Dance Can't Nice - exploring black music spaces at the Horniman Museum

In '696 - Dance Can't Nice' at South London's Horniman Museum,  the artist Naeem Dxvis explores London's Black music spaces with an installation recreating four kinds of spaces - a church, a 1970s front room, a barber's shop and a late 1990s teenage bedroom.

The focus on more private/domestic spaces is in itself a reflection that Black musics and Black people have often been excuded from public music venues and clubs, down to the Metropolitan Police's Form 696 which discouraged grime nights.

'Bedroom - A place that encapsulates the bedroom DJ culture that birthed grime, garage and drum n bass... it has served as a recording studio, a rehearsal and conference room, as radio station and sometimes even the club. Bedrooms like this are also spaces for young people who don't have safe space to perform or showcase their work'

'

'Church: The original Black music space that has birthed countless Black British musicians and genres. The church has housed music that creates connected communities'

'I want to evoke a sense of nostalgia and create value for the forgotten. I want to honour our spaces... Each space replicates the imagined and lived utopias of club culture as sanctuary and the everyday domestic and social spaces that infuse the foundation of Black British music' (Naeem Dxvis)

The title of the exhibition comes from a line in General Levy's Incredible ('Dance cyan nice unless we name pon de bill').

 

2019: a political year on the London streets

On this last day of the decade I am not going to attempt any kind of political balance sheet. Yes it's been a fairly depressing time in the UK, with the re-election of a right wing Conservative goverment and impending Brexit. But I've lived under similar governments for most of my life, people have got on with it, organised and actually brought about social change.

There were some encouraging signs in 2019, most spectacularly the growth of the climate change movement. Thousands of school students and others joined the Global Climate Strikes and there  were the two major Extinction Rebellion actions in April and October. I loved running through traffic free streets between the five main occupied sites in April and on the musical front it was great to see  Orbital playing a full set in Trafalgar Square in October (I also went to an XR event in Berkeley Square in April, themed around nightingales and convened by folk singer Sam Lee and the Nest Collective).

It felt like the beginning of a real shift from an activist scene to a social movement, signalled by the fact that so many people I knew from different walks of life including friends, relatives and semi-retired former militants seemed to be getting involved in various ways. Of course there are contradications and challenges ahead, not least how to sustain momentum, but the debates are happening and the movement is already broader and more diverse than the proclamations of any one organisation or figurehead would suggest. 

On the anti-Brexit front, the national demonstrations were huge but the more interesting moments came during the mobilisations after Boris Johnson first became Prime Minister in August with the threat of a parliamentary 'coup' to force through Brexit. Freedom of movement/migrant solidarity blocs staged spontaneous marches round the West End and led the blocking of streets and bridges. Brexit now looks inevitable but the need for an ongoing movement in support of migrants and against racism and fascism will be greater than ever. 

Anyway here's a gallery of images from some of these moments on London streets in 2019

Extinction Rebellion - April 2019

Occupied Waterloo Bridge

Skateboard on Waterloo Bridge

 

Extinciton Rebellion boat blocking Oxford Circus

Sound system at Piccadilly Circus

Sound system in Parliament Square

'Rebel for Life' - Waterloo Bridge

Stop the Coup, August 2019

'Stop Building Borders - Defend Free Movement'

'Empower the future'

Waterloo Bridge blocked during 'Stop the Coup' demo, August 2019.

Extinction Rebellion - local march from Greenwich to Blackheath, August 2019

'Towards the Common'

Global Climate Strike, 20 September 2019

'Fuck the Government and Fuck Boris' - Stormzy quoted by Parliament

'School strike sound system'

Blocking Whiteall

 Extinction Rebellion, October 2019

tents occupy the roads around Traflagar Square

'No music on a dead planet' - Orbital play in Traflagar Square

'Brutal police attack on disco women' - London Lesbian Conference Social 1981

'Brutal police attack on disco women'

by Michael Mason (Gay News [London], April 16-29, 1981)

'Lesbians attending the main social event of the second National Lesbian Conference in London on April 4 were shattered by scenes of violence unprecedented in the history of the recent British gay movement – even if not in the history of the women’s movement.

Eye witnesses told of “brutality I simply could not believe", of women thrown to the pavements and beaten, of others holding back fearfully, yet desperate to help their sisters.

