'Artists for Animals' and Spycops

The ongoing  Undercover Policing Inquiry has released a couple of documents indicating that 'spycops' were reporting on musicians as part of their infiltration of the animal liberation movement in the 1980s. 

A report from 1988 states that 'In 1985 Animal Liberation Front activists Viv Smith and [redacted] established useful links with sympathetic artistes and musicians through a front organisation 'Artists for Animals'. In particular an album entitled Abuse featuring the recordings of the Style Council, Madness, [redacted] and others promoted the work of the ALF and contributed substantially to its funding. 'Artists for Animals' now no longer exists in a formal sense but [redacted] continues to exploit her contacts in this field to the financial benefit of the ALF. On Sunday 10th July 1988, [redacted] was understood to be meeting one of these contacts in Fulham in order to collect a donation of £2000 or £3000'.

In another document spycop 'HN109' reports that 'on Wednesday 26th April 1989 at 7:30 pm the group Artists for Animals are to hold a benefit gig at Dingwalls Club, Camden Lock. It is not known what numbers are likely to attend'. HN109, who has remained anonymous, was at some point the manager in the Special Demonstration Squad that deployed police to infiltrate oppositional groups and campaigns. The gig seems an odd thing to write up as this was presumably a public event listed in music papers and hardly needed a secret police report. 

 

(I haven't been able to find out who played at this Dingwalls gig - anybody know?)

The initial focus of 'Artists for Animals' seems to have been on benefit gigs, the first of them at Kingston Poly in February 1983 headlined by The Sound. A 1983 NME interview with Viv Smith, described as Artists for Animals organiser, mentions musicians who had expressed an interest in supporting them as including Prince Far I, Attila the Stockbroker, Kevin Coyne, Orange Juice, Crass, Thompson Twins, Modern English, The Raincoats, Dislocation Dance, Nightingales, The Sound, Paul McCartney and Paul Gray 'The Damned's bassist and active member of the Animal Liberation Front' (rather odd thing to say, not something people would normally admit to!).  Conflict, Annie Anxiety, Hagar the Womb and others played an Artists for Animals benefit at Brixton Ace in May 1983.

'Artists for Animals' put out a number of compilation albums to raise funds for the Animal Liberation Front Supporters Group and related causes. As mentioned in the police report the first album, Abuse (1986),  included some big names such as The Style Council, Madness, Robert Wyatt and the Durutti Column, with cover art from Ralph Steadman.

1987's Mindless Slaughter was a benefit for the Hunt Saboteurs Association featuring mainly punk bands including Conflict, Blyth Power, Chumbawamba, Rubella Ballet and TV Smith (ex-Adverts)

1989's 'Sacrificed on an altar of profit and lies' compilation included Frank Chickens, Captain Sensible and Cleaners from Venus, among others:

The Liberator (1989) seems to have been mainly a compilation of tracks from the earlier albums, but also included a new track from Shelleyan Orphan - a band with a great name and even better hair.

Some of these musicians had deeper connections than just donating a song or two. The mid-1980s was a time when the animal liberation movement was becoming increasingly confident perhaps crystallised in particular by a series of spectacular actions taken by various regional 'Animal Liberation Leagues'. These included in 1984 a mass raid on Unilever vivisection laboratories in Bedfordshire  and a South East Animal Liberation League  (SEALL) raid on premises associated with Wickham Laboratories in Hampshire. Ultimately 30 or so people were to be convicted and jailed for these two actions and I personally attended court cases in Winchester, Leicester, Northampton and London in support of the defendants.

'Londoncentrical', who worked at the British Union for the Abolition of Vivisection in this period, has noted that  Paul Weller's partner at the time, Gill Price, was herself arrested in the Unilever raid. Weller also co-wrote a 1985 track with Tracie Young '19 - the Wickham Mix', referencing the 'Wickham 19' on trial for the raids there. And the bassist in Tracie's backing band was the partner of one of the Wickham and Unilever defendants. The Style Council, supported by Tracie and the Soul Squad,  also played  a benefit gig for SEALL at the Margate Winter Gardens in December 1984. 

Gill Price on the cover of The Jam's Beat Surrender

'Liberator' (BUAV paper), December 1984,  cover the Wickham raids

See previously:

Joe Strummer, Rock Against the Rich and Spycops

Spycops report on David Bowie anti-fascist donation

My 1980s hunt sabbing adventures

Trancestry - the Museum of Transology

Trancestry: 10 years of the Museum of Transology is currently at the Lethaby Gallery,  1 Granary Square, London, N1C 4AA (behind Kings Cross station, next to Central St Martins). The Museum is a 'collection of objects representing trans, non-binary and intersex people’s lives', usually housed at the great Bishopsgate archives.

