Tales from a Disappearing City

Tales from a Disappearing City is a new youtube podcast from DJ Controlled Weirdness (Neil Keating) exploring untold subcultural stories from subterranean London. First few episodes have featured Ian/Blackmass Plastics and Howard Slater and centred around 1990s techno and free parties, with a common thread being the Dead by Dawn club in Brixton. But an emerging theme is that people are not confined to one scene and there are lots of connections linking apparently separate subcultures - each of our lives being a thread that join the dots across time and space.

So now it's my turn, in the first of two episodes me and Neil focus on the early/mid-1980s and my experience of growing up in Luton, in the orbit of London but with its own scenes. We covered a lot of ground including:

- being a 'paper boy punk' - slightly too young to take part in first wave punk and first encountering it in tabloid outrage;

- punk in Luton (including UK Decay, their Matrix record shop, and anarcho-punk band Karma Sutra);

- the open possibilities of post-punk, as exemplified on the Rough Trade/NME C81 compilation (which I misdescribe as C82 in the interview!)

- seeing Mark Stewart and The Pop Group at the Ally Pally and at CND demo

- GLC festivals and events including the one where fascists attacked the Redskins and the Test Dept extravanganza (which Neil went to but I didn't)

- Luton 33 Arts Centre -  a link connecting the later 1960s Artslab scene through to punk and beyond;

- racist skinheads in Luton area and the general climate of violence;

- the influence of 1950s style in the 80s, clothes shopping at Kensington Market and Flip;

-  Luton alternative club nights and warehouse parties; 

- seeing Brion Gysin speak in Bedford library;

- Compendium bookshop in Camden;

- Anarcho punk including Conflict at Thames Poly and my hobby horse about No Defences being the greatest band in that scene even if they never really put out a record;

- the limits of the Crass and Southern studios sonic/stylistic/political template and how the actual scene was more diverse;

- punk squat gigs at the Old Kent Road ambulance station and at Kings Cross.

In the second episode me and Neil move on to late 1980s and 90s and discuss things including:

- Pre-rave clubbing - rare groove, Jay Strongman's Dance Exchange at the Fridge, Brixton; Wendy May's Locomotion in Kentish Town; the PSV in Manchester;

- the early 90s 'crusty' squat scene - RDF, Back to the Planet, Ruff Ruff & Ready and related squat parties at Cool Tan (Brixton), behind Joiners Arms in Camberwell and school in Stockwell;

- the free party scene partly emerging from this, parties in Hackney Bus garage etc.;

- 'world music' clubs including the Mambo Inn (Loughborough Hotel, Brixton) and the Whirl-y-gig (which I went to at Shoreditch Town Hall and Neil in Leicester Square at Notre Dame Hall, also scene of famous Sex Pistols gig);

- Dead by Dawn at the 121 Centre, Brixton;

- Criminal Justice Act and getting into history of dance music scenes; 

- Megatripolis at Heaven and emergence of psychedelic trance;

-  1990s clubbing explosion - so called 'Handbag House' clubs - Club UK, Leisure Lounge, Turnmills, Aquarium etc.;

- 'clean living in difficult circumstances' - glam house clubbing wear as extension of mod sharp dressing continuum;

- superclubs and superstar DJs including Fatboy Slim vs Armand Van Helden at Brixton Academy (1999)

- Reclaim the Streets- Brixton party

- the Association of Autonomous Astronauts - Disconaut division.

Suzi Quatro and AC/DC: punk rockers in Australia 1974/75

I don't think anyone who knows 1970s UK pop culture would argue with the fact that Suzi Quatro was one of the leather clad pop rockers who prepared the ground for punk. Still was surprized to see her being mentioned in relation to punk as far back as 1974 in the Australian press on the occasion of her touring there:

'She looks like the leader of a motorcycle gang, but pretty like the girls who run with the pack ought to look. She's 23, dresses all in skin-tight leather zippered down to her waist, off stage as well, but usually adds a shirt under the leather suit. Her eyes look out soft and warm from photographs. In real life Suzi Quatro is tough, but still soft underneath.

She's from Detroit, and in this country that says a lot. A harsh city, "Motor City," with the highest crime rate in the U.S.A., it is the birthplace of punk rock, the MC5 (Motor City 5, a once famous rock group.) Suzi continues the image though she does complain that "people who've only heard my voice expect me to be about 6 feet tall." In fact she's five feet. Wearing a small star tattooed on her right wrist, she explains, "I got the star four years ago 'cause that's what I wanted to be'  (Australian Women's Weekly, th May 1974).

From searching on the great Trove newspaper archive this seems to be the first reference to 'punk rock' in an Australian newspaper, earlier even than a 1975 mention of 'top punk rockers' AC/DC.

