Goth girl murdered

Thanks to the as usual spot-on Ian Bone for this reminder that in modern Britain people still get beaten up, and sometimes killed, for wearing different clothes or liking different music.

Sophie Lancaster, aged 20, was murdered in Lancaster for the crime of being a 'goth'. Her boyfriend is seriously injured.

Club Louise and Sombrero's - London 1976/77

One facet of early punk life in London (1976-77) was that there were no punk clubs, with the gap filled for some by lesbian and gay clubs - probably the only place where the first punks could go without being hassled. Most famous was Club Louise in Soho, where the teenage style terrorists of the so-called Bromley Contingent hung out - including Siouxise Sioux - as well as members of The Sex Pistols, The Clash and The Slits. The place is described in Bertie Marshall's entertaining and acerbic memoir of the period Berlin Bromley (2006):

S.S. [Siouxsie Sioux] mentioned this exclusive little club in Soho that you had to be a member to get in and was populated by les­bians and the odd male lesbian watcher and a couple of well-known actors. We all went, led by S.S. through the streets of Soho to 61 Poland Street to a red painted door with gold plates. S.S. rang the bell and through a little peephole a voice said in lisping tones, "Are you members!" What, I wonder, did we look like through that little window; some night­mare WaIt Disney might have had! We got in. Sitting at a low desk in the entrance way was a very old lady with a pile of grey hair atop her head and long grey dress and grey fur coar- grey lady? Bits of diamonds here and there, she looked a thousand-years-old. "Ah, you must all become members, my dears," her accent was French. Three pounds bought us a little red and white member­ship card.

Michael the doorman was an American fag and Madame Louise's toy-boy. This was her club. We were all under twenty-one and looked it, but somehow they didn't care, we must have passed some test. Perhaps Louise wanted to attract a younger clientele? The small foyer led into a bar room, a large mirror ran along the back wall, very dim lighting so you could hardly see your reflection, long black leatherette sofa seating, small tables with red cloths on them, black chairs, red carpets.

It was empty except for a waiter we named 'Ballerina John', an Irish queen with really awful acne and long red hair that he kept flicking over one eye. John had been thrown out of dance school because of some sexual indis­cretion in the toilets. Ballerina John came over and took our orders-five vodka and oranges. And because of the licensing laws, it was required that we were served food-food was a few slices of anaemic-looking Spam and shrivelled gherkins on a paper plate.

S.S. had found this place on one of her jaunts with pre­tend-girlfriend Myra. Most of us kept looking at ourselves in the gloriously long and flattering mirrors. From our table we could see a spiral staircase going down. "I love these mirrors," S.S. purred. "What's down there?" I asked. "A dance floor," S.S. said, retouching her nose with her powder puff…

What did I wear to Louise's the first time? Old men's pyjama jacket with a silver grey tie over black ski pants and black plastic sandals and white fingerless gloves. S.S. in one of her fifties Swanky Modes dresses, (Swanky Modes was a shop in Camden run by two sis­ters, designers of vaguely fetish women's wear). S.S. was wearing a b/w polka dot 'Betty Boo' dress; she would do impersonations of the cartoon character now and then. We'd catch ourselves in the mirror, suck in our cheeks and pout like mad. Sipping our vodkas, we could hear strains of music, Diana Ross and the Supremes ... S.S. decided that we should all trot downstairs... a small dance floor sur­rounded by low tables with red cloths and mirrors around the walls. We sat at a table under the stairs.

There was a smoked-glass DJ booth, where a young dyke played Bowie then Marlene Dietrich ... around the room sat a couple of butch dykes with feathered haircuts and three-piece men's suits. S.S. pulled me onto the dance floor to Bryan Ferry's 'Let's Stick Together'. I followed her in a demented jive, swinging each other around and around, yelping and cooing. We'd suddenly stop mid-jive and turn and look at ourselves in the mirrors, as though fixing and freezing our features forever at sixteen. With the help of make-up and the dark lights of the club we looked perfect and glamor­ous… Louise's closed at 3 a.m., which meant getting the night bus home, a cab was too expensive.

Marshall also mentions that the Roxy in Neal Street, Covent Garden - the first punk club as such - has previously been 'Chagarama's, the trannie bar', and recalls that as punk exploded and Louise's became too popular, some of the scene decamped elsewhere:

We discovered another club. Sombrero's was on Ken­sington High Street and a very GAY Disco, owned by a pair of Spanish queens, it had a raised dance floor of multicoloured Perspex that resembled a boxing ring and had waiter service. A lot of Oriental and Middle Eastern queens went there, it was very faggy indeed, gold chains and sprayed hair, little leather clutch bags, rich older queens and their younger pickings. It was home in the early 1970s to the glam rock scene, Mr and Mrs Bowie.