The shocking events of that night began when a man and a woman started arguing across the square from the lesbian disco at the Tabernacle, Notting Hill. The man chased the woman, threatening her with attack. Outside the Tabernacle she held a broken bottle in front of her to fend him off. At this moment a police constable arrived on the scene – and made a grab for the woman while the man stood by grinning.

Two lesbians went to the women’s aid and almost simultaneously police reinforcements – summoned when and by whom remains a mystery – rounded the corner in a van. There was utter confusion as the police milled around women leaving the disco, and accounts from people in different parts of the crowd tell no clear story. But within moments the violence had begun.

One woman was held spread-eagled at waist height. Her T-shirt was rolled up her body to bare her torso and she was repeatedly struck in the stomach with a truncheon, report eyewitnesses. Other women were thrown to the pavement. Still others were slapped and punched. There were serious injuries inflicted, and at least one woman had to be taken straight to hospital by ambulance.

But the trouble did not in there. Some 20 women were arrested for obstruction and assault and taken to a Notting Hill police station. In cells, in charge rooms and in the public areas of the station there was even further abuse – both verbal and physical. One woman called forward to have her details taken was slapped in the face and pushed back into the wall behind her. Another, in great distress at the scenes, was taken to the cells where three officers are said to have attacked her. Police women offered as much violence as police men, said those who were released from the station at 4 am the following morning.

Only a partial list of injury was given to the conference the next day. One woman had a cracked spine, another a cracked rib. Cuts and extravagant bruising were commonplace.

Lawyers attending conference gathered statements from eyewitnesses in preparation for the prosecution to be brought and for official complaints which are to be laid against the police involved.

Women who travelled to London for the conference and must now stay for the court hearings badly need financial support for their unexpected delay. Conference launched the Lesbian Social Defence Fund and contributions are urgently needed. They should be sent to the fund c/o A Woman’s Place, 48 William IV Street, London WC2'.

Another account:

There's a brief account of this incident in this interview with Trisha McCabe at Gay Birmingham remembered:

'The first national lesbian conference was in London, in 1981 and I don't recall there being a second one. The women I went with were a real cross over between the revolutionary feminist group and the Women and Manual Trades group, some weren't part of our group but hung out with us because they were plumbers or carpenters and there was a link.

I can't remember anything about the conference itself, what it was for, the content, or what came out of it, but I do remember the excitement and the postcard which I thought was very cool. It had a black background with three lesbian symbols against a flash of fire. I sent one to my mother, her response was 'What will the postman think?', and my father was going 'I don't think you should worry about the postman'. I do remember there was a lot of aggro around it and the reaction of the police. For some reason the police were out a lot and a lot of different women got arrested and there was a real carry on. We must have been having some sort of protest, I remember running round on the streets, piling in when a copper tried to get someone out of the crowd, and making sure they didn't. One woman was put in a police car, and these other women went round and opened the other door and she just got out again, but ended up being arrested again and up in court the following morning, so we did a lot of hanging around in the police station. Another friend had this huge argument with the policeman and I dragged her off and nearly suffocated her, just holding her so she couldn't fight and get arrested. A couple of friends of mine got convictions, but I can't remember what they were doing'.

The photo below, which features in Anita Corbin's Visible Girls project, was taken in the Tabernacle, Notting Hill Gate, 1981 on the night of the National Lesbian Conference social:

Summer Solstice 1999: Autonomous Astronauts on Parliament Hill

 June 1999 was arguably the high point of the Association of Autonomous Astronauts in its UK zone of operations. It was then that the AAA organised 'Space 1999: ten days that shook the Universe - a festival of independent and community-based space exploration', held in London from June 18 to June 27 of that year.

Space 1999 Programme: Front
(the programme was designed by AAA Glasgow Cabal/Datamedia Design)

The festival featured an ambitious range of events including among other things a conference, games of three sided football, an Extraterrestrial Cinema night, a 'military out of space' protest as part of the Reclaim the Streets J18 Carnival against Capital, and gigs including one with Nocturnal Emissions and a space pop night at famous LGBTQ+ venue the Vauxhall Tavern. This diversity reflected the exotic cocktail of ingredients informing the AAA project, including radical art/anti-art, left communism/situationists, post Temple ov Psychick Youth occulture, techno, science fiction and of course a desire to get into space.