Interestingly, the AC/DC gig in question at the Harmonie German Club in Canberra took place on 7 November 1975, one day after the first Sex Pistols gig at Central St Martins art college in London.

Canberra Times, 7 November 1975

Sophie Richmond on the politics of punk (1977)

So many words have been spilt about first wave UK punk and politics over the last 45 years, but one of the most lucid contemporary assessments came from within The Sex Pistols camp. Sophie Richmond worked for Malcolm McLaren's Glitterbest management company. Amidst all the chaos somebody had to make sure the bills got paid (or not), but she did a lot more than  admin. She was part of a collective effort around the band, also including her then partner Jamie Reid who designed the Pistols' art work. 

It's quite remarkable that in the midst of all this she should take time to consider the political significance of it all for an obscure libertarian communist magazine, Social Revolution (no.7, 1977) . The group behind it had been formed in 1975 and was soon to merge with the longer established Solidarity group. Political threads from this current led back to a shared heritage with the Situationists in the group Socialisme ou Barbarisme - the Situationists being an influence on McLaren and Read among others. Plainly Richmond, then 25 years old, had her own political perspectives that predated punk and the Pistols.

Her conclusion from the heart of the storm is succinct and accurate - music on its own can't change the world, romantic myths of heroic outsiders are a dead end and punk was inevitably on the road to being assimilated. And yet it was expressing something real, addressing how many young people felt, and opening a door of possibility where interesting things might happen before the door slammed shut once again. 

Extracts from article:

'Labels are inescapable and punk isn’t such a bad label really. Something for kids to identify with that sounds a bit vicious and tough, definitely anti the shit/ideology they try to shove down your throat at school.

Punk says “I’m a lazy sod“ and “I wanna be me“. It’s the latest in the glorious line of teenage rebels… From James Dean and Marlon Brando in the postwar American movies through the Teds, the mods, the ever present greasers, the skinheads and now the punks. Someone’s going to ask me why I left out the hippies. Can’t you feel the difference? (the hippies and alternative culture is what I grew up with so my view is jaundiced anyway, but it seems as though it was all very middle-class; it gave us the alternative society; it gave us peasant clothing and beads; but I don’t think it really gave us a lot of help in solving, or even helping us think about the problems of living in and changing a distinctly urban and industrialised country.

Anyway. Punk is teenage rebellion again. So the question to ask isn’t so much “How much potential for social change is there in punk rock?” as “how much potential for change is there in the teenage rebellion syndrome?” So we look back. No, nothing really changed much did it? The rebels have died (James Dean, Gene Vincent) have got assimilated, became successful (Rolling Stones) and have nothing to left to say to their still alienated audience. There are two things here – 

1. the expression of frustration, alienation and pissed offness felt by kids growing up in USA and UK who found the future is even more unattractive than their present. 

2. The eventual failure of those who voiced those feelings to escape assimilation and equally, the failure of the kids who dug it to escape their fate.

The lesson, I suppose, is that culture can only take you so far. Be you ever so pissed off and alienated, if all you do is sit down with your stereo and play "My Generation" a million times, you’re not going to get very far. The value of the Stones, Who, Vincent, Sex Pistols is it they can create a climate, put ideas into people's heads, at their best give off enough energy and enthusiasm to make people feel like they’re doing more than buying the next super duper album.

Because ultimately it’s up to the audience to decide if they’ll buy the action as well. And it’s up to the activists and militants to use the energy, the honesty, to grasp it and take things further and say look, we can do this, it’s not just fantasy.  Because attitudes don’t threaten, not in the cradle of free speech and liberalism. Attitudes are easily defused, rock ‘n’ roll ain’t revolution.

But there’s a point in time, before the media has jumped on your backs and exposed every hypocrisy and contradiction, before it’s become clear that you’re just another rock band, easily bought off by money and fame, when attitudes are potentially threatening to the system. And these kids and bands certainly aren’t upholding it. The Sex Pistols want  anarchy (their meaning clear enough in the song “I wanna be anarchy… I wanna be an anarchist, get pissed, destroy");  The Clash want a riot of their own in the song “White Riot" written in envy and admiration after the Notting Hill riots last summer. The Buzzcocks from Manchester sing about boredom and alienation (can’t stop using that word)… 

“I’ve been waiting in the supermarket, standing in with the beans (ketchup),  I’ve been waiting at the post office for silly pictures of the Queen (stick up), now I am waiting for you to get yourself good and ready (make up),  I’ve been standing in the standing room and I’ve been waiting in the waiting room, no one told me about the living room gonna forget what I came for here real soon" [Buzzcocks, Time's Up]

Great. At least it’s a bit real again. I’m sick of silly love songs which don’t have any meaning when you know, however passionately you’re in love, that your chances of getting a place you can call your own or a job with enough money to support your kids aren’t too hot.