One time Johnny Rotten was hero of the week down at Sombtero's, he intervened in a knife attack against one of the door staff, stopped the queen getting it in the gut, by kicking the assailant in the nuts! Rudy, a rotund and chirpy Spaniard was the DJ, he played 70s disco. My favourite story that he told, was one night Marianne Faithfull came down and went to his DJ booth on the look-out for free drinks; of course Rudy obliged. She repaid him by singing a drunken version of 'Little Bird'.

Update November 2022 : 

This post has received lots of attention over the years with some great anecdotes from former denizens of the Sombrero in particular recalling some of its fabulous characters (see comments below post). The main club night was called 'Yours or Mine'. It seems that David Bowie and Angie hung out there in early 1970s and it was here that they met  Freddie Burretti and his friend Daniella Parmar. Burretti went on to design some of David Bowie's signature looks while Parmar's short blonde crop haircut was adopted and popularised by Angie Bowie. Jagger, Boy George and Marilyn are mentioned too. To get round restrictive licensing laws the place served food to all customers under the more generous terms of a supper licence - though seemingly nobody in their right mind ate the ham and potato salad on offer.

In 1980s Adam and the Ants recorded the video for their hit single Antmusic there, as Adam recalled: 'we hired my old haunt, the tiny Sombrero club in Kensington, and filmed us 'performing' the song to a crowd who are reluctant at first to dance to it, but eventually get completely into the song and surround us on the under-lit dance floor' (Adam Ant, Stand and Deliver: my autobiography' (2008).

Adam and the Ants on the underlit dancefloor

More on Situationists and Factory Records

Further to previous post about Tony Wilson and Situationists, I've come across the following statement from Wilson made at the Hacienda in 1995:

"I was at Cambridge with other would-be Situationists like Paul Sieveking and I was a member of the Kim Philby Dining Club which I think had some people from the Angry Brigade involved. We all wanted to to destroy the system but didn't know how. We knew about Strasbourg and the Situationist tactics of creative plagiarism and basing change on desire. The Situationists offered, I thought then and I still think now, the only future revolution I could imagine or want" (quoted in Andrew Hussey, The Game of War: The Life and Death of Guy Debord, 2001).

The Kim Philby Dining Club did indeed include among its members John Barker and Jim Greenfield, later jailed for their part in the Angry Brigade bombing campaign of the early 1970s. According to Gordon Carr in his book 'The Angry Brigade' (1975) the Club was named after the ex-Cambridge Russian spy in around 1968 'by a group of Cambridge Situationists in honour of the man they regarded as having done more than any other in recent times to undermine and embarrass the Establishment'.

Also came across On The Passage Of A Few Persons Through A Rather Brief Period Of Time by John McCready, another article specifically on the SI and Factory Records. He uncovers some other connections, reminding us that it was actually Rob Gretton (among other things New Order's manager) who came up with the Hacienda as a name for the Factory nightclub in Manchester, inspired by reading a copy of Christopher Gray's Leaving the Twentieth Century - a collection of Situationist International texts given to him by Tony Wilson. He also notes that there was a Kim Philby bar in the Hacienda, that A Certain Ratio name checked a Situ/Surrealist hero on 'Do The Du(casse)' and gets Peter Saville (designer of iconic Factory sleeves) enthusing about the 'two cowboys' image in the situationist 'Return of the Durutti Column' comic strip.

See also Owen Hatherley and Sonic Truth on Wilson.

Tony Wilson and the Situationist International

The recent death of Tony Wilson has prompted a few mentions of the influence on him of Situationist ideas. Most famously, the name of the Hacienda club in Manchester was apparently inspired by a statement in Ivan Chtcheglov's Formulary for a New Urbanism (1953) that 'the Hacienda must be built'. The following extracts are from Howard Slater's Graveyard and Ballroom: A Factory Records Scrapbook, originally published in his excellent Break/flow magazine in 1999. It presents a more nuanced discussion of the relationship between music, commerce and radical ideas that the kneejerk dismissal of the likes of Wilson as simply 'situationist recuperators' (see for instance this recent discussion at libcom). Image is from a 1978 Factory flyer.

