Friday, July 17, 2026

Far right skins attack Scritti Politti at Rock Against Racism gig in Hitchin, 1979

In July 1979 Scritti Politti played a benefit for Stevenage Rock Against Racism at Hitchin College, supported by Acme Sewage Company (a punk band from Welwyn Garden City)

Advert for the gig, from NME, 7 July 1979

As reported in the local paper, the Stevenage Comet, a gang of skindeads 'attacked members of the crowd, charged the band and tried to smash up their equipment'. The trouble apparently started during Scritti's second number and the paper reports that 'lead singer Tom was cut on the head when he appealed to the skinheads to behave'. I assume this refers to Scritti drummer Tom Morley, rather than the singer Green Gartside. Not a great night for the band as their transit van was in an accident on the way home.  The report also mentions that jazz saxophonist Lol Coxhill was playing with the band.

'Skinheads attack crowd at rock dance' - report from the Stevenage Comet, 11 July 1979 and follow up letter. From Hertfordshire Archives.

Gareth Dent from Stevenage RAR wrote to complain about the paper's coverage, not denying what had happened but stating that it only involved 5 or 6 skinheads, and not all the skinheads present joined in. I assume Gareth also wrote the article in local zine Tooth and Nail which makes similar points and mentions  that 'a fight took place between members of the band, Stevenage RAR, the person handling the PA and about five skinheads', after which Scritti completed their set.

Tooth and Nail, 1979

Further background on Stevenage RAR, which included legendary Hertfordshire underground figure Mark Astronaut,  is given in Marcus Blakeston's excellent book 'Survivors: 45 year of the Astronauts': 

'The Stevenage branch of Rock Against Racism was formed by husband and wife David and Janice Tittle, who began by handing out flyers around the town inviting people to attend a meeting at the Red Lion, a pub on the High Street. From this they recruited Jeremy Wiltshire, Shaun and Christine Manning, and Gareth Dent. Gareth worked for The Guardian in London, so he became the local branch's main contact with RAR head office, while Jeremy had some accounting experience so he was a natural choice as treasurer. Despite having no formal training in graphic design, Gareth also created all their promotional material and, with help from Shaun and Christine, liaised with venues and booked bands to play at their events.

Stevenage's main live music venue at the time was the council-run youth club at Bowes Lyon House, but due to a media-induced fear of 'punk riots' they refused to allow the newly established Stevenage Rock Against Racism to host any gigs there. Instead, they were forced to turn to Hitchin College seven miles away. This was a venue Mark Astronaut frequented on a regular basis, and during the inaugural RAR event there a mutual friend introduced him to Gareth and Christine. Sharing their antiracist views and keen to help out in any way he could, Mark then started attending RAR branch meetings in Stevenage and got to know the other committee members.

While most of the gigs held at Hitchin College went smoothly, playing under a Rock Against Racism banner inevitably attracted attention from the far-right from time to time. When they booked the unashamedly Marxist band Scritti Politti one night the venue was invaded by racist skinheads who gave Nazi salutes while the band played. "There was loads of them at the front," Mark remembers, "going 'Sieg heil, Sieg heil,' and the singer said something like 'All you skinheads think you're so hard, we can have you any time!' -which I thought probably wasn't the best thing to say under the circumstances, considering how many of them were there. Then of course it all erupted and there was a big fight."'

[I have to say that Mark's recollection many years after the event may not be completely accurate - the Tooth and Nail report states that a member of Scritti appealed for the skinheads to stop rather than inviting them for a fight. The band were more inclined to the intellectual side of Marxism than to streetfighting, but I stand to be corrected.


See previously:




Sunday, July 05, 2026

Racist skinheads attack GLC 'Jobs for a Change' festival while Redskins and Hank Wangford band play (June 1984)


On June 10 1984 the left Labour-led Greater London Council, on the verge of being abolished by Margaret Thatcher's Conservative government, put on the free 'Jobs for a Change' festival by County Hall on the South Bank. I was one of the estimated 150,000 who went along, with the line up including  Billy Bragg, Misty in Roots, Mari Wilson, Hank Wangford, Gil Scott-Heron and Ivor Cutler. 

The biggest draw was The Smiths, at that time my favourite band. It was the fourth and last time I saw them, and in less than a year they had gone from being third on the bill at the Lyceum (where I saw them supporting the Gang of Four) to becoming the focus of something like mass hysteria. To be honest though I can't actually remember much about The Smiths performance that day, with events earlier in the day leaving a stronger impression.

 Socialist band The Redskins were on the bill too, and while they were playing a largish group of neo-nazi skinheads associated with the racist National Front stormed the stage and attacked people in the crowd. Although the fascists were massively outnumbered by the festival goers, many of the latter fled in panic. Indie kids were never known for their streetfighting skills! I wasn't very handy either but I did end up with a group of punks, anarchists and Red Action members chasing and scuffling with the nazi boneheads round the South Bank.