But in some ways the punk bands are carrying on establishment myths of antiheroes, losers, dead enders. Romantic but slush. To be avoided. Liberal containment myths. But there’s a few encouraging things… The sudden emergence of a dozen or more young bands in the steps of the Pistols, not too hot musically or politically but at least a nice reaction against the progressive rock of the last 10 years, so overloaded with technology that it can’t go on the road with less than 40 articulated lorries and a cast of one million technicians. I like the whole do it yourself philosophy which shows in the clothes as well as the music [...]

Bands like the Sex Pistols… The punk bands in this country… Talk a little about reality, however little gets said before it’s all neatly tied up and put in little packages by the record companies, before the dying dinosaur of the music biz jumps in in search of a fast buck, before the posers start cashing in on the image (I see them on the horizon). That’s their value'.

There's a 2013 interview with Sophie Richmond here

Sophie Richmond's diaries of her time with the Pistols are quoted from extensively in Fred and Judy Vermorel's book 'Sex Pistols: the inside story' (1978). 

New Wave Rave 1977

As documented here before, the words ‘rave’ and ‘ravers’ seem to date back to the post-WW2 UK jazz scene and were widely used through to the late 1960s underground before seemingly largely falling out of use until the acid house era. But here’s a rare example from the punk period- an advert for a 1977 series of gigs in the West Country by Chelsea and The Cortinas (both on Step Forward records) with the strapline ‘New Wave Rave’. A ‘New Wave Disco’ is also promised.

In recent years the name ‘New Wave Rave’ has been used for various punk/indie club nights (a quick search throws up nights in Sydney and Berlin, among others). But I’m not aware of other examples of the use of the word ‘rave’ in the high punk period (1976-78). 

The poster features in the excellent ‘Oh So Pretty: Punk in Print 1976-80’ book by Toby Mott and Rick Poynor. 

Anarchy on Eastenders

One of the highlights of Eastenders over Christmas was an episode where soap opera arch-villain Nick Cotton finds his old copy of The Sex Pistols 'Anarchy in the UK' in the attic of his long suffering mum, Dot. Later the bible-quoting Dot comes home to find Nick having sex with his ex in the front room - he quips 'you never did like the Sex Pistols, did you ma', as Johnny Rotten screams 'I wanna be anarchy' in the background. Earlier in the same episode, Cotton eats his breakfast to 'London Calling' by The Clash.

Let the record show that he had the 1977 French reissue of Anarchy in the UK, not the 1976 EMI original.

Nasty Nick Cotton has been in the series on and off since it started.This is him in 1986:

Actor John Altman, who plays Cotton, was previously a young mod in the 1979 movie 'Quadrophenia'

(you can watch the Eastenders Anarchy episode for a few more days on BBC iPlayer)

Welcome to 1984

Well 1984 was thirty years ago, so why not use the arbitrary temporal conventions of decade-based anniversaries as an excuse for a series of posts on that year? First of all, some reflections on the lead up to that year:

'Someday they won't let you, 
so now you must agree
The times they are a-telling, 
and the changing isn't free
You've read it in the tea leaves, 
and the tracks are on TV
Beware the savage jaw 
Of 1984'
(David Bowie)

1984 was no ordinary year. For a start it was a year carrying an ominous weight of dystopian expectations before it even started. Of course George Orwell was to blame, writing in the immediate aftermath of the Second World War and, after some hesitation, choosing in 1948 to call his novel 1984. If Orwell had stuck with his original working title, The Last Man in Europe, the sense of foreboding as 1984 approached would not have existed in the same way. As it was, his novel had been continuously in print ever since and millions had read of an English police state in a future envisaged as a 'Boot stamping on a human face, forever'.

Others had seen film and TV versions (a new film, starring John Hurt, was to be released during the year). And even people only vaguely aware of Orwell and his work had imbibed some of its content, with terms like Big Brother and Thought Police entering  into the language as synonyms for state surveillance and terror.

David Bowie had written his '1984' song for an unrealized musical based on the novel. By the time of its release on the 1974 Diamond Dogs album, 1984 was becoming a myth of the near future, rather than the distant horizon it may have seemed to Orwell writing on the Isle of Jura a generation before.