There are many Situationist references around Factory Records that range from the obvious (Haçienda) to the tenuous (Stockholm Monsters named after Swedish youth riots of 1956?). Most would be agreed that this influence stems from Factory impresario Tony Wilson who had met short-lived SI member Christopher Grey at Oxbridge and once flashed a copy of the Situationist International Anthology during a Factory documentary, Play At Home, on Channel 4 (1984).

The closeness between Tony Wilson and the long-term Factory act the Durutti Column may suggest that this group's mainstay, Vini Reilly, shared Wilson's enthusiasm: on A Factory Sample Reilly lists ex-band members in terms of 'Exclusions' and includes, as his image contribution, the Situationist Group's 'Two Cowboys' graphic. There was the sandpaper album sleeve after Debord's book Memoirs and Wilson's management alter-ego, in a reference to the French student uprisings of 1968, was called Movement of the 24th January.

These connections between Tony Wilson and a popularisation of the Situationists was made explicit by Factory's sponsoring of the ICA's SI exhibition catalogue in 1989 and by hosting the 1996 SI conference at the Haçienda. However, most people within a post-situationist milieu would more than likely view Wilson and Factory with suspicion: he has been a long term TV presenter with Granada and a music industry mogul via Factory Records (albeit a company that went into receivership, appears to have kept minimal financial records and seemed more interested in 'sacrificing' its wealth on buildings and ostentatious interior design).

To all extents and purposes Wilson occupies a position within the 'spectacle' but it should not be forgotten that Guy Debord's one-time publisher Gerald Lebovici was just as similarly involved with the entertainment industry through his activity in French cinema and publishing. Contradictions such as these are fruitful for discussion for they keep alive the issues about how best to promote and popularise revolutionary ideas: from within or from without? Can a particular social context be more conducive to these ideas than another? Is it more fruitful in the media, at the workplace, or in a club? Can music and cinema be revolutionary? What wider, transversal effects can a slight shift in cultural paradigms have? These contradictions also reveal something about the 'establishments' people are fighting against. What contents will it co-opt and why? How much is allowed through? Where does censorship begin? In sleep or at the end of an assassins rifle?

It is easy to discount the likes of Wilson and Lebovici and it is made easier, even comfortable, by their being identified and dismissed as middle-class: such contradictions, capable of containing a political charge, are thus defused. For most people, seeing a copy of the SI Anthology as a subliminal flash-frame image on TV, going to a nightclub called the Haçienda or listening to a Durutti Column track is hardly a call to revolution but it is a means of keeping ideas of social change at least symbolically active and, just by thinking of advertising and the tight control capital wields over its 'self-image', we cannot deny that forms of 'symbolic warfare' are more than necessary.

There is always a danger that those committed to revolutionary action forget how it was that they arrived at their position or, similarly, how that position needs to change and adapt to differing conditions and potentials. There is a cumulative effect where every little counts and in every social context. The claim that Factory, as 'pop-situationists', have watered down situationist ideas is maybe to infer that these ideas have a privileged area of application and whilst 'recuperation' is a process that can't be ignored, it too often seems to revolve around an 'individualised' response and a classification and hierarchic ordering of an action or intention.

The former occurs through the idea that an action, a track or a reference only has one intentioned meaning: if Tony Wilson flashed the SI Anthology this is in order that he accrue some trendy radical chic to his label. But this would be to feel certain of the reason the book is displayed and from there to control and feel certain of the response of viewers when the follow-through can hardly be predicted. What occurs here is that too much weight is granted to the action of an individual who is judged according to an individualised criteria of motives that has a too definite idea of what actions rank as 'premier league' when revolution is concerned. The judgmentalism that is often inherent in claims of 'recuperation' is, moreover, one that whilst seeking sole possession of a text's use, also elevates it into the status of a religious icon...

Vaneigem Mix 1: Though Tony Wilson has not, as far as I am aware, made any detailed references to the SI's influence on Factory he has expressed an interest in music's role in propelling youth unrest. What should be stated is that music is not revolutionary per se but carries with it many presuppositions of an awareness of a need for social change; not least in terms of its activation of desire in the listener, its opening up of unconscious and imaginary terrains and its proclivity towards social interaction. It can be rhetorical, propagandist and a source of optimism and hope, and from jazz scenes through anarcho-punk to rave and techno, music has always been attached to counter-cultural and political movements, exacerbating dissatisfaction with the status quo and working the contradictions between ideas of reality and what it could be transformed to be...

