Radio Citta Futura 1976

 1976 article about Italian radical radio station Radio Citta Futura (Radio Future City) from Red Weekly, paper of the International Marxist Group in the UK. The Rome-based station began broadcasting regularly in that year and played a role in the tumultuous events of that period. It was temporarily closed down by the state while covering the riotous demonstrations of the Movement of '77, as was the another Rome based station,  Radio Onda Rossa. In 1979  five  women involved with the station's feminist programme Radio Donna were shot and seriously injured in a fascist attack on the station.

The scan of the article is incomplete but there's some interesting information including the daily schedule for the station. This includes 'The Night of the Comrades' a late night programme where  'each worker on the station in rotation can broadcast what he/she wants' ('the freakier part of the station') and 'Programme for night workers' based on taped interviews. As mentioned in the article the proliferation of 'Free Radio' followed a court decision in 1975 that ended the state's monopoly on broadcasting - leading to the legal creation of commercial stations as well as political projects like this one. The interviewee - Sandro Silvestri - estimates that at this time there were 800 new radio stations 'in the whole of Italy and there are 52 in Rome alone... at least 120 stations are openly declared to be left wing stations, calling themselves "democratic" radio'.

The station is still broadcasting online (its correct name is Citta Futura not Future as stated in this article).

Source: Red Weekly, 21 October 1976

Other radio posts:

Radio Evasione (prisoners radio show)/Parco Lambro 1992

Portugal 1974/75: radio and revolution

Radical pirate radio in Islington 1969

 

Milan 1992: Parco Lambro and Prisoners demo

 

In Summer 1992 I went to Milan with Italian friends who I knew from Brixton to go to a radical gathering/festival in Parco Lambro. The city's largest park has an interesting counter-cultural history, including being the site of Festival del Proletariato Giovanile from 1974-76, a kind of Italian equivalent  of the Isle of Wight festival in that what started off as a planned free festival ended up in clashes and arguments about rip off prices and poor facilities.

Anyway as the poster and programme show, the 1992 event called by 'Coordimento regional antagonista della lombardi' included plans for discussions on prisons, HIV, migration, video, theatre and evening concerts. It was themed 'Percorsi de Liberazione- contro la destra sociale' (Routes of Liberation - against the social Right).  I'm not sure though which of the scheduled events went ahead though as it poured with rain- not great for camping! - and I know some of the music was cancelled.

The main thing I remember is taking part in a demonstration at Milan's San Vittore prison in support of a prisoners' protest that was going on there. A few hundred people went from the park in the rain, charging on to the metro train en masse without paying. We marched around the prison, making lots of noise and on the way back we were charged by the Carabinieri (armed paramilitary riot cops). A few people got battered and a few arrested. There was a lot of a chanting of 'servi, dei servi, dei servi, dei servi' (mocking the police as 'servants of servants of servants of servants') and 'per tutti i comunisti - liberta' (freedom for all the communists) - there were still many people in prison as a result of repression of the movement of the 1970s and early 1980s.

'Per una societa senza galere - i compagni del movimento antagonista' (for a society without prisons - comrades of the antagonist movement) - banner in Parco Lambro, July 1992.  The self designation of the post-autonomia scene as the antagonist movement was a feature of the time.

Above: A report of the demonstration from ECN Milano (European Counter Network), found at the excellent archive grafton9. 'The procession, made up of about 300 comrades, moved from the prison towards the Porta Ticinese district, to end up at the Colonne di S.Lonrenzo, a well-known meeting place for Nazi-skins. The demonstration took place in the pouring rain, but with the determination of the comrades to complete the procession. At the end of the demonstration, while the comrades were preparing to descend into the subway, yet another provocation by the Digos unleashed a violent charge by the carabinieri'. ECN was an international radical information exchange, at this time I was involved in the London ECN group.

I found these photos of the circus tent/marquee at Parco Lambro 1992 online at https://fantasyclod.blogspot.com/2011/01/raduni-parco-lambro-1989-1990-1992.html

Earlier on the year, on 2 May 1992, there had been a concert outside the San Vittore prison with the slogan 'Liberta per tutti is proletari e i comunisti incarcerati' (freedom for all the proletarian and communist prisoners), with bands including AK47, Tequila Bum Bum, Politico's Posse and 99 Posse. Poster from Liberia Anomolia).

HIV Prisoners' Struggles

 The situation in Italian prisons in this period was particularly grim. The so called Jervolino-Vassalli law passed in 1990 criminalised possession of drugs with heavy penalties, in a country where it had previously been legal to have a small amount of any drug if it was for your own use.  The jails were filled with drug users,  many of them HIV positive and receiving totally inadequate health care. Just to make matters worse some emergency 'antimafia' laws had just been passed which made it harder for all the prisoners to get parole , have visitors etc.   Prisoners were staging hunger strikes and other protests. 

In Padova people around the radical radio station Radio Sherwood launched a project in support of prisoners, Radio Evasione, included a regular show focused on prisoners in the Due Palazzi prison. I was working in HIV in London at the time and wrote about it in Mainliners |(HIV/drugs magazine). I also visited Radio Sherwood and took them some info about HIV treatments  (basically copied a loads of stuff from the UK National AIDS Manual).