1984 was now a date to count down to, an imminent moment of social explosion or apocalypse. The Clash's Year Zero  anthem '1977' seems to suggest an escalation of class war ('ain't so lucky to be rich, sten guns in Knightsbridge'), with the years chanted at the end: 'it's 1978, it's 1979...' through to an inevitable abrupt stop with 'it's 1984!'. Other punk songs from the same period included 'P.C. 1.9.8.4.' by Crisis and '1984' by The Unwanted ('1984, thought police at the door'). The Dead Kennedys sang 'Now it's 1984, Knock knock at your front door' on 1979's California Uber Alles, and recycled the line on their anti-Reagan anthem 'We've got a bigger problem now' (1981): 'Welcome to 1984,  Are you ready for the third world war?, You too will meet the secret police, They'll draft you and they'll jail your niece'. 

When Crass put out their first album in 1978, kicking off the whole anarcho-punk movement, the sleeve included the cryptic code 621984.  Similar inscriptions on releases in subsequent years made it clear where this was going - 521984 in 1979, 321984 in 1981 and so on.

If there was some sense of foreboding at the approach of 1984 it was not down to just the power of Orwell's imagery. In the 1970s and early 1980s, fears and hopes of impending social crises led many to ponder on the possibilities of revolution, civil war, coups and dictatorship. The period had seen serious economic instability in the aftermath of the 1973 financial crisis, with rising inflation and unemployment. Strike waves from the 1974 miners dispute to the 1978 Winter of Discontent had undermined successive governments, guerrilla warfare was raging in the North of Ireland and there had been widespread rioting across England in 1981.

Right wing factions in the Conservative Party and the secret state had certainly toyed with planning a military coup and suspending civil liberties to 'save' the country from what they saw as the Orwellian nightmare of socialism. In the circles around the National Association for Freedom the talk was of counter-insurgency and contingency planning to counter subversion.  In a 1982 debate on local government, a Conservative MP warned of ' the entrance of municipal socialism' and pledged 'that unless we act now—before 1984—the Orwellian concept of 1984 and the corporate State might just happen'  (John Heddle, Hansard 26 Feb 1982).

On the left, these manoeuvres and a general growth in police powers prompted critiques of an emerging crisis state. Their Orwellian nightmare was of an authoritarian populist regime rallying the masses around the flag while crushing dissent. These ideas were not confined to the columns of radical newspapers. They also infused the dramatic (and sometimes self-dramatising) rhetoric of punk and its aftermath, flavoured with reggae-inspired notions of dread, Babylon and living under heavy manners.

The election of a Conservative government in 1979 heightened this sense of intensifying antagonisms. The racist language of the far right was entering mainstream political discourse with Thatcher talking of 'Alien culture', and flag waving militarism had been revived in the Falklands war. The Cold War too was getting hotter with America and Russia deploying a new generation of nuclear missiles in Europe. As US President Reagan developed his plans for 'Star Wars' missiles in space, Labour leader Michael Foot once again reached for Orwell:   'President Reagan got through Congress his latest proposal for the so-called MX missile system. Such is the Orwellian state that we have reached, even before 1984, that he even managed to describe his proposition as a form of arms control' (1983). 


In the event 1984 in Britain may not have ended with war between Eurasia and Oceania, or outright totalitarian dictatorship, but it was not short of historical drama, with the most bitterly fought strike since the 1920s, the near assassination of the Prime Minister, hundreds of arrests in anti-nuclear protests, Stop the City... all this and Frankie Goes to Hollywood.

See also: 

January 1984 Chronology
February 1984 Chronology

Punk and firefighters' strikes in 1977 and 2002

Good luck to firefighters on strike today in England and Wales in their pensions dispute, and to those in the London fire stations facing closure next week by Boris Johnson's cuts.

There's still a couple of days left on BBC IPlayer to watch 'Never Mind the Baubles: Xmas '77 with the Sex Pistols', Julien Temple's remarkable documentary about the Pistols last gigs in the UK. In 1977, firefighters were on all out strike over pay, walking out on 14 November for a 30% pay claim. The government mobilised the army to operate a strikebreaking fire service, and as Christmas approached firefighters and their families were facing great hardship. The Sex Pistols meanwhile were being banned from venues all over the country.

Huddersfield, December 25 1977

On Christmas Day 1977, the Pistols played two gigs in Ivanhoe's nightclub, Huddersfield. The first was a party for the striking firefighters' families, with the band handing out Xmas presents including t-shirts, albums and skateboards. The gig ended up with a cake fight and kids pogoing in their 'Never Mind the Bollocks' t-shirts. In the evening the band played a regular gig for adults. Temple was there on the day and filmed both sets, their last on British soil before heading off to the USA where they split up in January 1978.

The Pistols weren't the only band to play a benefit gig. The picture below is of popular pub rock band The Pirates at Hammersmith Fire Station in 1977, who also played for the strikers. Drummer Frank Farley's dad had been station officer at Hammersmith.

picture by 'Mick' at flickr

25 years later in November 2002, firefighters staged a series of strikes in another pay dispute. Another old punk, Joe Strummer, played a benefit gig for them at Acton Town Hall and was joined on stage by ex-Clash guitarist Mick Jones - the first  and only time they had played together since Jones left The Clash in 1983. The following month Strummer died.