'A world without trans people has never existed'

The cumulative effect of this trans material culture is quite moving, all these DIY banners, t-shirts, and zines linking up people and scenes across the UK and indeed internationally. Got to say my favourite is the black denim jacket with impeccably curated patches!

Trancestry continues until 11 May 2025

 

1976/77 Rock Against Racism gigs

Some Rock Against Racism gigs and related events from 1976 and 1977

Carol Grimes and the London Boogie Band, Matumbi and Limosine at Royal College of Arts in London; RAR disco in Walsall (Socialist Worker, 11 December 1976)

Plummit Airlines at Hatfield Poly; Special Brew and The Derelicts at Queen Mary College, Mile End; Tom Robinson Band at North London Poly (SW 29 January 1977)

RAR May Day gig a the Roundhouse in London with Aswad, Generation X, Carol Grimes and more (Socialist Worker, 30 April 1977) 

Manchester and Ealing RAR gigs, the later with Misty plus a Hackney anti-racist festival (Socialist Worker 15 October 1977)

Black Slate & Wire in Stoke Newington, Steel Pulse in New Cross + Manchester and Birmingham (SW 22 October 1977)

Hackney Town Hall  - Generation X and Cimarons (SW 13 August 1977)

  

Crew RAR with Any Trouble (SW 13 August 1977)

Brighton (including Piranhas), Maidstone, Bangor (SW 1 Nov 1977)

Bury Rock Against Racism with the Nosebleeds (SW 1 October 1977)

Newcastle and Darlington Rock Against Racism gigs (SW 1 Oct 77)

A tour of England with Bill Hampton, brother of murdered Chicago Black Panther Fred Hampton, hosted by Flame (source: SW 1 Nov 1977). The latter started off a black paper linked to SWP but most ended up going their own way (see this interesting piece). The tour included a couple of socials with Silver Camel Sound System, who were linked to central London reggae record shop Daddy Kool, and Matumbi (including Denis Bovell).

Found while browsing through old copies of Socialist Worker:

https://www.marxists.org/history/etol/newspape/sw-gb/index.htm

see previously:

RAR documents 1979

 

Meetings with remarkable foxes

I think anybody who has ever been a hunt saboteur probably feels that they have a special connection with foxes. I certainly do even though in my sabbing days I rarely saw one except as an occasional flash of red tearing fearfully across a field pursued by hounds. It took  me moving to London to become really familiar with foxes in daily life, I rarely go a few days without seeing one. Some people call them urban foxes as if they moved into our human dominated areas because they liked the takeaway leftovers, but actually I think it's more the fact that we extended our urban areas into their territories and they stuck around.

Anyway here's a few recent foxy encounters-

Actual fox in New Cross

Leonara Carrington - Woman with Fox 
(seen in the exhibition 'Last Night I dreamed of Manderley' in Alison Jacques Gallery, London, 2025)

Jennifer Binnie 'Fox Woman'
(seen in her Forest Visions exhibition at Richard Saltoun Gallery, London, 2025)

Mick Jones' Rock & Roll Public Library

Over the years Mick Jones of  The Clash and Big Audio Dynamite has built up a huge archive which he has christened the Rock & |Roll Public Library (RRPL)  'including books, comics, magazines, musical equipment, literature, art, clothing, ephemera, as well as music and film in every format, revealing a wide network of influences that span the entire 20th century.' The latest incarnation of the project is an exhibition at the Farsight Gallery in London to mark the launch of an RRPL magazine.

It is a fantastic snapshot of popular culture and of the influences that have shaped Jones' music, which has in turn influenced so many others - not least my 14 year old self buying Complete Control on the day of release from F L Moore record shop in Luton just down the road from the Odeon Cinema where on that afternoon I had been on a school trip to watch the 1940s David Lean black and white film of Great Expectations. A couple of months earlier I had bought my first album - The Clash. But enough for now about teenage Clash obsesssion... 

As you might express there is musical memorabilia aplenty in Jones's collection, lots of  punk fanzines and press cuttings, but also his old guitar, Akai sampler and  the boombox painted by graffiti artist Futura 2000 that featured in the The Clash 'Rock the Casbah' video. Going back further there are the kind of  war story comics and toys that were a staple diet of male childhood in the 1960s. 