Letter from a HIV+ prisoner:

From 'Mainliners', January 1922 - full issue here

Radio Evasione zine, Padova, June 1992
(I have uploaded full issue to internet archive here)

Also from 1992 - an intifada mural at a social centre in San Dona di Piave, Veneto

 99 Posse 'Rigurgito antifascista' features the 'servi dei servi' line

Cinzia Says...

'Cinzia says...' at Goldsmiths Centre for Contemporary Art is a retrospective of the work of Italian fashion designer and artist Cinzia Ruggeri (1942-2019).  It features many examples of her 1980s clothing ranges, very much of the time with their playful postmodernist aesthetic, as well as some of her art and video works.  She collaborated with Gianni Emilo Simonetti, sometime Fluxus and Situationist associate, and with Italian pop band Matia Bazar among others.

The exhibition in New Cross, London SE14 closes on 12 February 2023

'The fight is for life!' - protests against Italian anti-rave law

The far right Italian government is planning to bring in a new law against raves. The law was announced following the recent closing down of a three day Halloween party attended by some 3000 people in Modena.

The  proposed law includes provision to convict 'anyone who organizes and promotes the arbitrary invasion of other people's land or buildings, public or private, in order to organize a musical gathering or gathering for other entertainment purposes', punishable by up to 6 years in prison.

Opposition to the law is growing. The pictures here are of a demonstration against it by hundreds of people in Treviso on 11th November 2022. The march was organised by the Treviso social centre CSO Django and featured a sound system, flares and a large 'No to repression' banner.

CSO Django say that the law is part of a pattern of measures that 'aims to suppress everything that is somehow considered uncomfortable, unpleasant or that expresses radical criticism, in words and in facts, to the model of society we live in.

On Saturday we reiterated clearly that the repression of movements, struggles and social phenomena is one of the forms in which those who exercise power try to leave the model of society we live in unaltered.

Saturday's street parade brought different subjects into communication, who together built a demonstration that went through the city in a colorful and noisy manner, proving that it is possible to work together, within our differences, to build, from the bottom up, different moments of sociality free from market logic, delivering anti-racist, anti-sexist and anti-fascist messages...

Against the ideology of profit, the practice of creating resilient and caring communities. We claim the right to be anomaly, to be a grain of sand in the gear of a world in which market logics aim to make everything a consumer product.We claim the right to practice dissent and conflict, as the only engine capable of changing the balance of power and modifying the existing one.

Against the advancing nothingness, the fight is for life!'

Statement and photos from CSO Django on facebook. There is also a report with video footage at La Tribuna di Treviso.

The Italian government is led by Giorgia Meloni's Brothers of Italy party, with its roots in the fascist movement.

Lou Reed Riots in Italy 1975

Following the recent death of Lou Reed, I could write a lot about his influence on me and the many hours of my life spent listening to him and the Velvet Underground. Intense student nights discovering chemicals whilst listening to 'Berlin' ('The Bed' still makes me shiver), hitch hiking to Amsterdam and getting a lift in a BMW playing 'Venus in Furs', all that indie pop taking its cue from 'Pale Blue Eyes' and 'What goes On' - indeed all those nights at How Does it Feel to be Loved? in Brixton, taking its name from the fade out of 'Beginning to see the light'. But I guess most of us could tell such stories.

Instead of going any further down my own memory lane I'm going to write a bit about a lesser known episode in Lou Reed's career: the riots at his gigs in Italy in February 1975. In Milan, Reed fled the stage after just two songs (Sweet Jane and Coney Island Baby). In Rome, there were clashes between police and young people trying to get in to the concert for free. Tear gas was fired, bars were looted, and many people were injured and/or arrested.

Rome 1975

These weren't anti-Lou Reed riots as such though, rather they were moments in a wider social movement. As Robert Lumley outlines in his book 'States of emergency: Cultures of revolt in Italy from 1968 to 1978':

'Between 1975 and 1979 young people in several major Italian cities entered the political scene as the protagonists of new forms of urban conflict. In Rome, Bologna, Turin, Naples, Milan and other cities, they organized themselves into collectives and ‘proletarian youth groups’, squatted in buildings and carried out autoriduzione (that is, fixed their own prices) of transport fares and cinema tickets, set up free radio stations. At the height of the movement in 1977, tens of thousands of young people were involved in mass protest and street battles with the police'.

As well organising their own counter-cultural music festivals, the movement contested the cost of commercial cultural events: 'Autoriduzione of tickets at pop concerts had already been carried out ‘spontaneously’ in Milan in the early seventies. In September 1977, at a Santana concert in Milan, the practice became formalized; youth groups assured the organizers that the event would not be disrupted in exchange for a fixed price reduction. Earlier, in October 1976, youth groups launched a campaign to force cinemas to reduce ticket prices. A leaflet of the youth groups of zona Venezia declared: "The defence of the living standards of the masses also means establishing the right to a life consisting not just of work and the home, but of culture, amusement and recreation"'.