Some remarkable photos have resurfaced recently and capture some of what happened (most of these photos are from the great Rio Tape Slide Project with the exception of the third one down showing Martin Hewes which I found at Redskins Archive on facebook)

Redskins' Chris Dean on stage


Crowd by County Hall

The Redskins started out with their anthem 'Kick Over the Statues' and were 40 minutes into their set when trouble started. On a recording of the gig singer Chris Dean can be heard shouting 'fuck off out of here' and 'you sound like Margaret Thatcher' at the Sieg Heiling National Front boneheads just before the latter stormed the stage, knocking over the band's equipment and attacking people.

I was standing near the back with friends and remember large parts of the crowd running in panic towards us (i.e. away from the stage). We stood our ground but it wasn't immediately clear what was happening, though people did start fighting back and the NF disappeared quite quickly. Some of those who helped repel the attack were apparently striking miners who had been temporarily employed by the GLC as stewards on the day

As described in Sean Birchall's 'Beating the Fascists: the untold story of Anti Fascist Action' (2010): 'Halfway through the event, about 80 or more NF suddenly materialised and immediately set about the audience gathered around the main stage where the Redskins were playing. The boldness of the assault panicked the large left-wing gathering. Not all were cowed. Some elements within the crowd, including some striking miners, regrouped, and after some hand-to-hand fighting in which one Red Action member was slashed and another anti-fascist had his jaw smashed, the right-wingers, mostly skinheads, were driven off'.

In this photo the Redskins bassist Martin Hewes, on left of picture, can be seen grabbing one of the attackers (I think the bare chested lads were defending too):


Some of the crowd headed off after them (see below), but they dispersed only to return later.


The crowd around the stage had emptied out very quickly, in this photo the Redskins can be seen surveying the aftermath of the attack:


Guy with bleeding head injury after first attack

A little while later I saw a procession of boneheads heading back over Waterloo Bridge towards the event and it was obvious to me that there was going to be more trouble, I tried to speak to stewards and left wing paper sellers etc. about it but nobody seemed very interested. Shortly afterwards they attacked again while country singer Hank Wangford was performing. 

This time there was a more concerted fight back, as described by Birchall: 

'But the NF had not finished. Again led by the 6ft 2in Nicky Crane, who had just completed a four year sentence for a similarly indiscriminate attack on a queue of black cinema goers, and buoyed up by the impact they had made on the many thousands of the left-wing enemy present, the rampaging right-wingers returned to attack the Hank Wangford Band on stage at the other end of the park. It proved to be a major blunder. Where the crowd had been taken unawares the first time, news of the second attack saw RA [Red Action] in particular more than eager for the unexpected chance of a replay. Armed with cider bottles, and anything else to hand, Red Action members sprinted toward the trouble. Their charge had the effect of further galvanising the crowd.

In attempting to make a getaway, Crane was felled by Peter C. and only by using a young female anti-fascist as a shield, survived the onslaught with cuts and bruises. Less fortunate was another skinhead who, to his evident relief, had been rescued from the crowd by two police officers who held off vengeful left-wingers with batons. The stand-off ended when a leading militant stepped out of the crowd and punched one of his benefactors full in the face. When the officer bent to retrieve his helmet, he was bundled headfirst into a concrete litter-bin. Terrified, the skinhead made a run for it with just time, possibly, to reflect on the shortcomings of huge steel toe-cap boots in such a situation, before being brought to earth and kicked  unmercifully while the police, understandably putting their safety first, stood by and watched. Nearby another couple of skinheads, one male and one female were both booted on the ground, with police again unwilling to mediate'.

(Nicky Crane was notorious as the main face of far right street violence at the time - he later came out as gay, renounced his former views, and died with AIDS in 1993).

Fighting continued by St Thomas Hospital, where casualties from both sides had gone for treatment, and later that night anti-fascists stormed an Islington pub that had become a haunt for nazi skins (The Agricultural on Liverpool Road).

Here's Red Action's reports on the events from Issue 13 of their paper (Summer 1984), including their reflections that they should have attacked the fascists when they first saw them. Red Action were a militant group who later played a leading role in Anti Fascist Action.  Some of its members had been expelled from the Socialist Workers Party for taking the fighting part of fighting fascists too seriously.