One common pro-Situ objection to the idea of music's being political is its very insertion into the 'industry', that it manufactures and sells for profit a range of consumer objects and that these consumer goods are themselves a source of mystification, sublimation and oppression. Just as this can encourage a 'transcendent' failure to engage with the political-charge of 'actually-existing' capitalism, the idea of a purchase being the alienation of some ineluctable human essence is to infer that a sold object has only one quality (its being a commodity) when, as former SI-member Asger Jorn has demonstrated, there are other qualities or values that are at play. One of these is Jorn's idea of "counter value" or "artistic value" where, instead of limiting value to exchange value and the concomitant imposition of iron-clad commodity-relations, Jorn speaks of value not "emerging from the work of art" as if it is an innate property, but being "liberated from within the spectator", from a "force which exists within the person who perceives" a painting, a movie, an installation, a record.

Jorn, putting it grandly, adds "artistic value, contrary to utilitarian value (ordinarily called material value) is the progressive value because it is the valorisation of mankind itself, through a process of provocation". Jorn is attempting to look for cracks in the "reign of the commodity" and by moving his survey towards spectator or listener reaction he is asserting that response is not necessarily controlled or contaminated by commodity-relations, but that it is the variable that could release latent energies that have the potential for change. This is not to deny that the majority of manufactured music is nothing other than a commodity pure and simple, but the important point is that this is what it sounds like: commodified, system-built and market-researched, these are products that sell themselves in terms of their being aligned to already established concepts and motivations and which diminish the potentially disruptive oscillations of the variable i.e the role of a sense of nation in Brit-pop...

Vaneigem Mix 2: The most explicit and unadulterated references to the Situationist International made anywhere in the back catalogue of Factory Records can be heard on the three tracks that the Liverpudlian band Royal Family & The Poor recorded for the Factory Quartet compilation: Vaneigem Mix, Death Factory and Rackets. With the first of these we are confronted by a track where the vocalist presents a montage of paragraphs from Raoul Vaneigem's Revolution of Everyday Life that reveal strategies of consumption as a means of reviving a post-war capitalist economy through the creation of needs and expectations that have been accelerated by advertising...

Vaneigem Mix, incomprehensible on a first listen, stood out as both angry and rational at the same time (a kind of praxis) and what may have sounded like a spontaneous outburst soon revealed itself as needing countless listenings so as to crack its theoretical code. It is here where many people first encountered the writings of the Situationist International and it was enhanced by the added musical accent, the phrasing and unwavering conviction of the voice that drew you towards wanting to understand and learn from what was being said.

Iranian parties raided

Police in the Iranian city of Karaj have been busy, busting two parties in a week:

Iranian police arrest partygoers (BBC News, 9 August 2007)

Police in Iran say they have arrested 20 young people at a party in the city of Karaj, north-west of the capital Tehran, on Wednesday night. More than 200 people were arrested a week ago in the same city for attending an illegal rock concert... Police Col Majid Bazmun told the state Irna news agency that police surrounded the building in Karaj where the "decadent gathering" was taking place after acting on a tip-off from a member of the public.

Iran's chief of police, Esmaeel Ahmadi Moghaddam, said that the crackdown of recent months, described officially as the drive to "elevate security in society", would continue as it had proved popular with the public.

Iranian morals police arrest 230 in raid on 'satanist' rave (Guardian 5 August 2007)

'Iran's drive to enforce Islamic morals netted revellers from Britain and Sweden after police swooped on a "satanic" concert organised over the internet. Police arrested 230 people and seized drugs, alcohol and 800 illicit CDs after raiding the event in Karaj, 12 miles west of Tehran. Those arrested included young women in skimpy and "inappropriate" clothing, officers said...

The event included rock and rap performers as well as female singers, who are banned under Iran's Islamic laws. The authorities described the artistes as "satanist" without elaborating. Iran's rulers routinely label much of western-style popular music and culture as decadent. Preparations were kept so secret that revellers were made aware of the venue only hours before the rave.

Last Wednesday's raid occurred during a government-backed "social security" campaign in which police have arrested or cautioned thousands of women whose dress or headscarves have been deemed insufficiently Islamic... Authorities last month doubled the number of officers deployed on morals patrols. Police have been instructed to arrest young men with "western" hairstyles. Those arrested are released only after giving the names of their barbers and making signed commitments to get hair-cuts. They then have to return to the police station to show their new hairstyles'.