The 'autoriduttori' movement was promoted by the Milan-based Stampa Alternativa (Alternative Press), who set up stalls outside concerts organised by promoter David Zard - including Lou Reed's 1975 gigs. There's some misleading information about these events online - one source claims that 50 people died in Rome, but in fact there were no fatalities. You may also find mention of 'fascists' being involved - again, this does not seem to be true. It was common practice at the time for the Communist Party in Italy to denounce militants of autonomia and the extra-parliamentary left as 'fascists', even as these same militants were fighting in the streets with the actual fascists.

Sicilian Dance Trophies

The centrepiece of 'Pursuit of Perfection: The Politics of Sport' at the South London Gallery is Aleksandra Mir's Triumph. a collection of  2,529 trophies gathered by the artist in Sicily. Here's some of the dance competition  trophies.

Skinheads as Independent Travellers in Space

I went to Cafe Oto in Dalston a couple of weeks ago for a reading by two members of Wu Ming, the Italian writing collective responsible for novels including 54, Q (written under the name Luther Blisset) and the newly-translated Manituana.

At least one of the four Wu Mings was associated for a while with the Association of Autonomous Astronauts (1995-2000), the multi-dimensional politico-creative network dedicated to 'independent community-based space travel'. The premise of the AAA was for people to form their own groups (often it must be said, just one or two people) to put their own slant on the mission. Thus my node in the network was Disconaut AAA, dedicated to the use of dance music for space exploration, while electronic/industrial outfit Nocturnal Emissions was associated with AAA Kernow. Messrs Eden and Grievous Angel had their own groups, as did others in France, Italy, Denmark, Holland, New Zealand and elsewhere.

From Bologna, a later Wu-Mingster launched 'Skin Heads as Independent Travellers in Space' (SHITS). This is their launch text, published in 'Moving in Several Directions at Once! The Third Annual Report of the Association of Autonomus Astronauts' (1998). The text celebrates 'proletarian elegance' and looking sharp, a theme that recurs in Wu Ming's novel 54 (discussed here recently).

WORKING CLASS KIDS AGAINST SPACE IMPERIALISM

Only those whose boots stomp the ground will conquer the skies

by Fabrizio P. Belletati

In the name of Luther Blissett “I” announce the foundation of the SHITS (Skin Heads as Independent Travellers in Space).

Proletarians have never benefited by any space exploration programme launched by the great Powers. NASA in particular, that gigantic parasite, dissipated billions of dollars in order to take workers away from their everyday exploitation, inducing them to passively gaze at the deeds of yankee imperialism and the conquest of the “last frontier”. NASA introduced the average chauvinist redneck male as the cultural and aesthetic representative of the whole human species (in the American TV series Northern Exposure. a character named “Maurice Minnefield” effectively parodies pathetic flag-waving ex-astronauts). NASA has always attempted to militarise and commodify outer space (remember the infamous Ronald Reagan’s SDI plan).

The Associations of Autonomous Astronauts fight the present-day state, military and corporate monopoly of space travel, and exhort the oppressed of this world to build their own spaceships and get together into free communities of cosmonauts. The revolutionary proletariat has the power to expose the deceptions of the space travel establishment.

But I think that the AAA project must keep its distance from Hippie/New Age bullshit — we’re talking about class war — neither some kind of utopian-escapist plan (e.g. The Jefferson Starship Blows Against The Empire) nor some Star Trek Kennedyan dream — we’re talking about Jello Biafra’s rant Why I’m Glad That The Shuttle Blew Up.

The subcultural cross-fertilisation which originated the Skinhead style reached its peak in 1969, i.e. whilst NASA was organising and staging the first moon landing hoax. The creative clash between West-Indian music (Ska, Rocksteady and early reggae) and the Hard Mod look defines the so-called “spirit of ‘69”. We’ve got to hang on to this spirit of ‘69, and oppose it to the other, symbolised by the star spangled banner on a TV studio moon ground.

Original skinheads, suedeheads and later street punk skinheads COULDN’T GIVE A TOSS about such nerveless middle-class counterculture à la Jefferson Starship. Skinhead subculture can provide autonomous astronauts with a style and a sartorial rhetoric which break both with liberalism and hippy shit. Moreover, both the Suedehead evolution and the modernist heritage can work as stylistic North Stars and orient our efforts to an essential “proletarian elegance”. It’s a matter of self-respect: we can’t figure what clothes the inhabitants of other planets have on, but certainly we won’t go to the rendez-vous dressed like shaggy buffoons!

Skinhead Moonstomp is the title of a classic Ska anthem. That’s how we’re gonna deal with zero gravity: skipping about on a steady upbeat rhythm. Long live SHITS! Death to NASA!

54 and Filuzzi

54 by Italian collective author Wu Ming is a novel set in 1954, with a fine plot involving the mafia, secret services, communist ex-partisans in Italy and Yugoslavia, the geopolitics of the post-WW2 period and Cary Grant.

One of the themes of the book is what might be termed 'proletarian dandyism' - working class pride in dressing up and looking sharp as an assertion of human dignity and as a refusal to accept an 'inferior' social status.

Two of the characters - Grant and Tito (leader of Yugoslavia) - are seen to share this perspective, with the Cary Grant character concluding that "he and Tito had a great deal in common. Above all there was his obvious interest in matters of grooming and clothes... And then there was the fact that they had both become famous with a name other than their given name. They had both passed through different identities".