'After the initial confusion, a determined counter-attack by miners, 'red' skins and anti-Nazis had the Front on the run'


Fascism 'thrives on the weakness and indecision of its opponents... [the NF] 'pulled off a major propaganda victory by coming into and disrupting a major event attended by thousands of people'

Hang Wangford later wrote about these events in a song called 'On the Line'. As described, his band took quite a battering and suffered from the lack of preparedness for the attack - seemingly they were unaware that the earlier attack had happened when they went on stage:

On the Line (extracts)

'Now back in the summer of '84. 
We tried to help the miners win their war
We came to do a gig for the GLC
That’s Good Loud Country for you and me.

There were hippies and punks and OAPs,  
UB40s and CIDs
But no one noticed them bad, bad boys
With the bottles, the skins and their mouth full of noise

Cause they slipped through the crowd like a shiver of fear
With their airwear steps that you never can hear
And I knew what they were when I saw them salute
And they knew I was a commie from my flesh pink suit

Now we started a polka, they went Sieg Heil
They jumped us and trod on our faces for a while
While they knocked us down and they put in the boot
They made a real mess of my flesh pink suit

Well they smashed a guitar, jagged like a knife
And cut it through the face of my friend for life
And there was no one to stop them, no security
From the police, the crowd or the GLC

No one told us while Billy Bragg sang
That the Redskins just had the boot put in
No one warned us before we went on
A hundred to one we wouldn't finish our song'.

Band times from programme - Redskins were scheduled to play at 2 pm and Hank Wangford at 3 pm.

Bobby Valentino, probably best known for the fiddle part he wrote and performed on the Bluebells 'Young at Heart', was playing with Hank Wangford at the time. On his website he has recalled:

'At the beginning of the second number of the set (probably a pre-arranged signal) a gang of about fifteen skin’eads, from the National Front, surged out of the crowd, invading the stage, intent on aggression and attemped to ruin the afternoon. Apparently they had done the same to the Redskins, a well known very left leaning band of the time (who were part of the same management stable as Hank and Billy Bragg), about 15 minutes before on the second stage.

Well, the whole thing was a bit of a mess, Hank got fairly badly kicked and I saw an Ovation Acoustic Guitar being swung toward me. Automatically turning away to protect the violin, my back took the force of the blow. The guitar shattered against my shoulder blades. It was one of those classic cases of adrenaline dulling any pain because of the “flight or fight“ syndrome type thing I suppose, because it didn’t hurt for at least ten minutes and then it hurt like hell as the bruises started to appear.

But I was very lucky. B.J. Cole, sitting behind his pedal steel had hardly noticed what was happening so he didn’t see the jagged remains of the Ovation Acoustic being swung at him. It was a splintered remnant, the end of the fingerboard and the remains of the body that had survived the impact with my back, that made contact with his face and went through the side of his nose and then through his top and bottom lip. He ended up needing about fifteen stitches and grew a beard to cover the scar for a couple of years.

One fantastic sight that I will never forget is that of a huge Rasta, with his dreadlocks steaming out behind him, swinging a lighting safety chain above his head and chasing the fascist idiots off the stage - they fled like sheep in the face of his single handed onslaught. Apparently certain elements in the crowd, inspired by the noble action of said Rastafarian, took it upon themselves to give the flock a good kicking. I was really pleased to hear, from BJ later, that the skin’eads were left waiting, bleeding and bruised, in the hospital corridor (they’d all ended up at the same one) for hours as nobody wanted to treat them as an emergency'.

Hank Wangford (centre) with GLC leader Ken Livingstone (left) and Miners' union leader Arthur Scargill at the festival shortly before Wangford was attacked. 

The historic 1984/85 miners strike had been going for three months by this point and Scargill sounded optimistic in his speech at the festival. But just over a week later (18 June), the 'Battle of Orgreave' showed how far the state was prepared to go to defeat the miners with thousands of police mobilised against a miners' picket of a coke producing plant in Yorkshire.

News Line, 11 June 1984


For better or worse the festival just continued after the fighting, with a huge crowd by the time The Smiths played, many people no doubt unaware of the details of what had happened.



Update: More memories

There have been some interesting memories prompted by this and related posts on various social media, here's some examples:

'I remember running over the footbridge by the Shell building being chased by a group of racists'

'we chased and caught some of them at Waterloo station trying to hide' 

'I remember them streaming through the crowed lashing out at random spectators. Still didn't stop a great Smiths set later'

'I was there, 21 years old, moved to London the year before. It was mayhem during The Redskins set. For The Hank Wangford set many people were sitting down, the fascists came in from the back kicking the sitting people in the face, as we scattered I saw three blokes, one with a metal crutch, chase and fell a skinhead, whilst he was on the ground they beat him with the crutch'.

