Showing posts with label disco. Show all posts
Showing posts with label disco. Show all posts

Thursday, June 29, 2023

Feminist discos/male violence (South London 1977)

An account of violence against women in the vicinity of feminist discos 'in the South London area'  in 1977. Slightly frustrating for a South London based historian that there are no details of the location or venues, but I guess the point is this was happening in many places.



Source is Women's Voice, August 1977. The women's magazine of the Socialist Workers Party was controversially closed down by the Party leadership in 1981 as it sought to centralise its control.


Saturday, June 03, 2023

Soviet Union Disco Style 1982



'the showy disco style caught on and is now seen in dance halls and at parties. The long dress, inconvenient for modern dances, has given way to narrow satin trousers and all sorts of tops'. This is clearly a fashion shoot, not sure how much this represents what people were actually wearing out in clubs.






The article was apparently originally published in Siluett, a long running fashion magazine produced in Tallinn (now capital of Estonia), a place 'sufficiently far enough away from the Soviet mainstream to allow relatively liberated experiments in popular culture to take place' according to an article about the magazine









 

Saturday, July 30, 2022

Disco Chart 1980

UK Disco Chart, Record Business, 25 February 1980. Interesting to see BPM displayed, 'Spacer' by Sheila & B Devotion one of the fastest at 135 BPM  - the French singer produced on this one by Nile Rogers and Bernard Edwards (Chic).


 

Tuesday, December 21, 2021

Police 'raid halts discos' - Wearside 1979

From Newcastle Journal, 1 December 1979:

'Discos for bored teenagers have been stopped after a police raid on a Wearside club. Committee members at Thorney Close Working Men's Club [Sunderland] decided to hold regular discos in the club's concert room for their sons and daughters. About 150 youngsters attended the events but after the raid committee members decided to stop the event... A police spokesman said serious charges would be made under the Licensing Act'


 

Tuesday, September 21, 2021

Lunch magazine- London gay disco 1972

Lunch magazine ran from 1971 to 1973, starting out as a newsletter put out by Campaign for Homosexual Equality members in London and expanding to become a well designed 'magazine for the new homosexual man and woman' reflecting the range of gay activist opinion at that time. As part of its great LGBTQ+ Archives, Bishopsgate Institute has scanned the entire print run and made it available online

It's a fascinating read, with news, debates and interviews (including David Hockney, Holly Woodlawn and George Melly)

Lunch, June 1973 - cover star Holly from Warhol's factory
('Holly came from Miami, F.L.A.. Hitch-hiked her way across the U.S.A.')

I had a quick trawl through to look at what it tells us about nightlife in a transitional period when publicly advertised gay discos were taking place but the commercial gay club scene had not yet really taken off. Fulham Town Hall in west London was a venue for disco nights and balls organised by CHE and the Gay Liberation Front and where, as reported in Lunch, people were sometimes subject to violent attacks

'Grand Masked Ball' - CHE event at Fulham Town Hall (Lunch, December 1971)


'Full Moon Disco' in aid of Campaign for Homosexual Equality at Fulham Town Hall
(Lunch, April 1972)

GLF Notting Hill Group night at Fulham Town Hall wtih 'Disco-Lights-Freak Outs'
(Lunch, July 1972)


Violent mobs of hooligans are terrorising the "gay" people of West London. Members of the Gay Liberation Front claim they are being subjected to brutal, callous attacks by roving gangs of thugs every time the hold a dance at Fulham Old Town Hall' (West London Observer report, reproduced in Lunch, September 1972)

An account from June 1972 describes direct action against discrimination in a Notting Hill pub (wonder which one?): ''Not so long ago in Notting Hill Gate, GLF were being charged 20p per pint of beer, as against 14p for heterosexuals. We eventually staged a sit-in at the pub concerned, the police were called and said they could not eject us for wearing our badges. The landlord had to ask us all to leave one by one (300 of us) which, when we refused, the police carried us all out quite peacefully, accompanied by the strains of 'All things bright and beautiful' being sung by our brothers and sisters already removed, sitting outside the pub. Next week we were charged 14p per pint and allowed to come and go as we pleased, badges or not'.

'A Fancy Dress Rave... Drag or Casual' at Porchester Hall (Lunch, December 1972)


'Mike Winter, the non-stop disco-king of the East End, tells us there's another scene going now. It's at the Kings Arms - 213 Bishopsgate.... Meanwhile the already established disco at the Father Redcap, Camberwell Green recurs every Thursday and Sunday' (Lunch, March 1972)



David Hockney interview from Lunch, September 1972 'he looks like a wise blond owl' - Hockney mentions going to a couple of Gay Liberation Front meetings but finding them a bit boring.


Thursday, April 15, 2021

Love is the Message Podcast

I was pretty excited to hear that Tim Lawrence  and Jeremy Gilbert have started a new podcast, Love is the Message. Tim is the great cultural historian of disco with his books on The Loft, Arthur Russell and early 1980s New York, while Jeremy co-hosts one of my favourite podcasts, ACFM on Novara Media which looks at the weird/pyschedelic left.

They describe the new podcast as follows:

'Love is the Message: Music, Dance & Counterculture is a new show from Tim Lawrence and Jeremy Gilbert, both of them authors, academics, DJs and dance party organisers. Tune in, Turn on and Get Down to in-depth discussion of the sonic, social and political legacies of radical movements from the 1960s to today. Starting with David Mancuso's NYC Loft parties, we’ll explore the countercultural sounds, scenes and ideas of the late 20th and early 21st centuries. ”There’s one big party going on all the time. Sometimes we get to tune into it.” The rest of the time there’s Love Is The Message'


In the introductory episode they talk a lot about David Mancuso and his famous Loft parties which they see as a bridge between the counter-culture of the late 60s/early 70s and the emergence of disco not just as a music but as a  new way of being on the dancefloor. As Lawrence describes it in the show, when Mancuso moved to New York he was 'heavily committed to the ideas that were fermenting around civil rights, around gay liberation, around the feminist movement of course the anti war movement and he also got interested in experimenting with LSD... it was very much the idea that the party could become a manifestation of these energies. It had become dangerous to go out on the street, anti-war protestors were getting killed by the state for protesting against the Vietnam war. There was this idea that the dancefloor space, that intimate private space could also function as a safe space, as a refuge where these energies could be cultivated, could be nurtured, could be given freedom to explore themselves'.