Space 1999 Programme

The ten days also included the summer solstice for that year on June 21st, providing an opportunity for an AAA training event. The programme promised 'Solstice outdoor training for autonomous astronauts, featuring star navigation, low level gravity practice, dreamtime workshop and astral projection exercise'.  I wrote the following report of it in my guise as Neil Disconaut in the festival's daily newsletter:

'20+ intrepid travelers gathered at Hampstead Heath station for a magickal mystery tour that was to take them to Parliament Hill, outer space and back within three hours. The solstice training event, facilitated by Neil and Juleigh Disconaut, kicked off with some theoretical orientation using nursery rhymes to demonstrate that most of us have been in training to be astronauts since we floated semi-weightless in the womb. The full meaning of lines like “I saw an old woman flying high in a basket, 17 times as high as the moon"will only become apparent when we go into space.

Next stop was the children’s playground, locked for the night but swiftly reclaimed by the innovative use of  dustbins to scale the fence. Exercises included gravity awareness on the swings and disorientation on the roundabouts. The possible use of the seesaw to catapult people into space was also explored.

Imagination training was carried out under an Oak tree on the hill, dressed with candles, stars and other decorations. Nobody volunteered to climb to the top to see if this was actually the World Tree with its roots in the underworld and its branches touching the sky. A discussion of reclaiming our sense of our relationship to the stars, and of the significance of the solstice, was interrupted by some kids asking us for drugs. Asked for their suggestions of how to get into space, one of them came up with the idea of a tunnel leading from Earth to the moon.

Dreaming is the cheapest and easiest way to fly, and there was discussion of various techniques for inducing dreams about space, such as sigilization. Neil described his dream experiments from which he concluded that in our dreams as in the rest of our lives the social gravity of capitalism inhibits the flight of the imagination. While he had succeeded in having some dreams of flying, this had had to struggle against numerous dreams featuring work, school, the police and other horrors.

After some astral body aerobic exercises contributed by Phil [Hine], John Eden facilitated an astral projection exercise inviting people to float above the heath and out to the stars. There were some interesting experiences with one person reporting that the space she had visited was quite noisy with lots of birds sounds.

The night wound up with some eating and drinking and with people from the band “They came from the stars” playing on toy musical instruments'.

our outline notes for the event

The post festival report, which reprinted the above article and states 'a CIP catalogue record of this book is available on Hampstead Heath'.

Dancing London (1902): 'riotous hilarity' and 'rhythmic revolution'

'Living London: its work and its play, its humour and its pathos, its sights and its scenes,' edited by George Robert Sims, is a remarkable attempt to give an overview of London life at the turn of the 20th century (it was first published in 1901). All the volumes can be browsed on archive.org, and provide a great resource for historians of this period.

There are a number of chapters dealing with London nightlife. One on 'Midnight London' (in this volume) by Beckles Wilson concludes:

'Such, then, is Midnight London. In all the world's capitals is dissipation found under the name of pleasure; Britain's Metropolis is no exception. The gaudy and glittering throngs swarm over the pavements; and to the midnight sightseer there is a novelty in the spectacle of brilliant toilettes and ravishing complexions now visible at the tables of the brilliantly-lighted salons, which are crowded to the doors by Pleasure's laughing votaries. To such as these mid-day London has no attractions — is dull, tame, stupid. It is not until the mighty electric flare which distinguishes modern London bursts upon the city that they feel, with Edgar Allan Poe, that " the sun mars the ecstasy of the soul "; their pulse beats quicker by gas-light, if they do not hold that "Life is diviner in the dark." London in the twentieth century, however, is never dark, and the interval seems to be growing shorter and shorter  when it is ever quiet'.

The chapter on Dancing London by C. O'Conor Eccles (in this volume) surveys social dancing from
Mayfair Balls to poor children dancing in the streets. There are Highland Gatherings, Irish dances organised by the Gaelic League and a fancy dress ball at the German Gymnasium in Pancras Road. Here's a few extracts:

'When gaslights twinkle like stars, and  arc lamps shine out like moons, Dancing London bestirs itself. Dancing London!  What a vision the words call up of life, of movement, of riotous hilarity. Dancing London, of course, is young; is largely, though not exclusively, female; and is of all classes, from the fashionable debutante revolving to the strains of the Blue Hungarian Band to the coster girl footing it merrily on the pavement to the mechanical beat of a piano-organ. Men in general share in the amusement with less enthusiasm — under protest, as it were, and as a concession to the wishes of their womenkind — though amongst them devotees of the dance are to be found...