'I was there and a lady next to me got a bottle thrown in her face and she had a baby in a pram. I finished up in the train station being protected by the police. We had to fight the police to get our hands on them'

'I was there. Shinned up a lamp post as they ran by'

'I was there. Turned around and got hit in the mouth by some fascist for the trouble. Had a fat lip for a bit but was comforted by Miki who later went on to be in Lush'

(Miki Berenyi has spoken previously of her love for Redskins - 'The other side of The Redskins was the idea of anti-fascist skinheads and it was a weird ting to see played out. You’d have racist, ‘skinhead’ skinheads who really didn’t like the idea, as they felt, of someone appropriating their look and making it left-wing and multicultural. They protected their identity very strongly and it led to some real clashes, which culminated when The Redskins played a GLC gig and there was a complete riot. It was fucking terrifying, the stage got invaded and bricks were being thrown but it showed The Redskins’ will')

Miki has responded directly on X: 'it was terrifying! The Sieg Heiling from a section started during the Redskins set and they invaded the stage. One guy picked up the entire drum kit to hurl it at the crowd. I saw Mitch (Hagar the Womb/Mekons) piling in to fend them off as the bottles and bricks flew'.


[it goes without saying that not all skinheads in this period, or in other periods, were racist/far right but there was a definite neo-nazi skinhead scene]

See previously:


(It was an eventful weekend - the day before saw a mini-rampage during a demonstration against Ronald Reagan in London. The more I think about it, you could write a history of the whole period through the events of that weekend, with threads including the miners strike, the Cold War, the GLC, the far right, new radical groups including Red Action and Class War, The Smiths and more.)

Sunday, June 21, 2026

Up the Youth Club - and my punk period Luton youth club memories


Emma Warren's 'Up the Youth Club: illuminating a hidden history' is an enthusiastic account of 150 years of recreational provision for young people. This has taken many forms, but she identifies a number of common themes:

'A central quality connects all the spaces in this book, whether they're attended by five young people or five hundred, in a shed or a purpose-built centre. A youth club, as far as I'm concerned, is a broadly warm and welcoming space where those who are in their second decade of life can gather regularly, in person, without compulsion, to do things they like doing, or to discover what they like doing, where restorative 'hanging out' is welcome. Some of these are officially designated, others less so. Youth clubs are places of mutual aid, not easily flipped into private profit'.

Warren doesn't shy away from the fact that many such initiatives have been motivated in various ways by attempts to influence or control young people amidst panics about 'juvenile delinquency', lack of patriotism or religion, or the physical fitness of the next generation of workers and soldiers. But she is less interested in the motives of funders and organisers than in what happens when young people are given, or sometimes take, a space of their own.

She is particularly interested in connections with music, with clubs not only hosting music events but sometimes giving access to music production equipment. Examples highlighted include the Holyhead in Coventry, attended in the 1970s by some of those later involved in the ska scene, and the Basement in Bristol in the 1990s, where Roni Size started out his DJing/music production career. Warren notes that: 

'There are significant youth work histories in UK music and culture, particularly those that relate to global majority creative expression. Think, for example, of the youth clubs across the UK that hosted reggae sound systems in the 1970s, or the widespread practice in the '80s of using the space as a practice pen for hip hop, dance, DJing or MCing. The youth club disco has been replaced by studios, adding to the discography of UK music'.

Luton youth club memories

Of course reading the book makes you reflect on your own experiences.  For me, as for many of my peers, youth clubs were important transitional spaces in those years when I wanted to get out and socialise but was mostly too young for the adult world of pubs and clubs. I started going to Biscot Youth Club in Luton when I was 14, a club linked to the adjacent Biscot Church of the Holy Trinity -an Anglican 'High Church' in the Limbury area of town, where my parents had got married.  The youth club met in the church hall, a converted stables building with the former hayloft upstairs a secluded den. At the time I was obsessed with sport, with my diary recording of that first visit 'there is snooker, table tennis and darts. Upstairs in the loft there is a room where you sit and listen to music' (there was also bar football upstairs). All this for 5p a week. 

Biscot Church Hall - with the youth club loft window upstairs

For the next few years I was a regular there on a Friday night, with my interests transitioning from games to music.  The club sometimes had discos - I recall dancing in a circle with linked arms to Jeff Beck's 'Hi Ho Silver Lining' - though the discos further afield at the St Joseph's youth club (linked to the local Catholic church) which we occasionally went to, were a bigger event.

A key feature of the Biscot club was its small upstairs loft reached by a ladder where the 'older kids' (maybe 14+) were trusted to hang out without any adults venturing in.  There was some seating and a kind of DJ booth - one turntable behind a wooden counter - where we took it in turns to play our records. This was in the punk period, and we were soon conducting a teenage cultural revolution against the slightly older teenagers with their Genesis and Barclay James Harvest records (actually they were now old enough to get served in pubs so were moving on).