Of course there had been 'discotheques' through the 1960s but these were primarily heterosexual courting spaces with short songs and regular breaks for slow dances and trips to the bar.  The focus was not on losing yourself in the music and the crowd. Lawrence describes The Loft as a an experiment where Mancuso used longer, percussive tracks as part of 'setting up the parameters,  exploring the outer limits of what happens when you take the dancefloor,  you turn it into a space of openness, of possibility, of exploration, of transformation, where there are no clear cut limits being set... using the neutral space of the floor as a space where the rules were taken away and people were  allowed to enter it and redefine the set of the rules. The grand experiment was what happens when you start to bring a different form of music into this setting and you let the music take you somewhere, you let it drive the space'.

Lawrence and Gilbert are not just theoreticians of this sort of stuff but actually put on parties with Mancuso before his death in 2016, so expect to hear a lot more about this in future episodes.

Friday, December 04, 2020

Everybody is a Star! - Disconaut Association of Autonomous Astronauts (numbers one and two)

Once upon a time I was Neil Disconaut, with my partner Juleigh Disconaut we constituted the Disconaut node of the Association of Autonomous Astronauts (1995-2000). The premise of the AAA was a global network committed to the state and corporate monopoly of space through the development of community-based space exploration programmes. Activities included music (raves in space), three sided football, talks, writing, protests and some actual engagement with space researchers. There were groups in England, Scotland, Wales, France, Italy, Holland, Austria, Canada, USA, New Zealand among other places, each with their own particular interests. Within this network, Disconaut AAA focused on dance music as a vehicle for space exploration. 

Everybody is a Star! was the newsletter of Disconaut AAA, of which four photocopied issues were produced between 1996 and 1999. Here's issues One and Two.

Everybody is a Star! Number One, Winter 1996/97


Disconauts are go! 

Forget Apollo, NASA and the Space Shuttle... the most exciting explorations of space in the last 30 years have been carried out through music.

Emerging on the radical fringes of jazz in the 1950s, Sun Ra (1914-1993) and his Intergalactic Research Arkestra  (as his band was later known) set the space vibe in motion with interstellar explorations like “Space Jazz Reverie”, “Love in Outer Space”,  “Disco 3000" and the film “Space is the place” .

Described by one critic as a “comic strip version of Sun Ra”, George Clinton developed his own funky cosmic Afronaut mythology in the 1970s through his work with Funkadelic and Parliament. For instance the album “Mothership Connection” (1975) is based around the concept of aliens visiting earth to take the funk back to their own planet.

Sun Ra and Clinton’s work can be read as a sort of sci-fi take on Marcus Garvey. While Garvey dreamt of Black Star Liners shipping black people from slavery across the ocean to an African utopia, they leave the planet behind altogether.

Space continued to be a preoccupation during the 1970s disco boom. Derided by rock critics for its lack of serious content, disco had a distinct utopian element. In disco, the intensity of pleasure on the dancefloor was reimagined as an ideal for living rather than just a Saturday night release.  The implicit fantasy was of a “Boogie Wonderland” where music, dancing and sex were organising principles, rather than work and the economy. “Lost in music, feel so alive, I quit my nine to five” as Sister Sledge put it.

In the unpromising social climate of the 1970s, this wonderland was sometimes projected into space. Earth, Wind and Fire (who recorded Boogie Wonderland) combined elements of Egyptology and sci-fi with albums like “Head for the Sky” (1973) and All n All (1977) with its cover pic of a rocket taking off from a pyramid. In the late 1970s there was a rash of space themed disco hits like  Sheila B. Devotion’s “Spacer” and Slick’s “(Everybody goes to the) Space base” (1979), the latter imagining the space base as disco and social centre rather than military-industrial installation.

Some of these space records can be viewed as simple cash-ins on the popularity of Star Wars and similar films of this period, but was there something deeper going on? While the sale of disco records reaped big profits for the record companies, the logic of the dancefloor was potentially at odds with the society of domination. On the floor, pleasure was elevated above the puritan work ethic and hierarchies of class, race, gender and sexuality were (sometimes) dissolved.

Discos (like today’s dance spaces) could have been the launchpad for explorations of different worlds on earth and beyond, powered by the Dance Disco Heat energy generated on the floor.  In this light the disco icon par excellence, the glittering mirror ball, has to be re-evaluated. Detailed archaeological investigations of the alignment of these spheres of light suspended high above the dancefloor will doubtless reveal that they were installed to equip dancers with a rudimentary astronomical knowledge to help them find their way around the universe.

 

They never reached the moon!

The Apollo ‘moon landings’ between 1969 and 1972 are presented by NASA as the highest point of the space programme, and as a model for all future adventures. In reality nothing better demonstrates why it is unfit to explore anything more exciting than the inside of the Science Museum.

A favourite question for conspiracy theorists worldwide is whether the moon landings actually happened or whether the whole thing was faked in a TV studio like in the film Capricorn One. If we give NASA the benefit of the doubt and allow that it may have sent a rocket somewhere it is clear that they never reached the moon, or at least not the moon as it has been known through the ages.

This was not the moon of heretics, pagans, lovers or night-time revellers. The moon of tides, madness, goddesses, rituals of drink, drugs and dancing. Neil Armstrong and his mates did not have the imagination for the kind of space travel needed to reach this moon. All they were able to reach was a lump of rock somewhere - possibly in orbit, possibly in New Mexico somewhere.

