Tuesday, September 19, 2023
Sheffield Gramophone Shops
Sunday, June 19, 2022
'Being a clubber felt special' - Dom Phillips' 1990s Mixmag
Terrible to hear of the murder of Dom Phillips and Bruno Pereira in Brazil - not just an isolated act of violence but a moment in a brutal war against those trying to protect the Amazon and those living in it, encouraged by president Bolsonaro and enabled by his global far right backers.
All a long way from the 1990s when Dom made his name as editor of Mixmag magazine, the biggest and most popular of the dance music magazines of that time with a circulation reaching up to 80,000 a month. It might not have always been the coolest, steering as it did towards the mainstream of UK clubbing, documenting and itself accelerating the growth of mega club brands and big name DJs. This was a phenomenon Phillips himself was to write about in his 2009 book 'Superstar DJs Here We Go!': 'From 1992, when acid house moved into legal venues, until 2000, this was the era of superstar DJs and superclubs. A generation gleefully lost itself in a maelstrom of disco euphoria and house music and clubbing became the defining sound and lifestyle of 1990s Britain'.
Mixmag featured interviews with DJs, musicans and producers, but Dom Phillips clearly realised that it was the clubbing experience itself that was central and the diverse clubbers who were the real stars. The mid-1990s 'were the golden years of 1990s clubbing, when you could meet anyone and be anyone, when the most unlikely networks of people were formed, criss-crossing the country. Club after club sprouted up in drab northern and Midland cities, little blooms of colour and life. Being a clubber felt special. It was about belonging. And for many clubbers, that sense of identity was a huge part of the lifestyle... Clubbing felt like a big, happy party that went on and on' (note by this time people tended to identify as clubbers, hardly anybody was calling themselves a raver).
Those buying the magazine wanted to have their amazing nights out reflected back at them and to see people like themselves dressed up, dancing and ecstatically happy. And this is what Mixmag offered, as in these examples from one issue (September 1997). A piece 'What are you proud of? captures people at the Pride festival on Clapham Common, as well as 'Goodbye Cruel World' in Leicester, Equinox in Wilmslow, The Leadmill in Sheffield and a Reclaim the Streets party in Nottingham.
Mixmag, September 1997 - Goldie is the cover star, Bjork also interviewed inside |
Dom Phillips, 1964-2022. Rest in Power All quotes from Dom Phillips, 'Superstar DJs Here We Go!: The Rise and Fall of the Superstar DJ' (2009) See also obituary in Mixmag by David Davies |
Sunday, March 25, 2012
Dancing Questionnaire (25): Mark, New York
Can you remember your first experience of dancing?
I think the very earliest was bopping around to Ian Dury and the Blockheads’ ‘Hit Me With Your Rhythm Stick’ with my grandma at a family wedding reception near Walsall, but the one that really stands out is headbanging to AC/DC’s ‘You Shook Me All Night Long’ at a primary school disco in Tamworth, Staffs, where I grew up. I’d seen some older kids doing it at the previous year’s event - my first taste of youth rebellion aged 8! I remembered the names of the bands on the patches sewed onto their sleeveless denim jackets and over the next twelve months become an entry-level rocker, renting albums from the local record library and getting my own cut-off denim with patches and studs. Then eventually it was me and my mates’ turn to headbang at the disco when the token metal record was played. The DJ cut it off before the end as the teachers were concerned about potential brain damage.
What's the most interesting/significant thing that has happened to you while dancing?
Building a deeper relationship with music. I’ve devoted much of my life to music in all its forms and through dancing I enjoy exploring its qualities more deeply, amongst the thrills and spills. I remember dancing in Manchester in 1996 in the Village to ‘The Love I Lost’ by Harold Melvin and the Blue Notes and suddenly realizing that the dance music I enjoyed most had a particular combination of uplifting-ness and melancholy which then set the course ahead for many years.
You. Dancing. The Best of times...
