, at13 Bankside (St Magnus warehouse and at Butlers Wharf by Tower Bridge where he moved in 1973. There is a scene too of him going through the gates of the latter on a building where there is now a plaque to remember him. As mentioned in the film, Ken Russell visited him on the South Bank and invited him to design sets for his film 'The Devils' - the start of Jarman's involvement in the film industry.
The film was directed by Jarman's assistant John Scarlett-Davis, who introduced it and told some very entertaining stories, including about filming a scene of Sebastiene at Andrew Logan's warehouse space with Lindsay Kemp also at Butlers Wharf. He recalled that at Jarman's Butlers Wharf studio the toilet was set up on a stage. Some people who were happy to take part in orgiastic parties apparently drew the line at going to the loo in front of everybody and a curtain was eventually put around it! Jarman and others had to move out of Butlers Wharf after a fire, one of a number in the area that some have observed were conveniently timed for property developers. Scarlett-Davis remembers being dressed up in the Blitz nightclub when news of the fire came through.
Scarlett-Davis helped Jarman with his film and pop video work, including Marianne Faithfull's Broken English, and made many videos in his own right including for some of my favourite songs from that period such as This Mortal Coil's Song to the Siren, Cocteau Twins 'Pearly dewdrops drops' and Scritti Politti's 'The Word Girl' and 'Wood Beez' (featuring dancer Michael Clark).
Scarlett-Davis talked a bit about the connection between Jarman, William Burroughs and Throbbing Gristle/Psychic TV, with the latter's Genesis P. Orridge featuring briefly int he LWT film. I was interested to hear that Scarlett-Davis and others had lived in another warehouse in Clink Street that later became a famous early acid house venue and later still a prison museum. John remembers Peter Christopherson (Throbbing Gristle/Coil) attending parties in the warehouse there. Coil later (1998) recorded their album Astral Disaster at an underground studio in Clink Street.
Derek Jarman, William Burroughs, Marc Almond, Psychic TV and others took part in 'The Final Academy' event in Heaven, 1983. |
The event was linked to the exhibition 'Derek Jarman: from Soho to the Fifth Continent' by Jane Palm-Gold at the Farsight Gallery which is at 4 Flitcroft St next to St Giles Church. The exhibition featured photos of Derek at Dungeness by Derek Ridgers as well as Jane's paintings featuring episodes from his life, particularly in the St Giles/Soho area where Jarman lived in a flat in Phoenix House from 1979.
Jane did a great job not just in bringing together the exhibition but in bringing together some of the people who were part of Jarman's life and creative work in London. The audience at the film show including Simon Fisher Turner (who composed music for several Jarman films), Jenny Runacre (who played the Queen in Jubilee) and several people who like Scarlett-Davis himself were naked Roman extras in Sebastiene. The event was hosted by Sean McLusky from Farsight Gallery, once promoter of legendary London clubs like Club UK and the Leisure Lounge as well as sometime drummer with JoBoxers.
John Scarlett-Davis should definitely write a book. He also has some very funny stories about working in the film/TV industry including sitting in the canteen in Elstree between Jack Nicholson and Molly Sugden when he was working on both 'The Shining' and TV sitcom 'Are you being served?'.
Jane Palm-Gold's painting of the 1993 OutRage Queer Carnival in Soho 1993, which was opened by Jarman and also featured the Sisters of Perpetual Indulgence |