The authors put an explicit defence of dressing-up into the mouth of 'Tito': "the mirror unites the individual with the community, and its admission into proletarian houses has cemented class pride, that sense of decorum thrown back into the bosses' faces, 'We have been naught, we shall be all! We can be, and we are, more stylish than you are!'".

Pierre, another key character, is a communist bar worker who models himself on Cary Grant. He is a local face as a filuzzi dancer in the dancehalls of Bologna, a scene involving competitive displays of dancing prowess to mazurkas and polkas:

'Everyone took to the floor for the mazurka, even the women, who couldn't usually keep up with the giddy rhythms of those dances. Two or three pieces in, the rhythm started to speed up. Nino Bonara's concertina, supported by bass and guitar, sounded as though it was never going to stop. By the sixth item on the programme only the musketeers of the Bar Aurora were left on the floor. Shouts of encouragement rose up from the tables, along with applause for the more complex movements... the four filuzzi followed the music each on his own, the couples parting and reforming each time the tune came round again..."

The couples in filuzzi were usually men dancing with each other. It was specifically a Bologna scene - in fact it still exists there to an extent - and there is very little about it written in English. There is, however, some filuzzi footage on youtube:


Wu Ming are in London this week doing a series of events, I am planning to go along to Cafe Oto in Dalston tomorrow night.

Datacide Roman Holiday - Electrode09

Looking through some pictures I realized that I never got round to posting on my trip to Rome last year to take part in Electrode09 - Independent Electronic Music Festival. As it was one of the highlights for me of the last year, I do want to document it. So hot off the press and nearly a year late (it took place on 12-13 June 2009) here's my report.

(flyer - click to enlarge).

The venue was the very impressive Forte Prenestino Occupied Social Centre, a former military base left abandoned until it was squatted in 1986 (bit of history here). It's a huge site, with two big outdoor arenas, and lots of rooms coming off various tunnels seemingly built into a hillside. The food and drink were excellent - unlike in any squat I have been to in in the UK, there was a selection of very nice wine! (in fact the venue has hosted whole Critical Wine events).

The scene before the party started:

My contribution was to take part in a panel of Datacide magazine contributors talking on aspects of 'Cultura Elettronica e Controcultura', based on the similar event held in Berlin in Autumn 2008. As usual at these kinds of events, most people don't turn up until late for the music so it was a more select audience for the talks, but still worth doing. Christoph Fringeli talked on Hedonism and Revolution, Hans Christian Psaar on Kindertotenlieder for rave culture, and Alexis Wolton on Tortuga towerblocks: pirate signals in the 90s (yes, the Nightingale Estate in Hackney was mentioned in the city of the Tiber). My talk developed ideas from my article on dance music history I wrote for Datacide, but looking more specifically at the Hardcore Continuum debate and some its deeper historical roots (will post the talk sometime).

The music was mainly on a techno/minimal tip, it was OK but for my taste there were too many live sets consisting of a bloke fiddling around with a lap top and twiddling nobs, though Antipop Consortium at least had some presence. Personally unless there's something to see or the music's really good, I would generally rather have a no nonsense DJ set.

We were reliably informed by our London in exile translator that there was another squat where happy hardcore was to be had, and she was about to promote Rome's first UK Funky night. As it was, the only bit of that which got aired over the weekend was when I played a bit of Perempay with Maxwell D from the stage, in order to illustrate the convergence of reggae MC, soca and disco/house strands with their respective social histories of carnival and contestation. Or something.

Anyway I had a dance obviously, seem to remember bouncing up and down to some Thomas Heckmann.

Electrode2010 is taking place soon at the same venue (June 11-12), so if you're in that part of the world you might want to check it out.

Special Request to all the Worker: in memory of Romano Alquati

Went to an event at the 195 Mare Street squatted social centre in Hackney last weekend. Very interesting film and short talk from someone involved in Gurgaon Workers News about workers struggles in the Gurgaon Special Economic Zone in India.

The building itself was quite impressive, a spacious but run down Georgian mansion that was most recently the New Lansdowne Club (a working men's social club I believe). The party after the talk didn't really get going while I was there, some interesting chat notwithstanding. But I did get to hear this great reggae track:

Johnny Ringo (1961-2005): Special Request/Working Class

I'd like to dedicate this to the memory of Romano Alquati, who died last month at the age of 75. Despite very little of his work being translated into English (as far I can find), Alquatti was very influential, through his involvement in Italy with Quaderni Rossi (Red Notebooks) and Classe Operaia (Working Class), in formulating notions of workers autonomy, class composition and workers inquiry which were central to the development of Operaismo, a Marxist current stressing self-organisation and working class power as a motor of social development.

Absurd rave trial drags on in Italy

So you went to a party when you were a student four years ago - and now you're having to sit in a court room facing prosecution as a result. This is the absurd situation in Italy, where the court room in Varese was packed out last month for the latest hearing for 113 defendants charged in relation to a party held at Caldè near Lake Maggiore in June 2006.

Around 500 people, many of them students, attended an unauthorised 'rave party' held in and around old furnace buildings on private land near the shores of the lake. The police set up roadblocks and stopped people as they were leaving the party, as a result of which the 113 were charged with complicity in aggravated invasion (trespass) of the land.