Strange how these iconic moments in the history of punk and its aftermath coincided with these waves of firefighters' struggles.

NME Charts December 1983: the best of times and the worst of times?

What were the UK pop kids, dancers and punks listening to 30 years ago? Here's some clues in the charts  from the New Musical Express 24 December 1983.

The Dance Floor charts weren't really a reflection of record sales or even necessarily of what people were dancing to in many UK high street clubs. This one was compiled by the DJ at Birmingham club 'The Garage' so it's probably more a snapshot of what people were listening to there and in similar places where the DJs played an eclectic mix of of  funk, soul and more post-punk funk from the likes of A Certain Ratio and Jah Wobble. Certainly I remember going to lots of student parties in this period where James Brown was obligatory - he was still releasing great records in this period, with 'Bring it On' coming out in 1983 and his last hit 'Living in America' in 1985.

The term 'World Music' hadn't yet caught on, the category 'Third World' was used in the NME charts to cover music from Africa, the Middle East, Mongolia and seemingly anywhere outside of Europe and North America. The chart was compiled by Triple Earth Records, which went on to become a significant 'world music' label in the 1980s.

The Reggae Disco singles charts and Reggae LPs chart were compiled by 'Observer Station' with a whole lot of Johnny Osbourne - three singles and an album riding high. Michael Palmer's Ghetto Dance was number one single ('Ghetto dance, ghetto dance, Babylon give me a chance...').

The Independent charts were based on record sales and had become a big deal in a period of many iconic indie acts (Smiths, Cocteau Twins, New Order, Birthday Party), the anarcho-punk scene (Conflict, Subhumans), psychobilly (The Meteors and Cramps) and emerging goths (Death Cult, Sisters of Mercy, Alien Sex Fiend). Label wise the big ones were 4AD, Mute, Rough Trade and Factory, but Stoke-based punk label Clay Records was also important (Discharge, GBH, Abrasive Wheels etc).

The main UK charts featured some classic pop as well as lots of crap which no amount of nostalgia/retro irony can rescue from the charity shop unwanted piles where it now lingers. The dominant album was Michael Jackson's Thriller - number one in the charts a year after it was first released. Culture Club has become a global sensation that year, and Luton's Paul Young was riding high. I worked in a Luton factory that summer packing electrical instruments while listening to Radio One with his then girlfriend's mum!

Chris Porsz: 1980s New Town Punks, Teds & Psychobillies

The working class style tribes of  the 1980s have been nicely recreated in Shane Meadows'  This is England films/TV series. But some of the best contemporary images of that world that I have come across are by Chris Porsz, many of them collected in his excellent book 'New England: the culture and people of an English New Town during the 1970s and 80s'

Many of the more cliched images of 80s sub-cultures are based on a tiny minority of people in bands or scene setters in big city clubs - a long way from how people on the dole or with low pay tried to make a mark with their hair, clothes and music in towns where sometimes the few exisiting clubs wouldn't even let them in.

Portz's pictures were taken in Peterborough, but they could have been taken almost anywhere in England in the early '80s, with punks, pychobillies, rockabillies and skinheads hanging out in town centres with bottles of cider for refreshment. Certainly they remind me of Luton at that time.



Looking at these pictures now it's interesting to note how even amongst the hardcore, piercings were quite muted - in the early 80s those with nose rings were really transgressing the boundaries of the socially acceptable. Likewise tattoos weren't common beyond the upper arm.

(you can buy Chris Porsz's book at his website and in bookshops including Tate Modern in London. His site also includes some sweet reunions where the subjects of  his 1980s photos have been reunited with the images of their younger selves)

All photos © Chris Porsz

Someday all the Adults will Die!: Punk Graphics 1971-84

'Some day all the adults will die!: punk graphics 1971-1984' is a free exhibition at the Hayward Gallery in London, on until 4th November 2012.

I wonder sometimes whether anything else useful can be said about punk, feels like we have been reliving that moment endlessly for the last 30 years. Ageing collapses time in unexpected ways. At school in the late 1970s and reading about May 1968 it felt as remote to me as the First World War. Now the late 1970s feel not so far away, even if the equivalent of this exhibition in 1977 would have been a show about early 1940s style. So an exhibition like this is essentially a kind of nostalgia for some ('ooh I've got that original 7 inch of Scritti Politti's Hegemony') and ancient history for others.  