On our pocket money and paper boy-girl/Saturday job income nobody could afford to amass a huge vinyl collection, but between us we covered all the bases of  the 1977-80 punk/post-punk moment . I can still remember which of my friends had which records, and the circumstances in which I bought mine. To give a few examples:
  • The Saints - 'This Perfect Day' - my 14 year old diary from 14 July 1977 mentions seeing this on Top of the Pops along with The Sex Pistols 'Pretty Vacant'. The next day somebody had the 12" of this at the youth club which had an extra track (Do the Robot). I phoned round every record shop in Beds and Herts trying to find a copy but failed. But I did get the 7" - my first punk single and still one of the greatest. Never heard Do the Robot again until recently on Spotify.
  • The Clash first LP - August 1977 was momentous for me,  I started reading NME and bought this, my first proper album from HMV in Luton. I can also vividly remember buying the Clash 'Complete Control' from FL Moore on the day it came out (thanks to Wikipedia I now know this was 23 Sept 1977). We went on a school trip that day to see David Lean's Great Expectations at Luton Odeon, just down the road from the independent record shop where I bought most of my punk singles. My diary records that at the youth club in February 1978, 'Gordon Charlton offered me £1 for my Clash Complete control picture sleeve'. I declined; he went on to work in A&R for Polydor I think. A friend recalls a similar experience of a school trip to see Wuthering Heights at same cinema and sneaking off to buy Squeeze 'Cool for Cats' on pink vinyl.
  • Coloured vinyl was a big deal. I remember another friend bringing 'Crossing the Red Sea with The Adverts' to club, 12" of red plastic and singing of 'Bored Teenagers...watching the planes burn up through the night like meteorites'. Well we weren't far from Luton Airport.
  • The Stranglers - Black and White LP - there was an annual trip to St Marys church, Meppershall, in the north Beds countryside where we camped in the grounds and went on long walks. One of our number turned up late having just bought this freshly released album (in May 1978). Nice'n'Sleazy on the vicarage record player.
  • Bauhaus - Bela Lugosi's Dead - the younger brother of one of my friends thought this was called 'Bela the Goose is dead' and painted this on a t-shirt complete with said goose.
  • Joy Division 'Transmission' - I got this from Matrix, a short lived (1979-81) shop in John Street behind Luton Arndale Centre run by Luton punk band UK Decay and associates. The band had a rehearsal space in the basement which 'once housed a memorable after tour party with The Dead Kennedys. During the proceedings Jello Biafra from the ‘DK’s and the UK DK’s, ran amok amidst the Arndale car parks where Jello graffiti-ed his name over the place' (the tour was in 1980). I'd seen UK Decay by then, and we played 'California Uber Alles' at the youth club, but I didn't know the Dead Kennedys had been in town (albeit not to actually play a gig) until years later.
Although quite a few of us did go to the church for a while, there was no religious content to the club as such and the only vaguely religious music I remember was the time we went to sleep over in a disused church in Chellington, north Beds, where the only music on hand was a copy of the Jesus Christ Superstar album! 

(A few years ago after reminiscing online with some friends I made a playlist of some of the records played at the club - check it out on Spotify).

All of this is a long way of saying that the youth club was a major formative influence on the music taste of me and my friends, where we educated and enthused each other by pooling our records on a Friday night. It wasn't just the sounds we were picking up on but politics and attitude. It was quite a momentous time in music with the punk and post-punk explosion and for those of us slightly too young to fully participate in gigs and drinking, youth clubs were a place where in our own more limited way we could collectively participate in the culture.

Walking back from the club we would often head to the chip shop in Birdsfoot Lane, but before too long we were getting served as underage drinkers in the Biscot Mill pub and other hostelries. What started out as a drink on the way back from the club soon gradually became the main event, as (still underage) drinking in Luton town centre began to supplant the youth club at pubs including the Vic, the Vine and the Richard III. I moved on from the church too as I got more involved in radical politics, before I was old enough to legally drink I had helped set up a local branch of CND, joined Anti-Nazi League protests and become vice-chair of the local Labour Party Young Socialists, though I didn't stay there long.

I think the the church played a role in my politicisation. The vicar, Reverend Eric West, ran a short course he called 'Charlie Brown's Three Steps to World Revolution', based around readings from New Internationalist magazine and some liberation theology-lite, most notably 'Rich Christians in an Age of Hunger' by Ron Sider. Me and my mum both went along. The basic idea was that food shortages were caused by the unequal global economy, not any kind of natural scarcity.  On another occasion,  I think following an Easter pilgrimage walk, one of us gave a reading in St Albans Abbey of that great prayer, 'A worker reads history' by Bertolt Brecht! All good stuff, though in one of the familiar contradictions of much Anglo-Catholic leftism the vicar was an adamant opponent of the ordination of women. Perhaps it was from those tracks listened to and discussed upstairs in the youth club that I imbibed a more hard hitting critique and call to action.  