Dancing, as already indicated, is by no means confined to one class, or any degree of wealth. Indeed, it is generally found that the less this enjoyment costs the more heart-whole and satisfying it is. Quite as much pleasure can be purchased by a modest expenditure as by the most extravagant outlay. If we desire to see dancing less hampered by financial considerations than that hitherto noted, let us take a bird's eye view of Holborn Town Hall any evening, during the winter months, when the popular Cinderella dances are in progress. Despite a good floor and good music the price of admission is low. The entertainment of the season is the fancy dress ball, to which men are expected to come in cycling, boating, or other costume associated with some athletic sport, while the girls wear any pretty, light dresses at their disposal. Conventional evening garb alone is conspicuous by its absence...

English girls are exceedingly fond of dancing as a recreation. If anyone doubts it, let him visit the girls' clubs in Stepney, or Hoxton, or the Mile End Road. After a long day's labour in a mineral water factory (whose employees are sometimes distinguishable by their bound-up hands, or faces scarred by bursting bottles), in a match factory, a jam factory, or a tailor's shop, they will start to their feet at the first sound of the piano, and circle with an activity fairly surprising. They dance with each other, and seem to desire no other partners. Typical East-Enders are these lasses, with a shock of dark hair combed forward and forming an arch from ear to ear. Their dresses are bright blue or purple for choice, but often the original colour is only to be guessed at... 

...there  are penny dances in rooms at the back of public-houses, where the coster and his "pals" male and female disport themselves. There are also dances " free, gratis, and for nothing," when weather permits, in any asphalted side street with a convenient public-house at the corner where refreshment may be obtained in the pauses. The girls are the first to start. Their "young men" lounge around and guffaw until they are pulled or pushed into the circle and compelled to take their share, which they do after a fashion more uncouth than the girls, some of whom waltz admirably. A Bank Holiday on Hampstead Heath affords, too, an excellent view of this side of Dancing London. Here many such groups may be seen, groups beguiled from the fascinations of "kiss in the ring" by the superior charms of rhythmic revolution. And thus goes it through all classes, from lords and ladies to costers and their "donahs".'

Steve Strange and Camden Palace

Following our earlier post on the Camden Palace from The Face, 1983 here's a couple more courtesy of the excellent Like Punk Never Happened - Brian McCloskey's Smash Hits Archive (click on images to enlarge).

The first article, from July 22 1982 is a review of a live event for Gary Crowley's Tuesday Club Capitol Radio show with live appearances from Culture Club, Bananarama and The Higsons. It includes a great picture of Joe Strummer with Jennie Belle Star, Jerrry Dammers and Chrissy Boy from Madness.

In terms of a regular night out at the Palace, Deborah Steele's article from Smash Hits, 15 August 1983 is more evocative. It is headlined with Steve Strange's description of the Palace (which had opened some 18 months previously) as 'A club for the people created by the people'.

'The Camden Palace... a place full of famous people trying to look ordinary and ordinary people trying to look famous... Many would go so far as to argue that Thursdays represent what British pop is all about - the people, the stars, the music, the fashions  and the attitudes... Steve Strange (of course), The Palace's genial host, signing autographs, having his picture taken and looking very striking in 'Tom Bailey' goggles and blue tea towel wrapped round his head. He tells me his new image is going to be that of an American footballer. Also pretending not to be famous are Edwyn Collins from Orange Juice, Chris Foreman from Madness, Miranda and Jennie Belle Star, a couple of Hoovers and George and Andrew from Wham! Oddly enough, no-one really pays these 'stars' too much attention ("everyone's a star here", says Steve)...

'The quality of the sound is incredible (and loud too) and the light show has to be seen to be believed. Lazers, strobes, neon strips and great shafts of light beaming out of computer-controlled rotating gantries, it's like the famous spaceship scene out of Close Encounters. Add to that a massive video screen which descends every so often to show the latest pop videos and you can understand why so many people do nothing but dance all night... Whether it's the bar proppers, posers, pop-stars upstairs or the dancers on the floor, The Palace is about having a good time'.

The music from DJ Rusty Egan is described as 'largely electro-disco with a few old Roxy Music and Simple Minds evergreens', catering to a crowd in a diversity of styles - an 'assortment of Boy George clones, bleached quiffs, fish-net stockings, expensive suits and sunglasses'. People queuing round the block to pay an 'expensive' £4 to get in and £1.60 a drink.