Local papers have queried the use of the court room associated with Mafia trials, noting that in 'this case this case, however, the defendants are normal young people of Varese and surroundings. The trial has been adjourned again until June 2010.

Source: VarezieNotizie, 26 February 2010 ; Varese Laghi 25 February 2010.

My Agit Disco mix

Stefan Szczelkun asked me to put together a selection for his Agit Disco series of mixes of political music. You can read my effort at his site as well as previous mixes by the likes of Simon Ford, Stewart Home and Tom Vague. I recommend that you spend some time browsing the whole site and its related blog.

The mix might not win any prizes for DJing, for a start there is no consistent sound as it covers everything from folk to techno via punk. But I can guarantee that there's some stuff here that you won't have heard before - some of it from old cassette tapes of stuff that has never been released.



Tracklisting:

1. UK Decay – For my Country (1980)
2. Karma Sutra – Wake the Red King (1985)
3. No Defences - Keep Running (1985)
4. Bikini Kill – Rebel Girl (1993)
5. Chumbawamba – Fitzwilliam (1985)
6. Hot Ash - Bloody Sunday – This is a Rebel Song (1991)
7. Planxty – Arthur McBride (1973)
8. Half a Person – The Last of England (2006)
9. McCarthy – The Procession of Popular Capitalism (1987)
10. Joe Smooth – Promised Land (1987)
11. Atmosfear – Dancing in Outer Space (1979)
12. Roteraketen – Here to Go (1999)
13. Metatron – Men Who Hate the Law (1993)
14. Lochi – London Acid City (1996)
15. Galliano – Travels the Road (Junglist Dub Mix) (1994)
16. Roy Rankin & Raymond Naptali - New Cross Fire (1981)
17. Afrikan Boy – Lidl (2006)
18. 99 Posse – Salario Garantito (1992)
18. The Ballistic Brothers – London Hooligan Soul (1995)

Introduction

I’ve spent many years cogitating on the politics of music and the music of politics so wasn’t quite sure where to start with an Agitdisco mix. So I’ve decided to loosely follow an autobiographical thread of tracks that I associate with politically significant moments in my life.

UK Decay – For my Country (1980)

I grew up in Luton, where UK Decay were the best of the first wave punk bands. ‘For My Country’ is an anti-war song clearly influenced by the First World War poets (Wilfred Owen’s Dulce et Decorum Est in particular). I was at school when this came out and getting involved in politics for the first time, helping to set up Luton Peace Campaign which became the local branch of the Campaign for Nuclear Disarmament, resurgent in the face of plans to locate Cruise nuclear missiles in Britain.

Karma Sutra – Wake the Red King (1985) download

In the mid-1980s I was very involved in the anarcho-punk scene in Luton. Political songs were ten a penny in this milieu, but I guess more significantly the singers (mostly) really meant it – there was no real separation between ‘entertainers’ and ‘activists’. The people going to gigs, forming bands, doing zines, were the same people going hunt sabbing and on Stop the City. At that time I seemed to spend large parts of my life in the back of a van, between gigs, demos and animal rights actions.

The main local band in this scene was Karma Sutra. For a little while I took my Wasp synthesiser down to their practices but it didn’t really work out, so I never played with them live. However, this demo tape version of their track Wake the Red King has my rumbling synth tone at the beginning. The title refers to Alice in Wonderland, I can’t make out all the lyrics but it sounds like the kind of situationist-influenced diatribe they specialised in – they later released an album, Daydreams of a Production Line Worker.

No Defences – Keep Running (1985) download

When people think about anarcho-punk they often have in mind lots of identikit sub-Crass/Conflict thrash punk bands. There was plenty of that – and some of it was really good – but there was also quite a lot of musical diversity, from more melodic humourists like Blyth Power to mutant funksters like Slave Dance. One of the most interesting bands on the whole scene were No Defences, who as far as I know never released a record apart from a track on a compilation album. They were mesmerising live, delivering monotone litanies of abuse and rage over sophisticated time signatures. I saw them at squat gigs in London (including at the Ambulance Station, Old Kent Road), and they came to Luton to play at a hunt sabs benefit gig we put on at Luton Library Theatre, also featuring Chumbawamba. This track was recorded that night (30.5.1985). – ‘we don’t live anywhere, no sense of being in the world…’

Bikini Kill – Rebel Girl (1993)

I was lucky enough to see some of the great post-punk women-led bands live, including The Slits, The Raincoats, Essential Logic, Au Pairs and the Delta 5. The feminism and sexual politics of that time have had a life long influence on me. Ten years later, these bands started getting their critical dues again with the birth of the Riot Grrrl and Queercore scenes. I used to go and see my late friend Katy Watson (of Shocking Pink and Bad Attitude feminist zines) DJing at London queercore clubs including Up to the Elbow and Sick of it All. Bikini Kill were the key US Riot Grrrl band: ‘when she talks I hear the revolution…’.