An effective way of displaying some of the material is grouping it together by colour creating some interesting juxtapositions. So the yellow display includes material from acid house club Shoom, a 1977 issue of anti-fascist magazine Searchlight and the 1983 programme for the play 'Another Country'

I was quite intrigued to see what kind of political material he has accumulated. I expected to see Rock Against Racism stuff  but there was a lot more than that including:

- a 1969 edition of Anarchy magazine with Che Guevera on the front and another issue from 1974 with Trotsky on cover

- A 1969 pamphlet by Trotskyist Ernest Mandel on 'The Revolutionary Student Movement: Theory and Practice'

- 'Pioneers of Women's Liberation' by Joyce Cowey - first published by Pathfinder Press in 1969

- 'The Menace of Fascism' by Ted Grant

'History and Revolution' by Paul Cardan, a 1971 pamphlet published by libertarian communist group Solidarity

Another Solidarity pamphlet on 'Paris May 1968'

A copy of  The 70s - put out by a Hong Kong based libertarian socialist group active in the 1970s

Jamaica: A Challenge from the Right by Richard Hart - a 1976 pamphlet from Caribbean Labour Solidarity

'Save the Sharpeville 6' - mid-1980s anti-apartheid publication

'Covert Action Information Bulletin'  - founded by CIA whistleblower Philip Agee

'Manifesto of Combate' - Combate were a Portuguese radical group active around the mid-1970s revolution there.

'Bash the Rich - the Class War Radical History Tour of Notting Hill' by Tom Vague.

'Boycott Quarterly' - 1990s US magazine.

 - And what of that A5 image saying 'Solidarity is Strength = Scabs are Scum'? I recognise that from my own 'archive' (pile of old pamphlets and papers) as the back cover of 'Barbed wire lies', an anarchist Tin Tin cartoon about the 1986/87 Wapping print strike.

All of this suggests Jones had at least a passing familiarity with radical left politics before and during his Clash/BAD days and I am guessing would have picked this kind of material up at London radical bookshops of the period including Compendium in Camden, Collets in Charing Cross Road and/or Housmans near Kings Cross.

The Rock & Roll Public Library runs at the Farsight Gallery, 12  - 7 pm from 1 -  16 March 2025. The gallery is at  4 Flitcroft St, London WC2H 8DJ - just at the end of Denmark Street. Those involved with the gallery include former club promoter (Club UK etc) and Jo Boxers drummer Sean Mclusky. They are putting on some interesting exhibitions and events there.

See previously:

Derek Jarman film night at Farsight Gallery

Sophie Richmond on the Politics of Punk 1977

Denzil Forrester in Lives Less Ordinary

Lots of great work in 'Lives Less Ordinary: Working-Class Britain Re-seen' at Two Temple Place in London (25th January 2025 – 20th April 2025).

Denzil Forrester's Boys in the Hood (1989) is one of his early paintings that 'encapsulate the electric atmosphere of dub parties he attended in London during the 1980s. Based on quick pastel and charcoal sketches made in clubs and dancehalls, they were created to convey "the energy of the crowd, the movement, the action," and the liberating power of music. Forrester's work serves as an evocative archive of Black working-class nightlife in Britain, as well as the Windrush generation's expression and preservation of their diasporic roots through Jamaican Dub culture' (text from exhibition).

In an ArtCornwall interview Forrester has recalled this time in the 1980s:

'I grew up in Stoke Newington and Hackney, and a lot of the paintings...are to do with the nightclubs in the Dalston area, mainly Jah Shaka sound system; mainly the dub reggae sound systems in the early days... I used to go to the London nightclubs and make drawings to the length of a record, which is about 3 or 4 minutes.

So I'll have A1 paper, it's dark, and I can't really see what I'm doing, so I'm going for the movement, the action, the expression of the people. I'll make the drawings, and take them to the studio and use them for making the big paintings in the studio... London was a very active, vibrant, colourful place then. It was cheaper and freer to live there then too. You could squat a house. So I was in a squat for about 5 to 6 years in Clissold Road. It was easier because an artist could have lots of space. And there was an energy there. Particularly the dub nightclubs. Jah Shaka, the Rastafarians, basically they'd dress up, they'd dance and play their monosystems, and I wanted to capture that energy'.

See previously: Denizil Forrester's Jah Shaka painting at Tate Britain
 

My Life in Sea Creatures: of crabs and queer clubs

 I have enjoyed reading Sabrina Imbler's 'My life in sea creatures' (2022), a kind of queer marine biology combining descriptions of the sea life and death with autobiographical reflections on race, gender and sexuality.