Steve Strange with Jennie and Stella Barker of the Bellestars
cutting the cake at Camden Palace first birthday party
(Smash Hits, 12 May 1983)

See also:  Posing at the Picture Place, Standard, May 11, 1983 for a reminder of the dole/cash in hand day lives of the night time diy superstars - ''I’m wrecked', Nick announces as he downs his sixth pint of lager at about 2am. “I was so late waking up yesterday I had to take a taxi to the dole to sign on before I went into work.” Nick [not his real name, obviously] looks startling in a hat so huge it has to be seriously trendy, and is well aware of the irony of his remark. He is 19 and clears £80 a week in Vivienne Westwood’s clothes shop which also dresses him for next to nothing, another £15 on Saturday checking coats in a nightclub – oh, and of course £22 social security. “That’s just pin money,” he says. “It pays the rent.”... Mike uses his £25-a-week dole on top of what he earns in Kensington Market to fund his nights out. Among a repertoire of sharp practices people here admit to, fare-dodging is regarded as essential and one 18-year-old charges friends £1 for lifts in his car home to the suburbs'.

See previously: London Nightlife 1983 - Colin Faver on Camden Palace and Heaven

London Nightlife 1983 - Colin Faver on Camden Palace and Heaven

From the Face magazine, February 1983, as part of an overview of the soundtrack to London nightlife at that point, an interview with the late Colin Faver 'One of the Camden Palace's four DJs who also plays Cha-Cha, the one nighter that provides a pansexual sideshow to Heaven's straight night each Tuesday'.

"The Palace on Saturdays is definitely the most upfront disco in England. Tuesdays, Wednesdays and Fridays educational, 50-50 disco and electro pop;  Thursday sticks to the no-funk groove; so on Saturdays we mix in funk and disco funk.

A lot of bands that have come out of the Palace initially as cult groups are now soft pop, like ABC, Culture Club. George proudly brought his first single to us and a whole new dancestyle developed from the girls in the Culture Club outfits, probably because they're so hard to dance in.

But the reaction has been a return to heavier underground sounds: Iggy,  Theatre of Hate, Lou Reed, Passenger. A lot of people don't like funk and we get asked for Killing Joke now which normally rarely gets played in discos. I reckon it's due to the influence of the Batcave and bands like Sex Gang Children and Bauhaus.

When the Palace opened we were almost totally electronic –  Visage, Soft Cell – but the most noticeable difference has been towards an acceptance of disco which was once a dirty word, particularly since electronic funk like Whodini and Man Parrish. Saturdays are good because people will dance to what's played. We've tried gay disco like Patrick Cowley and Roni Griffith and people to listen. Hard New York disco funk for sure came into its own last year on three labels in particular: Prélude, West End and Salsoul. For me this is the underground music. It's just like the days of punk because it revolves around small labels. D-train and Peach Boys really began the move.

I do get pissed off by NME not giving space to disco. If ever they do get round to reviewing it the records are so old. And then it's only a mention just to sound hip. Yet I'm sure there's a market judging by the numbers of people who ask in clubs.

We can get as ahead as we like at Cha-Cha so long as we include Simple Minds. I made a point of introducing a 50% funk policy over the past year because I get bored with the pompous futurists like Ultravox. A lot of people haven't heard Gil Scott-Heron and there is no way they can't dance to James Brown.

The quintessential Cha-Cha sound sound is Patrick Cowley's 'Mind Warp'. Heaven on a Saturday is basically very very fast 130bpm wild dancing but these days more gays complain that it's too fast. Where gay music once led trends, the interesting crossover has Yazoo's two singles which they now play in Heaven. The gay market wouldn't normally touch them but the German mix of 'The Anvil' and the ABC remix have crossed too.

In fact there's never been more choice than we have now: excellent imports and so many brilliant British bands. Those two Blancmange singles must have been last year's best. And listen for Set The Tone's first single, it's gifted. And small English one-offs like Animal Nightlife and Shriek Back are going to do well"

State of the Dance:

Yello - Heavy Whispers (acetate, electro funk)

Divine - Kick your Butt (gay disco)

Vaughan Mason - You can do it (hard funk)

Members - Go West (English dance music)

Set The Tone - Dance Sucker (Scottish dance music)

The interview was written by David Johnson who now runs the Shapers of the 80s website, which includes a wealth of information about London clubbing in that period, in particular the so-called Blitz Kids/New Romantics scene, which as he notes nobody actually in that scene called themselves! He discusses this article in the context of what else was going on in 1983 here.