Chumbawamba – Fitzwilliam (1985)

I was living in Kent when the 1984-5 miners strike started and helped set up a Miners Support Group linked to strikers at the three local pits (now all closed). I was also in Ramsgate in 1985 on the day the Kent miners voted to return to work, ending the strike. It was an intense year for me of pickets, demonstrations, collections and many, many arguments. Chumbawamba played an important role in swinging the anarcho-punk scene behind the strike – initially some people had the ludicrous line of ‘why should I support meat eating men working in an environmentally unsound industry?’. Fitzwilliam describes the end of the strike in a Yorkshire mining village – ‘it won’t be the same in Fitzwilliam again…’ This song was released on ‘Dig This – A Tribute to the Great Strike’. Some years later, I was involved in the Poll Tax Prisoners Support Group (Trafalgar Square Defendants Campaign) and we threw a party at our Brixton flat for a couple of people acquitted of charges relating to the 1990 poll tax riot – one of them an ex-miner from that part of Yorkshire.

Hot Ash - Bloody Sunday - This is a Rebel Song (1991)

I went to Derry in 1992 and took part in the demonstration to mark the 20th anniversary of Bloody Sunday, when 13 people were killed by British troops. This song, from the 1991 Hot Ash album Who Fears to Speak, is about that event. At the start of this track there is a recording of the Jim O’Neill/Robert Allsopp Memorial Flute Band from New Lodge Road in Belfast. I was involved in the Troops Out Movement and prisoner support at this time and went on lots of Irish marches in London and Belfast. There were always flute bands on the march, giving rise to one of my pet theories (which may have no basis whatsoever) that there is a connection between the popularity of bass drum-led republican and loyalist flute bands in N.Ireland and Scotland and the popularity of bass drum-led variants of electronic dance music in these places (e.g happy hardcore and gabber in the late 1990s).

Planxty – Arthur McBride (1973)

Around this time I started to learn to play the mandolin, and began taking part in music sessions in pubs playing mainly Irish and some Scottish tunes. This was a new kind of collective music making for me, more fluid and inclusive than a band format, with less of a boundary between performers and audience – but with each session having its own unwritten rules of operation. The first song I sang on my own, at a party near Elephant and Castle, was the anti-recruiting song Arthur McBride. I learnt it from the version recorded by Planxty on their 1973 debut album. I saw Planxty play in Dublin in 1994, at a big May Day festival to mark the 100th anniversary of the Irish Congress of Trade Unions.

Half a Person – The Last of England (2006) - download

… from here it was a step to writing my own songs. This is a demo version of a little anti-nationalist ditty I have performed a few times, most recently in my ‘Half a Person’ guise at a benefit last year for the Visteon workers at Rampart Social Centre.

McCarthy - The Procession of Popular Capitalism (1987)

I enjoyed the indie-pop jingly jangly guitar scene in the second half of the 1980s and had some great nights at the Camden Falcon, a music pub at its heart. There was little in the way of explicit politics, although the cultivation of a ‘twee’ subjectivity also represented a refusal of ‘adult’ roles of worker/housewife/consumer and (for boys) of macho posturing. Bands like Talulah Gosh were later cited as an influence on the Riot Grrrl scene. McCarthy weren't really part of that scene but they had a similar sound combined with the much more overtly political lyrics of Malcolm Eden. This song is a typically Brechtian tale of penniless pickpockets and wealthy ‘Captains of Industry’, the latter singing ‘This is your country too! Join our procession, that's marching onwards to war’.

Joe Smooth – Promised Land (1987)

In the early 1990s I started going to squat raves and then to a whole range of techno and house clubs. This turned my conception of music and politics upside down, along with other aspects of my life. As a result I have come to see the political significance of a musical event as arising from the relations between people rather than the content of a song or performance. So, for instance, a crowd dancing together in a field to a commercial pop record might be more subversive than an audience in a concert hall listening to socialist songs. Dancefloors and festivals can be important for the constitution of communities and political subjects, almost regardless of the soundtrack. Promised Land is a Chicago house classic that combines this affirmation of community with a hope for a better world, articulated in the religious language frequently used in Black American music: ‘Brothers, Sisters, One Day we will be free. From Fighting, Violence, People Crying in the Streets’. I once heard Chicago legend Marshall Jefferson play this track at a club in Shoreditch.

Atmosfear – Dancing in Outer Space (1979)

I was involved in the Association of Autonomous Astronauts (AAA) from 1995 to 2000. My node of the network was Disconaut AAA, and I was particularly interested in the way space had been used as a speculative playground in jazz, disco and funk, a zone into which could be projected utopian visions of life beyond gravi-capital, racism and poverty (think Sun Ra's Space is the Place or George Clinton's Mothership mythos). Atmosfear's Dancing in Outer Space is a lesser known UK disco/jazz funk classic – this is a Masters at Work remix of the track.

Roteraketen – Here to Go (1999) download

The AAA put out a Rave In Space compilation, and I contributed to this track on it with Jason Skeet (DJ Aphasic). Actually my contribution was mainly supplying the sample and the name. Rote Raketen (red rockets) was the name of a communist cabaret troupe in 1920s Germany. The sample is from Yuri Gagarin's first space flight. I have an ambivalent attitude to the US and Soviet space programmes, undoubtedly rooted in Cold War industrial militarism, but also representing a period of optimism in the possibility of the continual expansion of human subjectivity. One day community-based spaced exploration will be a reality!