The exihibition, curated by Jon Savage and Johan Kugelberg, is less a coherent take on graphics and more a very good collection of memoribilia - zines, flyers and record sleeves. But in subtle ways it does undermine some simplistic versions of the punk story.

After Greil Marcus's Lipstick Traces, everyone knows about the parallels between Situationist attitude/style (if not always politics) and some strands of punk, but the exhibition shows this directly with some material from that milieu such as a King Mob poster from the late 1960s:

Likewise, and contrary to the notion of punk as a straightforward negation of the preceding period, the influence of the pre-punk UK counter culture (Oz magazine etc.) is acknowledged: 'design forerunners included the proto-pop mail art movement, counter-culture protest graphics and the underground press of the 1960s'.

The exhibition gives space to the American punk scene, with its parallel but distinct aesthetic. Who knew that Wayne County's backing band in 1976 was the Back Street Boys? Surely more interesting than the later outfit with the same name.

It recognises that punk in the UK was about much more than The Clash and The Sex Pistols, and gives due recognition to anarcho-punk - including Crass's graffiti stencils:

There are some interesting radical perspectives on music, including a remarkable flyer given out when The Rolling Stones played at the Hollywood Bowl in 1966 that hallucinates the band's music as some kind of radical rallying cry: 'Greetings and welcome Rolling Stones, our comrades in the desperate battle against the maniacs who hold power. The revolutionary youth of the world hears your music and is inspired to ever more deadly acts... We will play your music in rock'n'roll marching bands as we tear down the jails and free the prisoners'.

Less optimistic/tongue in cheek is an earnest critique of The Clash, put out by Art in Revolution in Holland in  the late 1970s: ''London's buying your crap... this is what is left of the '77 punx, a bunch of junkies and a bunch of drunks'

The zines on display are frustrating as they are behind plastic so you can only look at the covers when really you want to flick through them. The record sleeves are evocative, but you really want to listen to the music (though some of this is being played in the exhibition). The flyers and posters though don't hold anything back, or nothing that can be accessed now. They simply record a series of singular moments in history:. 

Manchester 1977: 'Punk rock rules!' at The Squat with The Drones, Warsaw (later Joy Division) and others - interesting discussion about this poster here

Los Angeles 1979: The Last and The Go-Go at Gazzarri's on Sunset Strip

Crass at Acklam Hall, Portobello Road, September 1979

London Drum Riot for Pussy Riot

Global Day of Action in support of Pussy Riot next Saturday September 15 - London action is 11 am - 2 pm opposite Russian Consulate, Bayswater Road. Facebook details here.

There's also a Free Pussy Riot benefit gig tomorrow night (Sunday 9 September) at the Hoxton Square Bar and Kitchen with PEGGY SUE, GAGGLE, NEUROTIC MASS MOVEMENT and SKINNY GIRL DIET.

Translations of Pussy Riot letters and documents at this site. Here's a letter from Maria Alyokhina (20 Aug. 2012), one of three members of the collective jailed in Russia last month for two years for hooliganism motivated by religious hatred after an anti-Government punk performance in a Moscow cathedral:

'Right after the reading of the verdict, we were taken to the cells, accompanied by guards with dogs. After a few minutes my guard asked for an excerpt from the verdict. A few minutes after that, a special forces cop burst into my cell and started swearing at me, telling me to get my things together. Evidently I wasn't fast enough, and he started twisting my arms. This was very strange, because in the past we were generally treated less roughly. So there must have been special instructions. The rest of the procedure went like this: we were loaded onboard a bus full of these special forces types and then, accompanied by numerous police vehicles, including two other buses full of armed police, were driven halfway across Moscow in a "corridor" specially cleared through the dense traffic. What is the meaning of all this? Even terrorists and heavy criminals aren't given this kind of special convoy treatment. Doing so for three girls is a clear sign of FEAR. The depth of this fear came as a surprise. It would be nice to think that it will all end happily, but these events would seem to indicate otherwise'.

Free Pussy Riot

It's now been four months since Maria Alyokhina, Yekaterina Santsevich and Nadezhda Tolokonnikova were arrested and detained in Russia. Their alleged  'crime' was to perform an anti-Putin song with their punk band Pussy Riot in an unauthorised pop-up performance at a Moscow cathedral.

Nadezhda Tolokonnikova

Last week they started a hunger strike in protest at the authorities threatening to put them on trial at short notice without them having time to view the 'evidence' against them. Back in the Cold War, people locked up for expressing their political views in the USSR were hailed as heroic dissidents by Western leaders.  Now David Cameron sucks up to Putin while the latter locks up his opponents.

Putin is likely to come to London on a 'private visit' during the Olympics. I imagine that anybody trying to demonstrate against him will also find themselves behind bars.