How did they mark the momentous occasion of the first landing on July 21 1969? The first thing they did was plant an American flag like it was just another piece of imperial real estate. By 1969 there were very few places left in the world where it was safe to do so. Losing the war in Vietnam and with flags burning everywhere else, perhaps the whole space programme was an attempt to find a place where the Stars and Stripes could fly unmolested.

The Apollo 14 ‘moonlanding’ in 1971 witnessed another amazing leap of fantasy and imagination when Alan Shepard became the world’s first lunar golfer. Billions of pounds and years of effort culminated in the staging of the first lunar open. All over the world, people are being uprooted and ecosystems bulldozed to build golf courses, sanitised homogenous outdoor playgrounds for the rich. Judging by the Apollo programme a similar fate awaits the whole universe if NASA have their way.

The Apollo programme shows that no matter how many miles NASAnauts may travel they will never get anywhere because in their heads they will still be in the suburbs of white middle class america, travelling across the universe opening golf courses and fly-through Macdonalds.

 


My day in Space

“I wanted to dance as I had never yet danced: I wanted to dance beyond all heavens” (Nietzsche, Thus Spake Zarathustra)

In the summer of 1995 I had the pleasure of spending a day in Space. Thousands of people from all over the world have journeyed to Space in recent years. This legendary dance club in Ibiza provides an excellent illustration of the possibilities and limitations of dance cultures as a means of leaving this world behind.

Clubs in Britain tend to be confined indoors at night. Space turns this on its head, opening in the day and with an outside dancefloor. We turned up at about 11 am after a very pleasant breakfast of coffee, croissants and speed. Some people had come straight from a hard night’s dancing elsewhere, many of them crashed out on cushions in the corner or on wicker chairs on the outside terrace. Much of Ibiza is Brit-dominated, but here there was a better mix of nationalities and sexualities than on the Starship Enterprise.

The ceiling inside the dark interior of the club is decorated with stars - a map of our destination? Further evidence of the club’s potential is found on the edge of the outside dancefloor, where there are several giant propellers. People danced in front of them to keep cool, but there is little doubt that as well functioning as air conditioning fans these machines could be used as starting motors to help propel Space into space.

The music was wall to wall anthems, like Todd Terry’s Weekend and, the Hardfloor remix of Mory Kante’s Yeke Yeke. The atmosphere never reached fever pitch, but there was an intimation of that feeling - the disordering of the senses, waves of noise and light flowing over and through the body... That feeling in the centre of the floor, where the outside world has already been left behind and it is easy to believe that the whole place could take off and never come back.

In view of this potential it is not surprizing that the state takes various measures to contain dancing and prevent us reaching the stars.

In many countries only approved businessmen get permission to run clubs. The high prices they charge - some clubs in Ibiza charge £30 a ticket, with small bottles of water costing £3 a bottle in Space - effectively rations dancing, limiting the amount of time people spend dancing, and the amount of people dancing at any one time. The hours people can dance are confined, by rules which state that clubs have to shut at particular times. Within the clubs enemy agents patrol to sabotage preparations for flight - in Space the security wore police style uniforms and patrolled with truncheons.

Above all great efforts have been expended to prevent people dancing under the stars themselves, the ideal conditions for spaceflight. In the UK It is virtually impossible to get official permission to dance outside at night, and non-commercial parties have been targeted by legislation such as the Criminal Justice Act.

Ibiza is different to Britain in that people can and do dance all day and all night (if they can afford it) , and the normal relations of night, day, work and play are suspended. But this is confined as a temporary holiday experience, which most people only experience for a week or two.

All this prevents the energy generated on the dancefloor from reaching the critical mass necessary for space flight, as well as preventing a terminal drain of the energy needed to sustain the global system of profit, production and domination.

It was for this reason that on this occasion Space failed to take off and on leaving the club we found ourselves wandering down a beautiful beach in the sun rather than walking on the moon. Still it definitely beat the Holloway Road at 4 am...

Disconaut AAA

AAA was launched in April 1995 as a non-hierarchical network of local, community-based space exploration programmes. Here Comes Everybody!, the first annual report of the AAA, details some of the activities of the many AAA groups worldwide (available for £2.50 from Inner City AAA, BM Jed, London WC1N 3XX).

Disconaut AAA (c/o Practical History, 121 Railton Road, London SE24) will be focusing on developing the potential of dance cultures for the exploration of space.  Everybody is a star! is named after a 1979 track by Sylvester (1946-1988), also responsible for such otherworld explorations as "Dance Disco Heat", "Do you wanna funk" and "You make me feel mighty real".

[original printed on white paper, 4 pages A5. Just to be clear, we never subscribed to the conspiracy theory that the moon landings were faked - the article 'They never reached the moon' was a play on Leonard Cohen's 'they'll never ever reach the moon, At least not the one that we're after'. The physical moon was reached but not the one of imagination]

Everybody is a Star! Number Two, Summer 1997


Take a dancing flight

Exactly 30 years after NASA launched the Apollo space programme, Disconaut AAA  has unveiled its own Dionysus Programme.

When Apollo One caught fire on the launch pad in 1967 it marked the start of  the US government's biggest ever space effort. But why Apollo? If pagan deities was the name of the game there were plenty of others to choose from. To answer this we have to turn to Fred Nietzsche, 19th century German philosopher and dance enthusiast.

In the Birth of Tragedy, Nietzsche identified two antagonistic cultural tendencies with the Greek gods Apollo and Dionysus. Apollo was associated with restraint, control, order and rationality. The rituals of Dionysus on the other hand involved music, passion, wine, intoxication, and the dissolving of boundaries.

As part of the military industrial complex, seeking to extend the control of the imperial order through the conquest of space, NASA’s programme could only be the Apollonian. The Dionysus Programme has been launched in direct opposition to Apollo and its successors, to put into practice Disconaut AAA's mission to explore the potential of dance cultures for the exploration of space.