See previously:  




Wednesday, June 17, 2026

Opposing the National Front in Hitchin, 1971

Today, as in the past, the fight against the far right has to be taken to small towns as well as to city streets. Back in 1971, the town of Hitchin in Hertfordshire was one such place. On this occasion the openly racist National Front had been refused permission for a rally in London's Trafalgar Square so they landed 40 miles north in Hitchin instead. On 27 March 1971 around 400 NF supporters from around the country took part, countered by between 1,000 and 2,000 anti-racists mobilised by Hitchin Indian Workers Association and other groups. The NF were led by a pipe band from Wolverhampton (something the local Wolverhampton seemed almost proud of - see below!). Smoke bombs were thrown into their ranks as they passed.

 

'Let us uphold human dignity' - Hitchin IWA placard

Socialist Worker, 3 April 1971
(photos from there too)




Update July 2026:

Hertfordshire Archives have added some interesting material about anti-racism in the county,  and comments include a couple of accounts of the Hitchin demo in 1971. Susan Cummins recalled:

'The National Front planned a march in Hitchin in 1971. The Indian Association called a meeting which drew a big audience. There was a lot of discussion about how to respond and many people said that , a confrontation should be avoided. There was reference to the street fighting that had occurred in Hitchin and Luton before WW2 and this should not be repeated. If my memory is correct Shirley Williams, then the Labour MP, endorsed the call for people to congregate in places of worship on the day of the demonstration. 

That position was accepted by the majority but a representative of an Afro-Caribbean group – from the local black community – said they would not tolerate the NF marching in their area. A member of the Young Socialists (then part of the Labour Party) spoke and said the YS would stand with anyone from the black community against the fascists. Afterwards IWA members said this swayed them into backing a counter demonstration. My sister who was 8 at the time insisted on joining the protest. There was a steel band from London, the local Asian community came out in force, trade union banners abounded. For my friends in the young socialists and young communists, it was a memorable event although we didn’t organise the demonstration several local activists in the IWA acknowledged that they had been hesitant about protesting until they saw white groups would support them. It is a sad reflection on predominantly white organisations that many are not more proactive on race-related issues. 

A North Herts Anti-Racialst Group was set up as a result of the meeting called by the Hitchin Indian Workers’ Association. Letchworth and Stevenage Trades Councils, the Letchworth and Hitchin branches of the Indian Workers’ Association, the local Action Group against racism, the Hitchin Council of Churches, the Labour Party Young Socialists, the Young Communist ‘League were all present along with many people from local churches, the British Council of Churches, the Labour and Communist Parties and the anti-apartheid movement. Sadly the cooperation between the black, Asian and white communities was not maintained. I have no photos of the event and after 50 years memories fade, but the sense of achievement of vastly outnumbering the racists and claiming the streets as ours remains'.

Michael Walker commented:

'1971 – When I was 11 years old, I attended with my parents the protest in Hitchin against the National Front (NF) . It was a day that left a lasting impression on me. The Quakers, along with members of other religious organisations, had spent weeks discussing how best to respond to the planned NF march. As pacifist many were genuinely fearful of potential violence, but in the end, they decided that a silent protest would be the most powerful statement we could make.

On the day of the protest, around 50 to 70 Quakers gathered and stood silently on the boundary wall of the meeting house, which was on higher ground, overlooking the handful of fascists below. As we stood there, the NF members hurled vile abuse at us. I remember being shocked, as were many of the Quakers, by the crude and hateful language they used. They shouted things like, “You wouldn’t want a [racial slur] as a neighbour” and “Marry your daughter ?” I distinctly recall someone quietly responding, “Yes, we would,” only to be hushed by others who were determined to maintain the silence.

The tension was palpable, and the atmosphere was full of apprehension. Despite the brief duration of the encounter—it was over in minutes—the impact was profound. The shocking language and hate of the NF left a lasting mark on me. But in that moment, standing together in silence, we felt that we had made our stance against racism clear.  I recall the church to the north of the meeting house in Bedford Street also had a silent protest (Christchurch ?) which we also rejoiced at'.

(I grew up not far away in Luton and at the end of the 1970s got involved in countering the National Front there - see earlier post)

Saturday, June 13, 2026

'When it's time to be blunt, we be blunt. And when it's time to be poetic, we be poetic' - Fugees interview (1994)

Quite an early interview with the Fugees from Minneapolis anarchist paper 'The Blast'  (March 1995 - though interview was at time of their December 1994 show in MN).