Punk's Dead

'Punk's Dead' is a book of photographs by Simon Barker (Six), with an exhibition of some of the photos at Divus Temporary, 4 Wilkes Street, London E1 until July 7th.

Jordan

'In 1976, when I moved into the St. James Hotel in London, I bought myself one of the cheapest pocket cameras available. Fully automatic, with no controls or settings, it just required a simple slot-in film cartridge. An idiot could use it - and I did. | I knew I did'nt want to be like other photographers, so I chose never to take a black and white photograph or focus the camera. Subconsciously I concentrated on the women and artists at the heart of what would later be known as 'punk' in London. 

Women such as JORDAN, SIOUXSIE, DEBBIE JUVENILE, TRACIE O'KEEFE, ARI UP, POLY STYRENE and NICO . Artists and writers such as MALCOLM MCLAREN, HELEN WELLINGTON-LLOYD aka HELEN OF TROY, BERTIE MARSHALL aka BERLIN and DEREK JARMAN. The book PUNK'S DEAD is a product of that camera and those times - my family album covering the years 1976 to 78. The photos you see in it were all unplanned, spur of the moment shots taken by myself for myself and, up until now, with never a thought given to publication. In over thirty years, they have only been seen by a handful of close friends. I used to think they weren't good enough to show people. Now I think they are almost too good'

Adam Ant

Derek Jarman with Derek Dunbar

Some great pictures, and also due recognition of some of the queer/arty underground links of that early London punk scene (e.g. Derek Jarman's Butlers Wharf parties), something largely passed over in the recent BBC punk nostalgiafest.

Grayson Perry on punk and performance

Grayson Perry's 'Portrait of the Artist as a Young Girl' (2007) is his memoir of the period before he became a successful artist, as related to his friend Wendy Jones.

Perry recalls growing up in 1960s/70s Essex with a taste for dressing up in women's clothes, before moving on to study art in Portsmouth and early 1980s performance art in London. He's a bit older than me, but like me and many others he was first exposed to punk as a paper boy:

'One Sunday morning I was delivering the newspapers when I saw the front cover of a supplement with a photograph of punks at a Sex Pistols concert. I was amazed by it, I though, 'Fucking Hell" This is good!'. I decided there and then I wanted to be a punk rocker'.

He went to see bands like The Vibrators, Boomtown Rats and Crispy Ambulance in Chelmsford, and attended the infamous debacle of the 1977 punk festival at Chelmsford Football Club, headlined by the Damned. The event was a flop with Perry opining that 'the most punk rock thing of the whole day' was when the scaffolder, furious at not being paid, began dismantling the stage while the bands were still playing.


A punk leather jacket included by Perry in his exhibition
last year at Manchester Art Gallery
(photo from http://ohdearthea.tumblr.com/)


After leaving college in 1982 he moved to London where he was part of the post-New Romantic/Blitz kids scene. He lived in the basement of a squat in Crowndale Road next to the Camden Palace, with Marilyn (soon to be a short-lived popstar) living upstairs. Perry 'used to go to the Taboo nightclub in a black suit with skin-tight Lycra trousers and a jacket two sizes too small... I put sunburn-coloured make-up on my face and left white rings round my eyes, like ski goggle marks... And I had a tail. It was a stiff, furry dog's tail'.

He also got involved with the Neo-Naturists, a performance art troupe who performed naked with paint on their bodies. They played at places like Notre Dame Church Hall (Leicester Square), Heaven, the Camden Palace. the Fridge (Brixton) and an anarchist centre:

'we were booked to do a Neo-Naturist performance in Brixton at the Spanish Anarchists Association, which was similar to a working men's club, an extremely anachronistic place that had become somehow hop because of punk's associations with anarchy. As it was May Fiona though we should do a Communist, May Day-themed cabaret. Cerith [Wyn Evans], Fiona, Jen, Angela and I all had identical Communist uniforms body painted on to us with khaki paint and we decorated oursevles with big red five-pointed stars... There were around a hundred anarchists in the audience as well as some punks and they all hated it, not one of them clapped, the room was dead quiet'.

I think Perry may have got two different places mixed up here - the 121 centre in Brixton opened in 1981, but the Spanish anarchists' place was Centro Iberico (421 Harrow Road), a squatted school where various punk gigs and other events took place (incidentally producer William Orbit started out with a studio here). The Neo-Naturists site mentions them playing a 1982 May Day event at 'Spanish anarchist centre, Harrow Road' so assume this was what Perry remembered (maybe he went to 121 another time).