Metatron – Men Who Hate the Law (1993)

I was involved with various projects at the 121 Centre in Brixton in the 1990s, and regularly attended the Dead by Dawn nights in the basement playing some of the hardest techno and breakcore to be heard anywhere. Again it was the crowd, the conversations and the antagonistic sonic attitude that constituted the music’s political dimension rather than any lyrical content. Praxis records was the driving force behind the night, this track is from Christoph Fringelli’s Metatron EP, Speed and Politics.

Lochi – London Acid City (1996)

There was a cycle of struggles in the 1990s UK that encompassed the anti-road movement (Twyford Down, Claremont Road, Newbury…), squat parties and Reclaim the Streets. The soundtrack was often a particular variant of hard trance/acid techno associated with the Liberator DJs and Stay Up Forever records. This track was the scene’s ultimate anthem, I believe it was the first record played on the famous Reclaim the Streets party on the M41 motorway in London in 1996. I took part in the party and later was involved in the RTS street party in Brixton in 1998.

Galliano – Travels the Road, Junglist Dub Mix (1994)

The various radical movements of the early 1990s coalesced in the campaign against the government’s Criminal Justice Act in 1994, which brought in new police powers to deal with protests and raves. The high point was a huge demonstration/party/riot in London’s Hyde Park, which I documented in a Practical History pamphlet at the time, ‘The Battle for Hyde Park: Radicals, Ruffians and Ravers, 1855-1994’. This track is from an anti-CJA compilation album called Taking Liberties.

Roy Rankin & Raymond Naptali - New Cross Fire (1981)

In the last few years I have been doing a lot of research into the radical history of South East London. This has included helping put on the Lewisham '77 series of events commemorating the 30th anniversary of the anti-National Front demonstrations, and marking the wider history of racism and resistance in the area. A key historical event was the New Cross Fire in 1981, in which 13 young people died. This is one of a number of reggae tracks about the fire, demonstrating how sound system culture functioned at the time as a means of alternative commentary on current events.

Afrikan Boy – Lidl (2006)

… today that alternative commentary is still alive in grime. I was involved for a while in No Borders and became very aware of the experience of those living at the sharp end of the regime of immigration raids, detention centres and forced deportations. Afrikan Boy, from Nigeria via Woolwich, gives voice to that experience on this track, as well as shoplifting adventures in Lidl and Asda!

99 Posse – Salario Garantito (1992)

I have been influenced a lot over the years by radical ideas and practice from Italy and have visited a few times, most recently last year when I took part in the Electrode festival at the Forte Prenestino social centre in Rome. I first visited in the early 1990s, when I went to the Parco Lambro festival in Milan and visited Radio Sherwood in Padua. 99 Posse are an Italian reggae band named after the Officina 99 social centre in Naples; the title of this song relates to the autonomist demand for a guaranteed income for all, working and unemployed. It comes from a compilation tape called Senza Rabbia Non Essere Felice (Without anger, no happiness) put out in around 1992 by the Centro di Communicazione Antagonista in Bologna.

The Ballistic Brothers – London Hooligan Soul (1995)

Released in 1995, this is a look back over 20 years by the Junior Boys Own posse. It’s their history rather than mine, but there are several points where it overlaps with my own… house music, Ibiza, ‘old bill cracking miners heads’, ‘The Jam at Wembley’, ‘A poll tax riot going on’.

Independent Electronic Music Festival in Rome

I am doing a talk in Rome in a couple of weeks (Saturday 13 June) as part of an Independent Electronic Music Festival. It's happening at the Forte Prenestino Occupied Social Centre. I don't know too much about it yet but it appears to be a weekend of minimal techno/breakbeat (line up here), with talks from contributors to Datacide (apart from myself including Christoph Fringeli, Hans Christian Psaar and Alexis Wolton). I will be riffing around the article on dance music history I wrote for Datacide and talked about in Berlin last Autumn. Anyway if you're in the area, come and say hello.

Tina Modotti

Tina Modotti (1896-1942) is best known as photographer, but her's was one of those lives that joined the dots between different radical and cultural scenes in the first half of the twentieth century. She was born in Udine, Italy, where her father was a militant worker and member of a banned socialist group. Tina had to drop out of school and earn a living as a silk worker in a sweatshop where 'the silk reelers were sometimes allowed to sing as they toiled. At first pianissimo and barely audible over the whirring of machinery, the juvenile voices would soar into the popular 'They call me Mimi' from La Boheme or 'ves doi voi che son dos stelis', a Friulian love song they had all been humming since childhood'.


In 1913, aged 16, she moved to San Francisco where she became an actress. She had a starring role in a Hollywood silent movie, The Tiger's Coat (1920), playing a Mexican servant who ended up heading a dance troupe.

After a period in Los Angeles bohemian circles she ended up in Mexico City in the aftermath of the revolution, living with the photographer Edward Weston, befriending Diego Riviera (who she modelled for while he worked on some of his murals), Frida Kahlo and B.Traven, and throwing herself into radical politics, including the unsuccessful campaign against the execution of the Italian anarchists Sacco and Vanzetti in the USA in 1927. Another of her lovers, the Cuban revolutionary Julio Antionio Mella was shot dead as the two of them walked together. In this period she was increasingly developing her practice as a photographer, with her work appearing in international radical publications such as El Machete, Arbeiter-Illustrierte-Zeitung (AIZ), and New Masses.