New York 2007-2010. People say dancing in New York’s not what it was. Sure, over-zealous regulation has harmed the vibrancy and scale of the club scene but this has been replaced by an amazing DIY attitude for the past decade or so. This manifests in all-night semi-legal dance parties in lofts and warehouses mainly in Brooklyn often featuring an eclectic mix of music, DJs, performance and participation. There’s a real sense of excitement for me around something genuinely underground, unpredictable, community based and musically eclectic which has totally revitalized my love of dancing. It’s as if dance music has resumed its role in the city as outsiders’ music, which is how I’ve always most enjoyed it.
You. Dancing. The Worst of times...
When I first moved to London in the late 90s I found it hard to find a scene that satisfied me. DnB was too hard and fast, House had got too cheesy, Big Beat was too beery and everything was too segmented and focused on one style of music. Maybe I just wasn’t looking hard enough though at the time.
Can you give a quick tour of the different dancing scenes/times/places you've frequented?
I started dancing regularly in 1987 at an under 18s discos in Tamworth at a club called the Embassy. It wasn’t really my scene though and things didn’t really take off until I discovered ‘indie’ music via John Peel and then started to make regular trips to Birmingham to indie disco nights and 60s psychedelic nights like the Sensateria at the Institute, as well as the odd hardcore rave. University in Sheffield in 1992 meant a headlong rush into house, techno, garage and funk with the poly-sexual scene around Vague [Leeds], Flesh [Manchester] and Sheffield’s Trash providing a little spice around the slightly-cheesy uniformity of the post-acid house scene up north at the time.
A move to London in the late 90s meant a hotch-potch of east-London fare – reggae, DnB, ragga, hip hop, a bit of house and the electroclash scene around Nag Nag Nag. Carnival weekend was always the highlight of the year, and I had a brief involvement with a north London pirate station. But gradually dancing died away. In 2005 the move to New York reignited it all again.
When and where did you last dance?
To a Robert Owens DJ set at Dalston Superstore, London last November.
You're on your death bed. What piece of music would make you leap up for one final dance?
‘I Want Your Love’ by Chic. The perfect combination of yearning, hope and melancholy that characterizes much of my favorite music to dance to.
All questionnaires welcome, just answer the same questions - or even make up a few of your own - and send to transpontine@btinternet.com (see previous questionnaires).
Wednesday, December 08, 2010
More on Occupations and Dance Offs
What has been impressive is the innovation and the rapid circulation of struggles. A group of school students from Camden School for Girls visited the occupation at University College London - today 100 young women have occupied Camden School for Girls. As far as I know this is the first occupation of a school in London for more than 30 years! (anyone know differently let me know).
A 1977 Occupation
The most recent school occupation I have come across was from 1977: ''Sixth formers at Wanstead High School, east London, occupied their common room and front hall yesterday in protest against education cuts. 'We have a lot of support in other schools and our teachers are sympathetic' Richard Boyes, aged 17, a reprsentative at the school of the National Union of School Students, said". The occupation followed a 12 day occupation at the University of Essex "against Government increases in tuition fees" (Times, March 19 1977).
Sheffield Occupation dance off
Reported previously on the occupation dance offs in Oxford and UCL. Here's another one from the occupation at Sheffield University:
Next chapter tomorrow, with the call to Shut Down London on the day Parliament votes on student fees.
Monday, June 22, 2009
Taser = torture
This is the landscape of songs like I Predict a Riot by the Kaiser Chiefs (Leeds): 'Watching the people get lairy, It's not very pretty I tell thee, Walking through town is quite scary, It's not very sensible either, A friend of a friend he got beaten, He looked the wrong way at a policeman...'
Or Riot Van by The Arctic Monkeys (Sheffield): 'And up rolls the riot van, And these lads just wind the coppers up, They ask why they don't catch proper crooks, They get their address and their names took, But they couldn't care less, Got thrown in a riot van, and all the coppers kicked him in'.