Photo from the Kill Your Pet Puppy archive



121 Centre in Brixton: 1990s flyers

The 121 Centre in Brixton, variously known as an ‘anarchist centre’, ‘social centre’ and ‘squatted centre’, was a hub of international radical activity and much else throughout the 1980s and 1990s. The house at 121 Railton Road, SE24 was first squatted by a group of local anarchists in 1981 and was finally evicted in 1999 (it is now private flats). Its four storeys included a bookshop, office space, printing equipment, kitchen and meeting area, and a basement for gigs and parties.

Over 18+ years it was the launchpad for numerous radical initiatives, some short-lived, others having a more lasting impact. Many groups used 121 for meetings and events, including Brixton Squatters Aid, Brixton Hunt Saboteurs, Food not Bombs, Community Resistance Against the Poll Tax, Anarchist Black Cross, the Direct Action Movement, London Socialist Film Co-op and the Troops Out Movement. Publications associated with 121 included Shocking Pink, Bad Attitude, Crowbar, Contraflow, Black Flag and Underground.

There was a regular Friday night cafe and many gigs and club nights, including the legendary mid-1990s Dead by Dawn (which I've written about here before). 121 was a venue for major events including Queeruption, the Anarchy in the UK festival and an International Infoshop Conference. It was, in short, a space where hundreds of people met, argued, danced, found places to live, fell in and out of love, ate and drank..

This is the first in a series of posts featuring flyers from 121:



September 1995 - a film night with HHH Video Magazine featuring recent events including the Battle of Hyde Park
(anti-Criminal Justice Act demo), the McDonalds libel trial, the 1994 'levitation of parliament; and the Claremont Road/M11 road protest. In the pre-web 2.0/youtube era, videos like this were a key way in which visual information from different movements circulated.

Wonder what the 'Russian Techno Art Performance' was?



February 1995 - a benefit night for the 56a Info Shop in Elephant Castle, with Difficult  Daughters,
Steve Cope & the 1926 Committee, Mr Social Control and others.

Martin Dixon remembers playing the song  'Animals' at 121: 'Steve Cope and the 1926 Committee arose from the ashes of The Proles. I used to play trumpet with them on this one song. Invariably the last song of the set I remember getting on stage with them in the packed basement of the squatted 121 Centre in Railton Road, Brixton. Every time I lifted the trumpet a dog would leap up barking wildly. “Whenever they need to segregate, experiment or isolate, or simply to humiliate,
they’ll call you animals ”.

Mr Social Control was a performance poet, he used to sometimes have a synth player
 and rant to Pet Shop Boys style backing. 



August 1995: punk gig with Scottish band Oi Polloi and PMT, who came from Norwich.



August 1995 'Burn Hollywood Burn' video night. Riot Porn was always popular at 121,
in this case film of the Los Angeles uprising, as well as squatting in Brixton, Hackney and Holland.



1992: Burn Hollywood Burn again! LA riots plus video of Mainzer Straße evictions in Berlin (1989).
The benefit was to raise funds for an early computer link up with the Italian-based
European Counter Network (ECN) amd the Amsterdam-based Activist Press Service (APS),
via which radical news and information was circulated.




'Re-education' and forced haircuts for Indonesian punks

Frightening tale from Indonesia of repression of young punks at hands of Islamists:

/Dozens of young men and women have been detained for being "punk" and disturbing the peace in Aceh, Indonesia's most devoutly Muslim province. They are being held in a remedial school, where they are undergoing "re-education". Rights groups have expressed concern after photographs emerged of the young men having their mohawks and funky hairstyles shaved off by Aceh's police.They look sullen and frightened as they are forced into a communal bath.

But Aceh's police say they are not trying to harm the youths, they are trying to protect them. The 64 punks, many of whom are from as far away as Bali or Jakarta, were picked up on Saturday night during a local concert...

Aceh police spokesman Gustav Leo says there have been complaints from residents nearby. The residents did not like the behaviour of the punks and alleged that some of them had approached locals for money. Mr Leo stressed that no-one had been charged with any crime, and there were no plans to do so. They have now been taken to a remedial school in the Seulawah Hills, about 60km (37 miles) away from the provincial capital Banda Aceh. "They will undergo a re-education so their morals will match those of other Acehnese people," says Mr Leo.

But activists say the manner in which the young people have been treated is humiliating and a violation of human rights.Aceh Human Rights Coalition chief Evi Narti Zain says the police should not have taken such harsh steps, accusing them of treating children like criminals. "They are just children, teenagers, expressing themselves," she says. "Of course there are Acehnese people who complained about them - but regardless of that, this case shouldn't have been handled like this. They were doused with cold water, and their heads were shaved - this is a human rights violation. Their dignity was abused."

...Aceh is one of the most devout Muslim provinces in Indonesia, and observers say it has becoming increasingly more conservative since Islamic law was implemented a few years ago' (BBC News, 14 December 2011).