See also: Steve Strange and Camden Palace, articles from Smash Hits 1982/3

'Mobs riot in West End' - London Poll Tax Riot press coverage 1990

'Mobs riot in West End' (Independent on Sunday, 1 April 1990)

'Central London experienced its worst riot this century yesterday as the biggest demonstration against the poll tax turned to violence. At least 113 people, including 45 police were injured... There were at least 300 arrests.... In the heart of London's West End, cars were overturned and set on fire, dozens of shop windows were smashed and their contents looted' 

'Tonight the anarchists are celebrating "Our Time"(Evening Standard, 2 April 1990)

One of a number of press reports seeking to blame the riots on 'Left wing activists who march beneath the black banner... For more than a decade a small and disparate grouping of punks, misfits, thugs, hardline politicos and animal liberationists have pledged a violent revolution. Under their black flag banners at the weekend they saw themselves firing the first shot'. 'Class War and its Brixton-based counterpart Black Flag' are mentioned the formed linked to squats in 'Hackney and Clapton' ('London's East End is still Class War's heartland'). Much of this is pure invention, such as the claim that rioters on the day carried 'small, easily concealed "mollies" - firebombs'. I don't recall any petrol bombs being thrown on this day.

'£20 if you join Army of Envy' (Today, April 2 1990)

Another ludicrous piece of misinformation - 'Agitators toured pubs offering £20 to anyone willing to join their army of envy'. Considering hundreds of thousands of people had made the effort to travel from all over the country to be there, it was hardly necessary to pay anybody else to join in!  The report itself says that 60 coaches came from Bristol, 40 from South Wales, 30 from Weymouth etc.

'Battle of Trafalgar: Burning with Hate the Fire Bombers Sabotage Symbols of Wealth' (Today, 2 April 1990)

The angle of this piece is that decent theatre goers were terrorised by the 'howling mob' - no doubt some were frightened by the scenes, but the riot did not include attacks on random members of the public. Tourists wandered around in the middle of it. Again there is the myth here of the 'fire bombers' - it is true that a small number of cars were set on fire, but not I believe with petrol bombs. Still the looting and rage against 'symbols of wealth' was real enough: 'the riot against the poll tax turned into open warfare against the wealthy and all the symbols of affluence... Garrards, the royal jewellers, was a favourite target. Thugs wearing punk clothes uprooted bins and hurled them against the windows. West End fashion shops were next in line. Some grabbed £400 suits from gents clothes shops while women dressed in rags robbed other stores'. 

The story does include the fantastic line 'The great English public is rioting, sir' reported as being said by a policeman in reply to an American tourist asking what was going on.

Note to clarify (3 April 2015): in the image above I have blurred out the faces, they are clearly shown in the original and indeed I believe that they were all subsequently arrested. The guy with the white t-shirt was jailed and the guy leaning in to the porsche was acquitted in a trial that made headlines because the judge dismissed police evidence as lies (I believe a policeman claimed to have witnessed it but couldn't have done because of his location). I decided to blur the faces because they are still recognisable from these photos today and for work or other reasons might not want people to know about what they may or may not have been up to in 1990.

See also:

1990 Trafalgar Square Memories;
Brixton poll tax demo (Transpontine)

Save Denmark Street: 12 Bar Club Occupied

The famous 12 Bar Club in London's Denmark Street closed a couple of weeks ago, having been given notice to quit as part of a plan to 'redevelop' this area that threatens its status as the city's main area of music shops. Denmark Street, off Charing Cross Road, became known as Britain's 'tin pan alley' as the home of many songwriters and music publishers. The Sex Pistols once lived at no. 6, among numerous other musician connections (see history) Today it is famous for its musical instrument shops. 

All is not lost yet though. The 12 Bar Club was squatted on Monday, and those occupying it hope to use the building to help galvanise opposition to the increasingly homogenous corporate gentrification of the West End of London. 

I was down there today, friendly people so pop in and see them. They would welcome donations of sound equipment, furniture, sleeping bags etc (see notice in window). The are also launching an open mic night tomorrow night (Friday), so looks like the last song has not yet rung out in that venue where, among many others, Jeff Buckley, Joanna Newsom and Bert Jansch, have performed.