But now there's a new, potentially deadly weapon on the streets. A Sunday night in Nottingham two weeks ago, an altercation by a nightclub, and the police turn up - nothing unusual, but then we enter sci-fi territory. Captured on mobile phone by a passer-by, a policeman fires a taser at a guy on the ground, delivering a 50,000 volt electric shock via two darts on the end of wires (then a colleague comes along and delivers a more traditional thumping).
Yes electric shock treatment in public, and don't believe the hype about tasers being 'non-lethal'. As Harpy Marx notes, a man died in Australia this month and there have also been recent deaths in the US and Canada. In fact Amnesty International have documented hundreds of taser-related deaths. No doubt many more are on the way in the UK, since last year the Home Secretary announced plans to fund the provision of 10,000 Taser guns nationally and training for up to 30,000 frontline officers to use them. Not all police forces are enthusiastic are so enthusiastic about increasing the use of them - possibly because they too predict a riot.
Wednesday, April 15, 2009
Hillsborough 1989
Hillsborough has now become yet another placename to add to those that make up the by-now voluminous gazeteer of wasted human lives. Already there has been talk of "learning the lessons of Hillsborough"; but if the lessons of Bradford, Heysel, Manchester Airport and the Herald of Free Enterprise had been even half absorbed, this most cruel visitation might have been avoided.
What all these have in common is that they arose from the processing of people through time or space for the sake of experiences provided by the entertainment, holiday and sports industries; as such, they touch upon one of the central purposes of the economy in its most benign guise - that of leisure society. This, it turns out, is dedicated to the necessity of making as much money out of people as possible, in this instance, by making them pay - some, alas, with their lives for the privilege of standing for two hours in what are nothing more than overcrowded cages.
Because these experiences are associated with pleasure, it is easy to disregard the dangers, whether these are the use of unsuitable material in the manufacture of aircraft seats, insecure and overloaded ferry boats, or football grounds that prove to be deathtraps. It is only when things go wrong that some deep insight is granted us into the true value placed on human life by the purveyors of entertainment, escape and fun to the people.
"We were like animals in a zoo," said one man afterwards. It was a zoo in which the watchers were primarily electronic: the cameras of the media, the police videos and computers, represent a vast investment in the paraphernalia of surveillance, which could monitor every anguished moment, but do absolutely nothing to help. What a contrast this prodigious outlay of money presents with the absence of life-saving equipment. The doctors present testified that there were no defibrillators, and that the oxygen tents were without oxygen; but the presence of all the media hardware ensured that the spectacle of football was swiftly transformed into a spectacle of a quite different genre.
The carnage – how sad that the hyperbole of football writing becomes hideously appropriate – raises intently political issues. Those who insist upon referring to the incident as though it were an Act of God, a sort of natural tragedy, betray only their interest in concealment. The very public display of their humanitarian concern merely masks its absence in the more fundamental matter of preventing the gratuitous squandering of young lives.
Football is perhaps the only remaining experience in our social life where passion - and partisan passion at that - is engaged. Nothing could be further removed from the other characteristic crowd scenes in our society: the people shuffling through the shopping malls, for instance, are self-policing, introspectively concerned as they are upon the relationship between individual desire, money and the prize to be purchased; remote too from pop concerts, where the shared focus of cathartic emotion is funnelled on to a single person, and its expression is without conflict.
But football continues to reach something which neither of these possesses - the passion of locality, and of places once associated with something more than football teams. That Liverpool should have been connected twice with such unbearable events is perhaps not entirely by chance. For the great maritime city, with its decayed function rooted in an archaic Imperial and industrial past, sport now has to bear a freight of symbolism that it can scarcely contain.
The energies of partisan, mainly working-class male crowds remain, as they always have been, the object of great anxiety and suspicion to their betters. These energies are perceived as perhaps the last vestiges of the turbulence of the mob - unruly, defiant and unpredictable - in a society where all other public passions have been tamed.
The forces released by football provide a glimpse of collective power that has been successfully neutralised in the rich Western societies; a suggestion that such passion could possibly be harnessed to social and political endeavour rather than sublimated in sporting conflicts.