The starting point for the Dionysus Programme is Nietzsche’s description of “the glowing life of the Dionysian revellers”: "In song and in dance man [sic] expresses himself as a member of a higher community; he has forgotten how to walk and speak; he is about to take a dancing flight into the air... He feels himself a god, he himself now walks about enchanted, in ecstasy... He is no longer an artist, he has become a work of art". Phew, all this without MDMA.

Disconaut AAA are attempting to apply this insight into the links between dance, ecstasy and flight as we leave the twentieth century. For some years experiments have been carried out in a global network of underground laboratories of pleasure. We can now report some of our preliminary findings:

The Dionysus Programme has accumulated extensive evidence of near-flight experiences on the dancefloor. Participants typically report sensations of 'rushing', of accelerating velocity, of the body tracing a line of flight and of leaving behind 'the real world' and establishing a direct connection with the wider universe. There are clear parallels here with the effects on the body and the euphoric feelings of escaping gravity associated with 'lift off' by more traditional means.

In the Dionysus Programme we have tried to break the tyranny of liquid-fuel rocket propulsion and to identify alternative fuel sources and means of transport. In the process we have experimented with a range of easily ingested chemicals, some of them derived from plants, others artificially manufactured. These substances have contributed some invaluable insights and certainly have a role, particularly in maintaining the stamina needed for long flights.  However we have to report that several of our experimental human probes which were successfully blasted beyond the atmosphere with chemical propulsion quickly crashed down to earth and vanished without trace, while others are now drifting aimlessly in space circumscribing ever decreasing circles around their own navels.

The Dionysus Programme has conducted a whole range of tests with extremely high tempo electronic sounds. Our hypothesis was that a continual acceleration in beats per minute would enable us to reach earth's escape velocity and take off. Unfortunately after prolonged uninterrupted exposure to these tests the ship began to break up and several participants showed signs of exhaustion and in some cases nausea.  Future experiments will attempt to reduce the risk of side effects by introducing greater variety and rhythmic complexity.

Ill-fitting space suits have been an ongoing problem in the Dionysus Programme. A major difficulty has been the rigid masculine character armour which even some potential astronauts seem unable to discard. Dance cultures provide a space where it is possible to escape the confines of a fixed identity and explore a range of subjectivities and possibilities. Sadly a lot of men in particular seem afraid to appear as anything other than cool, serious and controlled. Clearly this is incompatible with the flexibility required in space. Disconaut AAA are developing fun fur and sequin space suits to help overcome this.

The present efforts of the Dionysus Programme are geared towards the Dreamtime project, through which AAA groups around the world are imagining what life will be like in autonomous communities in space. Dance settings provide a unique opportunity for collective dreaming, not the passive dreams of sleep but the visions of the lived body in perfect motion.

Here we are not only able to think about life in space, but to feel what it will be like to live in an autonomous community. Nietzsche described this sensation: “Under the charm of the Dionysian not only is the union between man and man [and woman]  reaffirmed, but Nature which has become estranged, hostile, or subjugated, celebrates once more her reconciliation with her prodigal son, man.... Now the slave is free; now all the stubborn, hostile barriers, which necessity, caprice or ‘shameless fashion’ have erected between man and man, are broken down… Each one feels himself not only united, reconciled, blended with his neighbour, but all as one with him".

By creating autonomous zones in our own parties on earth we can create conditions that prefigure autonomous communities in space. To do this we have to neutralize the negative effects of various black holes which suck energy out of dance cultures, such as commercial promoters and the police. This will be the focus of the next stage of the Dionysus Programme.





Spice in space

“When you go and see a careers officer,” ponders Mel C, “and you sit down and say, “I want to be a spaceman”, instead of responding ‘Go study astrophysics’, they go. ‘Yeah, but what do you really want to do?’ That is so wrong” (Spice Girls, Guardian, May 1997)

Stay up forever

In 'Voyage to the Moon' (1649), Savinien de Cyrano de Bergerac described an attempt to reach the Moon by tying bottles of dew to the body. The idea was that when the Sun came out, the dew would rise, taking the body with it. On the face of it, this looks unlikely but the nocturnal nature of the Dionysus Programme should make it comparatively easy to test. We will need:

- a large green open space for dew maximisation;

- proximity to a site of astro-magical significance at a summer solstice (when the sun's energy is at its height);

- several thousand people prepared to stay up all night and still have the energy to fly at dawn;

- at least one sound system.

 After a night of dancing, participants will roll in the long grass, covering their bodies in a fine suit of dew. They will then join hands and dance in a circle as the sun rises, waiting to take off.

Stonehenge on June 21st has been chosen as the ideal location. Unfortunately there are indications that the state will attempt to sabotage the Dionysus Programme by seeking to prevent this experiment, so all potential astronauts are warned to be ready to defend themselves.

Disconaut AAA

The Association of Autonomous Astronauts is a non-hierarchical network of local, community-based space exploration programmes. Dreamtime is upon us, the second annual report of the AAA is available for £3.00 from Inner City AAA, BM Jed, London WC1N 3XX.

Everybody is a star! is the newsletter of Disconaut AAA (c/o Practical History, 121 Railton Rd, London SE24). Issue one is still available with articles on Disco, Ibiza and the Moon. If you want a copy send an SAE. 

In issue No.1 we outlined the links between dance music, radical utopianism and space exploration. We have since become aware of other publications interested in these connections.

· Ego magazine (80a St Augustines Road, London NW1 9RP) includes an article Space is the Place which considers funky futurism in the work of Herbie Hancock, Juan Atkins, the Jedi Knights and many others.

· Rickey Vincent’s excellent history Funk: the music, the people and the rhythm of the one (New York, 1996) devotes a whole section to George Clinton and “The metaphysics of P: the Mothership Connection”

[original printed on green paper, 4 pages A5]

'Disconauts are go!' was later reprinted in 'Dreamtime is Upon Us! The Second Annual Report of the Association of Autonomous Astronauts' (1997).