An account of communities of crabs gathered around isolated vents of hot water in the cold ocean depths segues into memories of Night Crush, a queer night at Re-Bar in Seattle they first visited in 2016:

'We showed up embarrassingly early —the bouncer was eating a ham sandwich by the DJ booth and had to be called to stamp us. We walked to the dance floor, a large black box crowned with a glinting disco ball, and watched the DJ spin Rihanna to the empty room, vocals glancing off the walls, from a booth decorated with a banner reading PAY ME, DO NOT FETISHIZE ME. I danced so hard all night that I didn't pee; my sweat made me as moist as a salamander. There were moments when the whole room vibrated together and I could have sworn my feet left the ground, lifted by the bodies swaying and shrieking around me'.

The club is now closed. In both the sea and the city, 'Oases here, where so few things are certain, inevitably blink on and off. But life always finds a place to begin anew, and communities in need will always find one another and invent new ways to glitter, together, in the dark'.

Swarms of sea creatures encountered at Jacob Riis beach in New York evoke comparisons with the city's annual Dyke March:  'Every June in New York, we swarm. We come from all around, on trains from other boroughs and cars from upstate and bikes over bridges that seem to quake, throttled every few minutes by subway cars careening into open air. However we come, we always recognize one another, limbs stuffed in mesh and netting and leather, teeth bared, nipples out. Our shirts, if we wear them, are emblazoned with the conditions of a world we would rather live in: without TERFS, without ICE, without imperialism...  We meet in a part of Manhattan many of us have no business in, a patch of green surrounded by glass-fronted stores and metallic offices, and once there, we grow larger, friends finding friends and water-getters winding their way through an obstacle course of bodies. We swarm because we are full of the joy of being together, full of anger at the systems that exclude or endanger us, full of hope for the possibilities of the future'

'In praise of the dancing body' - Silvia Federici

'our body is a receptacle of powers, capacities, and resistances that have been developed in a long process of coevolution with our natural environment as well as intergenerational practices that have made it a natural limit to exploitation. By the body as a “natural limit” I refer to the structure of needs and desires created in us not only by our conscious decisions or collective practices but also by millions of years of material evolution: the need for the sun, for the blue sky and the green of trees, for the smell of the woods and the oceans, the need for touching, smelling, sleeping, making love. This accumulated structure of needs and desires, that for thousands of years has been the condition of our social reproduction, has put limits on our exploitation and is something that capitalism has incessantly struggled to overcome'.

'Our struggle then must begin with the reappropriation of our body, the revaluation and rediscovery of its capacity for resistance, and expansion and celebration of its powers, individual and collective. Dance is central to this reappropriation. In essence, the act of dancing is an exploration and invention of what a body can do: of its capacities, its languages, its articulations of the strivings of our being. I have come to believe that there is a philosophy in dancing, for dance mimics the processes by which we relate to the world, connect with other bodies, transform ourselves and the space around us. From dance we learn that matter is not stupid, it is not blind, it is not mechanical but has its rhythms, its language, and it is self-activated and self-organizing. Our bodies have reasons that we need to learn, rediscover, reinvent. We need to listen to their language as the path to our health and healing, as we need to listen to the language and rhythms of the natural world as the path to the health and healing of the earth. Since the power to be affected and to effect, to be moved and to move, a capacity that is indestructible, exhausted only with death, is constitutive of the body, there is an immanent politics residing in it: the capacity to transform itself, others, and change the world'

Extracts from 'In praise of the dancing body' in Silvia Federici, Beyond the Periphery of the Skin:  Rethinking, Remaking, and Reclaiming the Body in Contemporary Capitalism (PM Press, 2020). Isadora Duncan photo by Arnold Genthe.

Anti-fascists mobilise again in London against pro-Tommy flag shaggers

A respectable turn out on the 'Stop the Far Right' demonstration in central London yesterday, with around 5,000 people mobilising to oppose a similar size demo called by 'Tommy Robinson' (Stephen Yaxley-Lennon) supporters. Back in October the latter managed to turn out a much bigger crowd, good to see their momentum on the streets of the capital stalling, even though internationally they are on the rise.

'Never again - remember history - fight fascism' - banner from lively black bloc

LGBT Against Racism

Ealing National Education Union banner remembers Blair Peach, anti-fascist teacher killed by the police protesting against the National Front in Southall in 1979

Good to see at least one banner from Luton there (another NEU one), the home of Mr Yaxley-Lennon.

'Borders and classes we will abolish them' - I don't know much about Turkish radical left, but good slogan!

I've seen mention of the Clash's London Calling being played at the Tommy Robinson rally, beyond irony as obviously The Clash were hardcore anti-fascists including playing for Rock Against  Racism. Kudos to Phoebe and Lilly from Brighton punk band Lambrini Girls for speaking at the  anti-racist rally. In times like these it's not enough to be personally non-racist, the far right are taking power across the world and need to be contested on the streets and wherever they show their face.