' I was telling you about that whole immigration rap thing. You know what I'm sayin', it's like people hear refugees and I want people to know it's not a gimmick. My mother was really pregnant and immigration was knocking on her door, and they broke the door open. The baby that was in her stomach was my brother...  they wasn't legal, you know what I'm sayin'. Yeah, It was immigration tryin' to deport them back. Man, my father had to run from immigration. There was a time in New York where it was a chase, man' (Wyclef Jean)

'you've got to understand, this whole thing is not even between Black and White, its between the haves and the have-nots, the rich and the poor. We're trying to keep people aware, and it's not a contrived thing we are doing' (Lauryn Hill)

Justine: 'We were talking outside about the way hip hop has in some ways become commercialized. How do you define hip hop and what does it mean for you versus what  it's become in the mainstream?'

Lauryn: 'It really doesn't matter to me what it's become because I know what it'll always be: little knucklehead kids who rhyme in the corners of parties and form circles. I mean, hip hop is like a folk expression, believe it or not. It's all about for the people, by the people, and to basically stay with the people. Now the man, the system, gets his hands on everything, you know what I'm sayin', and anything he sees he can make a little money off of, of course he's gonna take and exploit it. But that's ok because every time he thinks he gets his hands on it, it changes to something else because hip hop is an ever-changing form of music. It moves so quickly that the system can't really get its hands on it' 







Sunday, May 31, 2026

France: resistance steps up to criminalisation of free parties

Protests are taking place throughout France against a proposed new law targeting free parties. Thousands took part in a demonstration in Montpellier yesterday (30 May 2026, pictured here) and more are planned over the next two weeks.




The law is known as RIPOST - 'Réponses immédiates aux phénomènes troublant l’ordre public, la sécurité et la tranquillité de nos concitoyens' (Immediate Responses to Phenomena Disturbing Public Order, Security and Tranquility of Our Fellow Citizens) and also includes measures against 'motorized assemblies' (gatherings of motorbikes and vehicles), nitrous oxide and for more video surveillance.

In terms of unauthorised free parties, the law requires events of more than 250 people to be authorised by local authorities (as opposed to 500 people as at present).  Organisers of parties could be jailed for up to six months, with a very broad definition of an organiser:

'the following constitute participation in the organization of said gathering: setting up the system for disseminating practical information relating to this gathering, participating in the construction of the sound system, transporting sound equipment to or from the site of the gathering, setting up a rest and social area on the occupied land or setting up a food truck there'.

The free party movement has set out a statement/petition against the law

'At a time when a large portion of young people have limited purchasing power, and therefore limited social life and access to culture, free parties allow them access to free and unrestricted spaces for socialization...

Furthermore, the free party represents a space for artistic and social experimentation, primarily based on sharing and inclusion. It is a creative refuge that attempts to mitigate the impact of capitalism on our lives. Different techniques and art forms are combined, and skills are pooled: circus arts, sound and lighting technicians, crafts, electronic music, and video projections, among others. It is through these activities and creations that artists, the public, and all other participants can experiment, perform, learn, and develop professionally. This richness must be protected, lest it disappear with the free party movement, without any other scene to re-emerge in.

It is therefore important today to mobilize to defend our movement, our culture, and our values. Free culture defends freedom, sharing, mutual aid, and solidarity'.

The statement has been signed by an impressive range of collectives and sound systems

Collectifs: Collectif Tekno Antirep;  Coordination Nationale des Sons; Collectif IDF;Coordination Rhône-Alpes des Sons; Coordination Occitanie des Sons; -Art et Culture 29

Sounds-systems: Maraudeur.euse, Collectif Eclypsis, Oblyk-Dfroké La Chafouinerie, Déchetterie, KrâneKC, Highnoon Soundsystem, k’rabass, BTPutes, Cabatek, Sonokracie, Hobbitek, skro, gptk, foxakif, Mafia, Dissonant Orchestra , Cptk6tm, insolent.e.s, D-TRA-TEK, Diablo'Core, ZQR, GÉNEZ1S, Amplithorynques, Neuroatypik, Lobotonik, Larsen Actif, Collectif Courtoisie, Armatek, RAR Family, ITF, Sub’Nambule, Adekwatt, Dystopyk Circus, Bondatak, free confits, ABDK, SKS, Otarcik, Fanfarons, Tribal Skankers, Inadekwatt, frénésie sonore, deci’bass 29, BDK, System K, Collectif des Insoumis, SA Free System, ECLE7IK, Dechniller, 46tem, 12H, Baba Punk Monster, MBS, MLK, Tekmanta, Infraktus, collectif MiniBeats, Tikitek, ORB²EAT, albertotek, Guinguette Grooverz, Defazotek, Arketyp, les Anonymes, Riboultek, Mirage, ADSR, An'artschitek, Les Affamés, SNT, Tekno Rokette, D-CenTré, Dubeatatif, 1-SURGÉ, Paradoxeteck, 1konform, OTC, Sonot’Ohm, Signal Sonore, TouTanTeK, Soul6Tem, Arrêt Kardiak, Les Insolents, Hpss, S23, DTR, Raveoltek, Meck.401, 1Trakable, Bivouac Tekno Partisans, RBT, D.A. Vagabond, Acid6'trik, BlackBass, No Limit's, Beausniaq, Symbiotek, AKF, Mushroom-CUBN6, NVC, KMTK