Previous AAA posts:

Mission accomplished but the beat goes on: the Fantastic Voyage of the Association of Autonomous Astronauts

Summer Solstice 1999: AAA on Parliament Hill

Military out of space - AAA at J18 Carnival Against Capital 1999

AAA at Brixton Reclaim the Streets 1998

Skinheads as Independent Travellers in Space

We were brought up on the space race, now they expect us to clean toilets


Other AAA archive material:

AAA Archive (ex-Parasol AAA)

Uncarved AAA archive 



Friday, April 28, 2017

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.

Sunday, February 10, 2013

Join the EDL and BNP

No I don't mean the racist idiots of the English Defence League and the British National Party... they are yesterday's news. I refer of course to the anti-racists of the English Disco Lovers and the Bass National Party.



This EDL launched on facebook last September, with the following statement:

'The English Disco Lovers is a counter movement to the English Defence League. We aim to promote equality, respect and disco. We intend to be more popular that the English Defence League. This involves replacing them as the top result when "EDL" is searched on Google, as well as having more like than them on Facebook.

Earn Baby Earn, the respect of others by respecting them, Earn Baby Earn, Disco Inferno.

It's fun to practice the e-qua-li-ty, it's fun to practice e-qua-li-ty (to the tune of YMCA by the Village People).

But if you're thinking' about my baby, it don't matter if you're black or white.

People all over the World (everybody), join hands (join), start a love train, love train.

Who the funk is James Brown? He's a Soul Man.

Hate Racism, Love Disco'

They have already generated lots of international press coverage (including this Guardian article) and overtaken one of the main  EDL pages on facebook. Now up to nearly 25,000 facebook followers, people are talking about taking it out into the material world with t-shirts and club nights.


Now, inevitably, the Bass National Party has been launched on a similar 'Bass trascends race' basis:





Wednesday, December 05, 2012

Discotheque Dress for Party Dancing (1964)

Previously we discussed how the word Discotheque, coined in France by the 1940s, seems to have entered the English language in the early 1960s, with the opening of La Discotheque club in London by 1961 and a spate of articles in 1964 which used the word to refer to both a nightclub and a French-influenced style of dress. Another blogpost at OUP uncovered that in July 1964 the name of the dress was abbreviated to 'disco' in an American newspaper article and in September 1964 Playboy was the earliest example so far of the word 'disco' being used to describe a club, as in 'Los Angeles has emerged with the biggest and brassiest of the discos'.

Here's some pictures of the Discotheque dress, which seemingly by December 1964 had already been codified as a Vogue pattern advertised in Australian Women's Weekly 2 December 1964. Note too that here the name was abbreviated to 'disc dress' (and indeed the London club was sometimes referred to as 'The Disc')




Discotheque dress for party dancing!

'Here it is, the disc dress - the freshest, swingingest fashion for Christmas party nights ahead. Skinny and short and in one piece, it's a terrific dress for young mods who like to follow the swing beat'.



Saturday, June 02, 2012

NME Guide to Rock & Roll London (1978): Disco

From the 1978 NME Guide to Rock & Roll London, the section on Disco compiled by LeRoy Z. Jefferson, with listings and reflections on the music in London clubs:

'The thing to remember is that Southern Soul is a whole different ball game from the much- publicised Northern brand. In the North, the more obscure '60s foot stompin' scene still dominates, around London it's mainly imported flash funk and deep soul from the likes of Earth, Wind & Fire, The Commodores, Slave, Cameo, Parliament and Pockets, plus a side order of reggae and thankfully just a smattering of android Euro-Disco (Baccara and Amanda Lear) and New York aural soft-porn (Andrea True Commection)'.

The legendary Crackers (201-203 Wardour Street W1) gets a mention. I had no idea that it was the place that hosted the Vortex punk club on Mondays and Tuesdays. Bar prices are given: 50p for lager, 40p for whisky, 27p for coke.

Also mentioned is a forthcoming All Day National Soul Festival on Easter Monday (March 27 1978) at Tiffany's, Brighton Road, Purley (near Croydon), with DJs Chris Hill, Greg Edwards, Robbie Vincent and Chris Brown.


Other places listed include:

- Chelsea Drug Store, 49 Kings Road SW3
- Columbo's, 50 Carnaby Street W1
- Fangs, Praed Street W2
- Fouberts, Fouberts Place W1
- Global Village, Villiers Street WC1 (replaced by gay club Heaven later in 1979)
- Hatchetts, 67a Piccadilly W1
- Hombre, 78 Wells Street W1
- Kareba, 63 Conduit Street W1
- Le Kilt, 60 Greek Street W1
- Saddle Room, Park Lane W!
- Samantha's, 3 New Burlington Street W1
- Speakeasy & Speakearly, Oxford Circus
- Sundown, Charing Cross Road W2
- Thursdays, 36 Kensington High Street W8
- Tiffanys, Shaftesbury Avenue W1
- Upstairs at Ronnie's, Frith Street W1
- La Valbonne, 62 Kingly Street W1

See also:

NME Guide to Rock & Roll London 1978: Gay Clubs
NME Guide to Rock & Roll London: Reggae

Sunday, February 19, 2012

Dancing Questionnaire 23: Luc Sante

Luc Sante is the 23rd person to complete the Dancing Questionnaire. Luc has written extensively on New York cultural history, and much more, and as you might expect has savoured much of that city's legendary nightlife as well as clubbing in Paris and elsewhere.

1. Can you remember your first experience of dancing?

In 1963, when I was around 9 years old and in St. Teresa's School, Summit, New Jersey, our teacher would take us once a week to the adjacent Holy Name Hall to teach us square dancing. The tune was invariably "The Old Brass Wagon," and Mrs. Gibbs may have sung it herself--I don't remember a record. One week, though, she plugged in the jukebox and played "My Boyfriend's Back," by the Angels, and encouraged us to frug. I'm not sure the experience was ever repeated, but it left a permanent mark on me.