Apart from the sight of the inert young bodies stretched out in the sunlight, perhaps the most chilling images were those of the anguished faces pressed against wire fences. They looked as if they had been taken from the iconography of repression of authoritarian states, and they evoke something quite other than the idea of sport. They bore the tormented expression of those in prison camps; indeed, many spoke of "the terracing that had become a prison", the inevitability of disaster within those reinforced enclosures, where the grisly facts of the quantity of pressure they. were calculated to withstand was conveyed with scientific precision.
We can only guess at what unwanted and redundant human powers are being controlled in the use of all this apparatus of containment; what frustrated visions and cancelled dreams are being policed, what doomed alternative use of these energies is being fenced in, sifted through the mechanistic click of the turnstiles. What an irony is the Government's obsession with identity cards in this context, when it is precisely a sense of identity that so many are trying to reclaim in these conflicts between geographic entities that have become, physically, interchangeable. For what now differentiates Sheffield from Nottingham, Manchester from Liverpool, Bradford from Leeds, with their homogeneous housing estates, the sameness of their shopping centres, the identical service sector economy?
There remains also an old class prejudice in the treatment of those who must be systematically humiliated in the pursuit of their afternoon's pleasure. "We are treated like animals," some said afterwards; and in their words is an echo of how Government ministers had described them at the time of earlier disasters. The very idea of "fans" is a humbling social role, a diminishing and partial account of human beings.
Indeed, there could be no greater gulf than that created by the exaggerated adulation that the stars and heroes receive - the inflated transfer fees, the publicity, the column inches and admiring TV interviews - and the abasement and inferiorising of the fans, punters or consumers. The players are mythicised, whisked upwards into an empyrean of fame and celebrity, in which everything they do or say is reported, no matter how trivial; in the process they become remote from their votaries and followers, who are kept in their place as effectively as they once might have been through the mysteries of breeding or station. Part of the process of erecting the infamous steel barriers is connected with enforcing this separation: the pitch is inviolate, the fans must remain content with the wall poster, the autograph, the fantasy.
Already, the aftermath of these tragic disasters has taken on the aspect of a known ritual: the Prime Minister arrives, prayers are offered up, shrines are set up at the scene of the accident, and a fund is opened. It means that these inadmissable horrors have become part and parcel of our social life; they have become familiar. Once again, the real lessons are likely to be that the public enquiry will be a vast exercise in concealment of the true relationship of these unnecessary tragedies to the necessities of what are no longer amiable Saturday afternoon pastimes but are part of a remorseless machine for making money; how fitting that the advertising hoardings had to serve in place of absent stretchers.
More: see the Hillsborough Justice Campaign; there's also a couple of good articles by Merrick at Head Heritage, one summarising the Hillsborough events and the other comparing the policing of football fans with the recent G20 protests.
Monday, February 04, 2008
Clubbing in Sheffield 1984
- THE LIMIT, on West St. Best nights Monday (free before 10, £1 after that) and Friday (£1.50 before 11 , £2 after that)
- WIG WAM, Saturdays at Mona Lisa's, 9pm-2am, adm. 75p. Hot Funk!
- ROCKWELLS on West St has live bands on Mond & Wed, pub hours.
- GAY BOPS: Every Friday at Stars on Queens Rd; Once a month on Friday at the Top Rank.
Get Up Offa That Thing, Tony Baxter
Walk Alone, Sisters Of Mercy
In The Mood, Glen Miller
Out Of The Flesh, Chakk
Sensoria, Cabaret Voftaire
Ignore The Machine, Alien Sex Fiend
We Are Family, Sister Sledge
I Like Plastic, Marsha Raven
Gutter Hearts, Marc Almond
PAUL, D.J. at The Limit top 10:
Sensoria. Cabaret Voltaire
Attica, Spear of Destiny
Walk Away. Sisters Of Mercy
I'm So Beautiful. Divine
Heartbeat. Psychedelic Furs
Why, Bronski Beat
Slippery People. Talking Heads
Fever Cars, Hula
Bonnle & Clyde, Papa Levi