Of course there are similarities here with the 1990s Criminal Justice Act in Britain, and indeed in introducing their Bill, politicians made explicit reference to this: 'These rave parties also affect many other European countries , with varying legal responses. British police can fine organizers of illegal gatherings of more than 30 people, compared to 500 in France, with fines reaching up to €11,600. Since 2022 in Italy, organizing and participating in an illegal rave party constitutes a specific offense, carrying prison sentences ranging from three to six years for organizers and one to four years for participants. A fixed fine is also imposed, along with the confiscation of sound equipment. If our European neighbors manage to toughen their legislation regarding these illegal gatherings, France could do the same'.




'Save a party! Eat the prefecture, capital, the fascists, the system. Nobody likes the smell of gas in the early morning.  Free party in danger. Stomp your feet to fight back!'

Earlier this month, up to 40,000 people attended the unauthorised Teknival on an old military firing range in Cornusse, near Bourges (central France). 

Follow @teknoantirep on insta for updates

See also

Revolt of the Ravers – The Movement against the Criminal Justice Act in Britain 1993-95


Saturday, May 23, 2026

'Anarchy, Peace, Tea and Two Sugars' - Roseberry Avenue Squat, 1983

From NME, 1 October 1983, a report of anarchist squat centres in London including Kafe Kollapse in West Hampstead, the Burn it Down Ballroom in Finchley and the Peace Centre at 99-119 Roseberry Avenue, London N1


Sunday, May 10, 2026

Luton Jazz Boom (1958-63)

My mum mentioned to me recently that she went to a jazz club in Luton at the TUC Hall in Church Street around 1960, which got me searching the archive. Its seems that the town, like many other parts of the country, experienced a jazz boom in the late 1950s with several weekly clubs running.

In 1958 the New Orleans Jazz Club was running a Sunday night 'Jazz at the Dome' at the Cresta Dome Ballroom in Alma Street, while the New Luton Jazz Club was happening every Thursday at the TUC Hall.

 

Over the course of that year some of the big names on the trad jazz circuit played in Luton, including Mick Mulligan, George Melly and Acker Bilk at the New Luton Jazz Club, and Cy Laurie. The latter's gig at the Cresta was promoted by the Delta Jazz Club - not sure if this was the New Orleans Jazz Club renamed  or a different faction in the fractious jazz scene of the time. There was a promise of 'non-stop jiving'.

There were local bands too including the Leaside Seven (sometime Leaside Six), the Wayfarers and Savannah City. 



The Luton News reported in April 1958 that 1,730 people had attended three Luton jazz sessions in one week - 380 to a Cy Laurie gig, 450 at the New Luton Jazz Club (with Bruce Turner and Teddy Layton) and 900 'to listen and dance' to Ted Heath's big band at the Cresta Ballroom.


This was a time of the split in the jazz scene between 'mod' and 'trad' jazz fans, with the modernists catered for by the Luton Modern Jazz Club at the Connaught Rooms. Rather snottily they promised 'no skiffle', unlike the New Luton Jazz Club which did feature the likes of the  'Midland City Vampires Skiffle Group' and 'Highfliers Skiffle Group' alongside jazz performances.


The serious minded could even attend jazz record recitals and talks at Farmers Record shop, featuring jazz writers including Alun Morgan and Sinclair Traill.


If 1958 was the peak, by 1962 it was being noted that  'the popularity boom of traditional jazz is settling down. A smaller crowd that than the peak audience of a year ago gathers at the [New Luton Jazz] club'. A club spokesperson bemoaned  'Audiences are falling away all over the country, but these are only the people who were never really keen on jazz, dropping away now that the Twist is the rage' (Luton News, 20 December 1962).

In April of the following year the Luton News reported that 'Trad died in Luton last week, on the closure of the six year old New Luton Jazz Club', the 'only jazz haunt left in Luton'. Promoters 'Tony Lovell and Ray Elliot can take heart in the fact that they lasted longer than many other clubs'. Blame was attributed to fire safety regulations that had restricted numbers, but the fact is that jazz was waning as the popular dance music of choice for young people. Later that year The Beatles played in Luton at the start of a new pop era, while in 1965 the Tamla Motown review hit town.

(title 'Luton Trad is Dead now, Dad' refers to a 1962 film 'It's Trad, Dad!')

See also