2. What’s the most interesting/significant thing that has happened to you while out dancing?


Oh gosh, that's a tough one... Possibly it was meeting Jean-Michel Basquiat at the Mudd Club, probably late 1978. I swear I knew at first glance that there was something exceptional about him. He moved in with one of my friends, and then another, and he and I were good friends until he became famous, circa 1983.

Basquiat at the Mudd Club in 1979
3. You. Dancing. The best of times…


From 1977 to 1982, roughly. Isaiah's, a reggae club in an upstairs loft on Broadway between Bleecker and Bond  approx. '77-'79; the Mudd Club from its opening on Halloween 1978 until it started getting press three or four months later (and then there would be huge crowds inside and out); Tier 3 on White Street and West Broadway (tiny, but excellent sounds), 1980-81; Squat Theater on 23rd Street around '79-'81, irregular as a dance venue but *the* place for the all-too-brief punk-jazz efflorescence; the Roxy around 1982--a roller disco that once a week would become a sort of hiphop-punk disco, often with Afrika Bambaataa on the decks. And sometime around '77 or '78 a gay friend once took me to the Loft, which I'm sure you've read about; it fully lived up to the hype.

4. You. Dancing. The worst of times…

White people attempting to dance to white rock, pretty much always the case until 1973 or so, when a great many people of my acquaintance suddenly "discovered" James Brown. And then the last three decades, when dancing opportunities have been few and far between.

5. Can you give a quick tour of the different dancing scenes/times/places you’ve frequented?

My first real dance experiences were all in gay discos, early '70s (I'm straight, but had a gay best friend): the (old) Limelight on Sheridan Square, Peter Rabbit's on West Street, and the amazing Nickel Bar on 72nd Street - where Robert Mapplethorpe, among others, would go to pick up young black men, and where the level of the dancing was so amazing I didn't dare attempt to compete.

Summer of 1974 in Paris: Le Cameleon on rue St.-Andre-des-Arts, a tiny African disco in a barely ventilated cellar - but it was the summer of "Soul Makossa." Nine years later I was back in Paris and Le Cameleon had moved to a much larger aboveground space--an exhilarating experience.

Also, besides the venues noted in #3, the Rock Lounge (sleazy, but good music) succeeded in the same space on Canal Street by the Reggae Lounge, circa '82; the World on 2nd Street a few years later (too sceney for words, but you could shut your eyes); assorted after-hours spots such as Brownie's on Avenue A (not to be confused with the legit rock club of the same name that succeeded it), although drugs were more of a priority than dancing or music in those places. Post '83 I can only remember the short-lived but excellent Giant Steps--a jazz disco--and a series of retro-soul clubs (don't remember their names, alas).

6. When and where did you last dance?


The New Year's Eve before last, a private party in Tivoli, New York, a pretty good techno mix.

7. You’re on your death bed. What piece of music would make your leap up for one final dance?

Tie: "One Nation Under a Groove," Funkadelic; "Got to Give It Up," Marvin Gaye.

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).

Sunday, January 29, 2012

1980 Leeds Nightlife

247TopCat has done a great service to social and cultural history by putting some old 1980s photos on youtube, including this series taken at Belinda's, a club in Leeds, in 1980.










Entrance to the club in Leeds, on Briggate
(see discussion at Secret Leeds)

I've never been out dancing in Leeds, but these images are very evocative of the whole British early 1980s soul/funk/disco scene. 247topcat has also posted similar photos/films of an all-dayer at another Leeds club, Tiffanys in 1983 and at various other places at that time

Sunday, November 06, 2011

New York 1977: when the lights went out

The Trammps' disco classic The Night the Lights Went Out (1977) commemorates an actual historical event in that year - the New York blackout. In The Trammps' account this was an occasion for sex in the unlit darkness:

Where were you when the lights went out
In New York City (I wanna know, I wanna know)
Where were you when the lights went out
In New York City

Don't you know that I was making love
(She was making love)

I remember on the 13th of July
The only light was the light up in the sky
New York had black-out for 25 hours or more
And nobody really knows the reason why...

Politicians said it was a pity
But that was the night they call it love city
So I took my lady by the hand
And led her to love me, love me, love me!

Where were you when the lights went out
In New York City (I wanna know, yeah)
Where were you when the lights went out
In New York City



But sex wasn't the only thing on New Yorkers' minds - the power cut also prompted mass looting. John Zerzan celebrated this aspect in an article published in the Detroit-based radical paper Fifth Estate (August 1977):

New York, New York

“Amid All the Camaraderie is Much Looting this Time; Seeing the City Disappear”, Wall Street Journal headline, 15 July 1977

The Journal went on to quote a cop on what he saw, as the great Bastille Day break-out unfolded: “People are going wild in the borough of Brooklyn. They are looting stores by the carload.” Another cop added later: “Stores were ripped open. Others have been leveled. After they looted, they burned.”

At about 9:00 p.m. on July 13 the power went out in New York for 24 hours. During that period the complete impotence if the state in our most ‘advanced’ urban space could hardly have been made more transparent. As soon as the lights went out, cheers and shouts and loud music announced the liberation of huge sections of the city. The looting and burning commenced immediately, with whole families joining in the “carnival spirit”. In the University Heights section of the Bronx, a Pontiac dealer lost the 50 new cars in his showroom. In many areas, tow trucks and other vehicles were used to tear away the metal gates from stores. Many multistorey furniture businesses were completely emptied by neighborhood residents.

Despite emergency alerts for the state troopers, FBI and National Guard, there was really nothing authority could do, and they knew it. A New York Times editorial of July 16 somewhat angrily waved aside the protests of those who wondered why there was almost no intervention on the side of property. “Are you kidding?” the Times snorted, pointing out that such provocation would only have meant that the entire city would still be engulfed in riots, adding that the National Guard is a “bunch of kids” who wouldn’t have had a chance.