She joined the Communist Party, and like many radicals of her generation was compromised by her links to Stalinist terror, particularly during the Spanish Revolution/Civil War where she worked alongside her lover Vittorio Vidali, a notorious henchman implicated in the death of many Poumistas, trotskyists and anarchists (including Alberto Besouchet, the first Brazilian to join the International Brigades, who disappeared after being denounced for Trotskyist sympathies - the evidence against him including an association with the Brazilian singer Elsie Houston, ex-wife of the surrealist Benjamin Peret who we have mentioned here before).

Leaving aside this terrible episode (in which the extent of her complicity is a bone of contention), I think we can still appreciate her photography and wonder what it would have been like to have gone to one of her legendary parties. Just after the First World War she lived with her lover Ricardo Gomez Robelo in LA:

'The most enduring memories of 313 South Lake Street are of boisterous parties in the studio, mobilizing Los Angeles's small bohemia, a provincial avant-garde striving for effect. "Intense, dreamy and vibrant", in Robelo's recollection, evenings throbbed "with the magic of art and congenial, exquisite friends and Saki!" Photographer Edward Weston noted of his fellow revelers: They were "well-read, worldly wise, clever in conversation,-could garnish with a smattering of French: they were parlor radicals. could sing IWW songs, quote Emma Goldman on freelove: they drank. smoked, had affairs .... "

The screen door slapping open and shut, Tina greeted her guests wearing something flowing and distinctive, her tie-dyed tunic perhaps, over a long skirt. She adored silk stockings and stacked jangling bracelets on her arm. Her eyes were rimmed in black, mouth painted into a ripe cherry, hands smoothed with her favorite honey-and-almond cream... As the evening heated up, the gregarious, streetwise Wobbly Roy Rosen might set the room on a roar with tales of the scoundrels he confronted as a "tough, tough baby" bill collector. Rosen hailed from New York, but many guests were refugees from San Francisco art circles: the painter Clarence Hinkle and his wife, Mabel, and the curly-haired Mexican Francisco Cornejo, who had created costumes and decor for Xochiquetzal, the "Toltec ballet" staged by the Denishawn modern dance troupe. An unruly sexual charge swept around the room, sending tall, tousled ex-barmaid Dorothea Childs reeling into somebody's arms as the lecherous and amusing old satyr Sadakichi Hartmann pranced from one woman to another. Jazz or Japanese music spinning on the Victrola, the studio dis:olved into a smoky, incense-fragrant maelstrom dotted with pools of colored lights from Tina's homemade Japanese lanterns. The crowd wrangled oveer aesthetics, got drunk on bootleg sake, and sucked on cigarette holders as they quoted Nietzsche and Wilde. Eyelids drooping, Robelo recited Swinburne while couples drifted out to the porch in a fever of kissing and groping.

Among the Richeys' guests was Ramiel McGehee, a baby-faced man with one glass eye and a pinched, disapproving mouth. Once a dancer who had toured Asia and was obsessed with Eastern mysticism, Ramiel metamorphosed into an undulating contortionist at the first sound of a sitar or daibyoshi'.

Living in Mexico City with Edward Weston, Modetti was once again at the centre of bohemian social life:

'New Year's Eve found the kitchen at 12 Lucerna in an uproar as Lupe Marin whipped up a spread of firecracker Mexican dishes, for which she had shopped, thus enabling a couple unable to scrape up January rent to throw a lavish party. Guests fox-trotted their way into 1924, pausing to quaff rum punch and smack their lips over the delicacies. So successful was the tertulia that Tina and Edward made it a weekly event, to be underwritten by passing the hat. "Because of grave conditions resulting from the revolution," the pair chortled, they kindled up the fabled Saturday nights, turning the Modotti-Weston household into the most dazzling light on the vanguard social circuit.

Virtually every well-known writer and artist in Mexico participated. Mexican-born, Texas-educated journalist Anita Brenner described how 'workers in paints drank tea and played the phonograph with union and non-union technical labour-scribes, musicians, architects, doctors, archaeologists, cabinet-ministers, generals, stenographers, deputies, and occasional sombreroed peasants."

....Invariably hungry, they dug into Tina's spaghetti with butter and cheese Anita's version of chongo, a traditional syrupy curd, which she served with cinnamon toast and tea, and a delicious curry and sweet rice prepared by an Indian revolutionist named Gupta. After dinner, the men heaped Colts on a table as tangos and the wicked Cuban rumba scratched their way our of the phonograph. On one memorable occasion, a guest stumbled upon her lover entwined with another woman and holloed him from room to room, popping at his feet with a small pistol. On another, Tina and Edward exchanged clothes, mimicking each other so convincingly that revelers were perplexed until Edward kicked up his pink-gartered legs and vamped outrageously. Edward loved to prance, but Tina, clumsy and uncomfortable on the dance floor, caught her breath on the parties' less frenetic edges, where talk gravitated to revolutionary art and politics'.

Quotes from Patricia Albers, Shadows, Fire, Snow – The Life of Tina Modotti, Clarkson Potter, 1999. See also this post at Museworthy.