(see also - interview with squatters at Vice)

'Death from Excessive Dancing' - Bermondsey 1903

From: South London Press, 3 January 1903:

'The Fatal Thirteen -Death from excessive dancing

Dr Waldo held an inquest at the Southwark Coroner's Court on Wednesday on the body of Mary Ann Cocklin, aged 35 years, the wife of a Bermondsey labourer.

John Cocklin, the husband, stated that he and the deceased went to a Christmas party at the house of a relative on Christmas Day, and kept on dancing until after midnight. Deceased then lay down to rest, but awoke in a fright, screaming that three men were after her.

Dr Waldo: Had she been drinking any spirits?

Witness: No, sir, only port wine. We had nothing but port wine, any of us.

Dr Waldo: What happened when she came to herself again?

Witness: She went down stairs and resumed dancing to the music of an automated piano organ we had in the house. I next heard she was very ill, and that she had again gone to rest, but had turned giddy and fallen down the stairs.

Dr Waldo: How many?

Witness: The fatal 13.

Susan Poore, a neighbour, stated that she heard the deceased fall. She was taken to Guys Hospital, where she died the same day.

The medical evidence showed that death was due to fracture of the thigh caused by the fall, which was the result of giddiness produced by dancing. A verdict was returned accordingly'.

Criminal Justice Act 20th Anniversary Event coming up at MayDay Rooms (London)

Daily Star, 10 October 1994 (from Datacide archive)

Revolt of the Ravers: The Movement Against the Criminal Justice Act, 1994

Sunday October 19th 2014, 2 pm –  7 pm,  at MayDay Rooms, 88 Fleet Street, London EC4Y 1DH

(Admission free)

Twenty years ago, on 9 October 1994, a huge demonstration against the Government's Criminal Justice Act ended in London's Hyde Park with riotous clashes, police horses charging, and people dancing to sound systems. The Act brought in new police powers against raves, squatters, protestors, travellers and others, and was passed amidst widespread opposition.

This event will include memories of this movement, its ways of organising and representing itself and will feature displays of its ‘material culture’ such as zines, flyers, cassettes and letters.

There will also be a panel discussion looking at the related radical/techno zines of the 1990s, in what was one of the last musical and social movements mediated primarily through print rather than digitally.

The talks and discussion will be followed by films and music from the period.

It is hoped that the day will be a catalyst for a process of archiving, circulating and discussing materials from the radical social/musical movements of the 1990s.

Supported by MayDay Rooms, Datacide magazine, Cesura//Acceso journal, History is Made at Night.

Hyde Park, October 1994  - Copyright © 1994 Andrew Wiard

My Datacide article on this subject is here. If you were involved in the anti-CJA movement come along and contribute - we would be particularly interested in hearing from Michelle Poole from Advance Party or Debbie Staunton from United Systems, get in touch if you're out there! (transpontine@btinternet.com) Of course if you weren't there, or maybe weren't even born, come along  anyway and find out more.

Panacea: 1990s Cardiff zine from 'techno underground'

Panacea was a mid-1990s zine from Cardiff ('Panacea West') and Southsea ('Panacea South').

Panacea 'future sounds collective' aimed 'to provide information distributed from the techno underground, bring quality music to your ears, and find ways of getting to best future sound parties'.

This issue (number 3) from 1995, includes articles on Jeff Mills and DJ Torah, and a round up of London techno nights, including Digital Nation at Bagleys, Kings Cross and of course Dead by Dawn: 'next Dead by Dawn will continue the party with cutting edge hardcore and hard experimental sounds to challenge the techno establishment. The next Dead by Dawn (121 Railton Road, Brixton) is on Nov 4, line up includes Torah'. I remember chatting to the Panacea crew at Dead by Dawn, nice people.

The front page mentions 'Insurrection in Hyde Park' and the issue includes a review of the pamphlet I wrote at the time about the October 1994 anti-Criminal Justice Act riotous demonstration in Hyde Park, 'The Battle for Hyde Park: ruffians, radicals, and ravers 1855-1994'.

With Datacide magazine we are planning an event at the May Day Rooms in Fleet Street, London,  on October 19th 2014 looking at the anti-CJA movement and also featuring a panel discussion on the radical/techno zine scene at that time. Put the date in your diary, it will start at 2 pm and carry on into the evening with films and music (further details here soon).  We would be interested in hearing from people involved in that movement/demonstration, if anyone from Panacea is out there (Arlene/Sian?) get in touch as we'd like to have you there too!