The plundering was completely multi-racial, with white, black and Hispanic businesses cleaned out and destroyed throughout major parts of Manhattan, Brooklyn, Queens and the Bronx. Not a single “racial incident” was reported during the uprising, while newspaper pictures and TV news bore witness to the variously coloured faces emerging from the merchants’ windows and celebrating in the streets. Similarly, looting, vandalism, and attacks in police were not confined to the City proper; Mount Vernon, Yonkers and White Plains were among suburbs in which the same things happened, albeit on a smaller scale.

Rioting broke out in the Bronx House of Detention where prisoners started fires, seized dormitories, and almost escaped by ramming through a wall with a steel bed. Concerning the public, the Bronx District Attorney fumed, “It’s lawlessness. It’s almost anarchy.”

Officer Gary Parlefsky, of the 30th Precinct in Harlem, said that he and other cops came under fire from guns, bottles and rocks. He continued: 'We were scared to death... but worse than that, a blue uniform didn’t mean a thing. They couldn’t understand why we were arresting them'.

At a large store at 110th Street and Eighth Avenue, the doors were smashed open and dozens of people carried off appliances. A woman in her middle-50s walked into the store and said laughingly: “Shopping with no money required!”

Attesting to the atmosphere of a “collective celebration”, as one worried columnist put it, a distribution center was spontaneously organized at a Brooklyn intersection, with piles of looted goods on display for the taking. This was shown briefly on an independent New York station, WPIX-TV, but not mentioned in the major newspapers. The transformation of commodities into free merchandise was only aided by the coming of daylight, as the festivity and music continued. Mayor Beame, at a noon (July 15) press conference, spoke of the “night of terror”, only to be mocked heartily by the continuing liberation underway throughout New York as he spoke.

Much, of course, was made of the huge contrast between the events of July 1977 and the relatively placid, law-abiding New York blackout of November 1965. One can only mention the obvious fact that the dominant values are now everywhere in shreds. The “social cohesion” of class society is evaporating. New York is no isolated example.

Of course, there has been a progressive decay in recent times of restraint, hierarchy, and other enforced virtues; it hasn’t happened all at once. Thus, in the 1960s, John Leggett (in his Class, Race and Labour) was surprised to learn upon examining the arrest records of those in the Detroit and Newark insurrections, that a great many of the participants were fully employed. This time, of the 176 people indicted as of August 8 in Brooklyn (1,004 were arrested in the borough), 48% were regularly employed. (The same article in the August 9 San Francisco Chronicle where these figures appeared also pointed out that only “six grocery stores were looted while 39 furniture stores, 20 drug stores and 17 jewelry stores and clothing stores were looted”). And there are other similarities to New York, naturally; Life magazine of 4 August 1967 spoke of the “carnival-like revel of looting” in Detroit, and Professor Edward Banfield commented that "Negroes and whites mingled in the streets [of Detroit] and looted amicably side by side....”

The main difference is probably one of scale and scope — that in New York virtually all areas, even the suburbs, took the offensive and did so from the moment the lights went out. Over $1 billion was lost in the thousands of stores looted and burned, while the cops were paralyzed. During the last New York rioting, the ‘Martin Luther King’ days of 1968, 32 cops were injured; in one day in July 1977, 418 cops were injured.

The Left — all of it — has spoken only of the high unemployment, the police brutality; has spoken of the people of New York only as objects, and pathetic ones at that! The gleaming achievements of the unmediated / unideologized have all the pigs scared shitless'.

Sunday, September 25, 2011

1987: dancing in Brixton and beyond

The Acid House moment of the late 1980s, like the Punk moment a decade or so previously, is often presented as a kind of Year Zero where something entirely new exploded against a backdrop of boredom and mediocrity. To sustain this narrative it is necessary to pretend that nothing much was going on beforehand. Simon Reynolds' (generally excellent) Energy Flash is a case in point: 'In 1987, London clubland was as crippled by cool as ever. The Soho craze for rare groove (early seventies, sub-James Brown funk) represented the fag-end of eighties style culture, what with its elitist obscurantism... and its deference to a bygone, outdated notion of 'blackness''.

For me personally, the house and techno scenes of the early 1990s were a period of unprecedented intensity. But was the time before it really so dull? Not for me. January 1987 was the time I first moved down to live in London, initially squatting on Brixton's Tulse Hill Estate while working in Lambeth Council libraries by day. I remember that year as being a time of great musical innovation, as well as appreciation for some fine older music.

It was a time of amazing electronic beats - 1986 saw the release of Janet Jackson's 'Control' (produced by Jam and Lewis), 'Who is It?' by Mantronix and Joyce Sims' 'All n All'. A time when the possibilities of sampling were first being explored - 'Pump up the Volume' by MARRS and Coldcut's 'Say Kids What Time is It?' both came out in early '87, as did KLF's notorious '1987 - what the f*ck is going on?'. It was the golden age of Def Jam, with 'License to Ill' by the Beastie Boys and Public Enemy's debut 'Yo! Bum Rush the Show' both coming out that year too. I remember lying on the beach in Majorca that summer listening to it - if that was 'outdated blackness' it sounded good to me (though the big track that summer in Majorca was 'I Found Lovin'' by the Fatback Band, must have danced to that every night). And yes, a time of house music breaking through - Steve 'Silk' Hurley's Jack Your Body went to number one in Britain in January '87.

(Public Enemy actually played at the Brixton Academy in 1987 with Eric B & Rakim, as did on another night Run DMC and The Beastie Boys. I didn't go to these gigs though did see Public Enemy there a couple of years later)

In clubs you would hear an eclectic mix of all this with earlier soul and funk sounds. The latter was partly being rediscovered as a result of checking out the source of hip hop samples. For instance I remember dancing to Jean Knight's Mr Big Stuff at Wendy May's Locomotion at the Town and Country club in Kentish town, a Friday night feast of Stax, Motown and Northern Soul. Like many people, I'd first heard the chorus as a sample in 1987's Mr Big Stuff by Heavy D and the Boyz.

A Wendy May chart of tracks from the Locomotion - not sure of source of this, evidently a 1980s music paper!

'Free bus to Trafalgar Square from 1:00 am'

One of the first clubs I went to in London '87 was a night called Wear it Out, in a room above a pub in Brixton - the Loughborough Hotel. Music was a mixture of classic soul/funk and new beats. I know it was there that I first heard Prince's Sign o' the Times, which also came out that year. The same venue became a big part of Brixton nightlife in the late 1980s/early 1990s, going on to become a gay club where they played lots of Stock Aitken & Waterman dance pop and then from 1989 to 1997 the home of the Mambo Inn, legendary Latin & African music club.

Wear it Out flyer posted on Twitter by Ian Marsden, who recalled: 'We lived above the taxi office opposite and got a  mainly local crowd from leafletting  in Brixton and Camberwell. Prince was a staple. Collaborators/DJs were @deborahmarsden1, @WyattBedford, Susie Bonfield, Gin Murphy and @LucyOBrienTweet' (Lucy O'Brien, sometime NME journalist and author of books on women's music, recalls that she played Sign O' The Times DJing there. Apparently fellow NME writer Stuart Cosgrove also DJ'd there).

Danse Chase (or Dance Chase) upstairs at the Alexandra at Clapham Common had a similar musical mix of old and new. I remember hearing tracks there from Michael Jackson's Bad LP, another 1987 classic, on the day it came out. The image on the membership card, with its Keith-Haring-meets-the-Aztecs figures, was repeated on banners around the walls. I believe they were designed by promoter Kev Moore.








Danse Chase diversified into Northern Soul with what became the Southside Soul Club (some good memories of that place at Soul Source - photos of Dance Chase also sourced from there). They also had a jazz night (Hi Note), which was where I once saw Slim Gaillard.



This short film of dancer Keb Darge was shot at the Alexandra in that period:


Another Northern Soul night was Agent 00-Soul at the George IV in Brixton Hill. I remember there being some serious dancers there, including a guy in a wheelchair who put my wannabe Wigan Casino moves to shame.




Also went out sometimes to the 121 club in Brixton, the squatted anarchist centre at 121 Railton Road (later home to Dead by Dawn). Some friends of mine from the South West London Direct Action Movement put on a party there that year, I recall flyering the Prince Albert pub and then dancing to disco in the basement at 121.
One of the biggest nights was Dance Exchange at The Fridge on Saturdays in Brixton, a big dancefloor with banks of TVs around it. 1970s 'Rare Groove' was a big part of the sound there, with great tracks including Maceo & The Macks 'Cross the Tracks', Bobby Byrd's 'I know you got soul' and The Jackson Sisters 'I believe in Miracles'. But plenty of contemporary sounds too. And yes I wore the uniform of black denim (bought from Allders in Croydon) and Doc Marten shoes, with flat top from Andy's/Haircut Sir? at bottom of Tulse Hill.

Fridge programme, March 1986 (from Phatmedia)

It was a similar mix of the old and new at the PSV club in Manchester where I went a couple of times in that period (the club in Hulme, also known as the Russell Club and the Caribbean Club had previously been the location for the first Factory club). This flyer from 1987 gives a sense of the variety of music to be heard out in that year: Tackhead, Trouble Funk, Sly & Robbie, Eric B, Joyce Sims, Mantronix, Prince etc. (there's an account of PSV by Mancky, who recalls tracks including Jocelyn Brown ‘Somebody Else’s Guy’, InDeep ‘Last Night A DJ Saved My Life’, Gwen Guthrie ‘Nothin’ Goin’ On But The Rent’, A Certain Ratio ‘Shack Up’ and Funkadelic 'One Nation Under a Groove').




The PSV - I didn't realize until recently that stood for Public Service Vehicles, it being at one time a social club for bus workers (photo by Richard Davies via Paul Wright on twitter)

Finally in Brixton there was the Prince of Wales, a gay club on the corner of Coldharbour Lane. A cheap night out - £1 in rather than £5 for the Fridge - my main memory of it is dancing to extended mixes of Madonna and Hi-NRG tracks like Taffy's I Love My Radio. There's still a pub there, but it's half the size of the old gay club which occupied that whole corner, including where the KFC is now. I think the club closed down in the late 80s having achieved some notoriety in the 1987 trial of serial killer Michael Lupo, who was arrested after being spotted in the place.

That gloomy ending aside, 1987 was a pretty good year!

(a really good take on London 1980s nightlife is You’re too Young to Remember the Eighties – Dancing in a different time, which Controlled Weirdness wrote for Datacide. Great tales of warehouse parties, the Wag, Mud Club etc. and the times when almost all legal clubs closed by 2 am)

Update, October 2021:

Found at archive.org, a review of London nightlife from issue no. 1 of LM magazine, January 1987 (pretty terrible Lifestyle Magazine not to be confused with later Living Marxism). The article mentions some rubbish clubs but does big up both Locomotion and The Fridge, the latter 'the hippest club outside the West End' with Jay Strongman playing 'Washington DC go-go, New York hip-hop, Chicago house music, old R&B and more traditional soul and funk in a cold but packed venue. While Brixton is not normally associated with trendiness, the multiracial mix that characterises today's club scene is no better expressed than here. Wear your Levi 501s'.  The Harp Club in New Cross (later the Venue) also gets a mention, didn't go Flim Flam night there but did go to indie/post-punk Million Rubber Bands/Totally Wired nights there.


@TheJazzDad on twitter noticed this article was written by Simon Goffe, later manager of Roni Size and working with Giles Peterson at Mistral Productions. 


'Come down to the Alexandra opposite Clapham Common tube... and blow your brains on a mixture of Northern and funk. Drinks are pub prices. Arrive early or you won't get in' (Black Echoes, 14 March 1987). Steppers at 414 Coldharbour Lane, Brixton also gets a mention - later Club 414.