Picture of parents of those arrested waiting outside Karaj police station from For a democratic secular Iran

East Anglian Crackdown

Police in East Anglia seem to be continuing with their crackdown on free parties. A couple of weeks ago, 70 baton-wielding riot cops from Suffolk, Norfolk and Essex were sent to stop a party in King's Forest, Ingham (near Bury St Edmunds). 5 people were arrested as lines of police with riot shields closed in from both sides of the crowd.

An 18-year-old told the East Anglian Daily Times, (17 July 2007): “The rave was totally peaceful. We deliberately chose a location which was out of the way and far away from anyone. If the riot police had left us to it, everything would have been fine. Many people were terrified and left with bruises while I know one person who suffered a suspected broken hand as he protected his girlfriend. We just want to go to a party with no fear of violence in a peaceful setting where you can sit in the woods with friends and listen to your favourite music. This won't deter people, in fact it will bring people closer together and make our beliefs even stronger.”

The Suffolk Evening Star (17 July 2007) also quoted a party goer: “A friend of mine was assaulted as he was trying to run away from police. He has a suspected broken hand but when he asked for the officer's number he just laughed at him and said '118 118'. Other officers covered their number badges up so you couldn't see them. They carried out several charges and started beating people up with batons until we were forced to leave".

Steppenwolf

Herman Hesse's novel Steppenwolf, first published in 1928, is an outsider novel whose protagonist, disgusted by German militarism and bourgeois complacency, retreats into self-loathing and isolation like a lone wolf of the Steppes. That is until a series of encounters lead him into a world of bisexual flirtation, sex, drugs, jazz, dancing, 'Anarchist Evening Entertainment' and ultimately a fantasy Magic Theatre where he must come to terms with the illusion of the self.

The book has had an influence on music- its title gave a name to the rock band who recorded 'Born to be Wild', while one of its phrases, 'For Madmen Only', was used by proto-goth band UK Decay for the name of their first album.

For me though the most interesting aspect is its description of dancing. I used to wonder if that euphoric sense of dance as festival was a product of late 20th century electronic music and MDMA, but Hesse describes similar sensations in the 192os in his imagined Fancy Dress Ball where they danced the foxtrot to unamplified sound. Check this out:

'Every part of the great building was given over to the festivities. There was dancing in every room and in the basement as well. Corridors and stairs were filled to overflowing with masks and dancing and music and laughter and tumult… the whole building, reverberating everywhere with the sound of dancing, and the whole intoxicated crowd of masks, became by degrees a wild dream of paradise… the intoxica­tion of a general festivity, the mysterious merging of the personality in the mass, the mystic union of joy... I myself swam in this deep and childlike happiness of a fairy­ tale. I myself breathed the sweet intoxication of a com­mon dream and of music and rhythm and wine and carnal lust…I was myself no longer. My personality was dissolved in the intoxica­tion of the festivity like salt in water. I danced with this woman or that, but it was not only the one I had in my arms and whose hair brushed my face that belonged to me. All the other women who were dancing in the same room and the same dance and to the same music, and whose radiant faces floated past me like fantastic flowers, belonged to me, and I to them. All of us had a part in one another. And the men too. I was with them also. They, too, were no strangers to me. Their smile was mine, and mine their wooing and their's mine.

I had lost the sense of time, and I don't know how many hours or moments the intoxication of happiness lasted…There were no thoughts left. I was lost in the maze and whirl of the dance. Scents and tones and sighs and words stirred me. I was greeted and kindled by strange eyes, encircled by strange faces, borne hither and thither in time to the music as though by a wave... And now a feeling that it was morning fell upon us all. We saw the ashen light behind the curtains. It warned us of pleasure’s approaching end and gave us symptoms of the weariness to come. Blindly, with bursts of laughter, we flung ourselves desperately into the dance once more, into the music, and the light began to flood the room. Our feet moved in time to the music as though we were possessed, every couple touching, and once more we felt the great wave of bliss break over us'.

Fairground Music

No festival seems to be complete without a fairground and in the past week I've been to a couple in London. On Sunday I went to the Lambeth Country Show in Brockwell Park, enjoying the Brixton sun, cider, and Sean Rowley broadcasting his Guilty Pleasures kitschfest show with the help of the Bikini Beach Band (who play surf versions of chart hits - this time including Amy Winehouse's Rehab and 'I bet that you look good on the dancefloor'). The weekend before was The Rise festival in Finsbury Park ('London United Against Racism'), where we saw Saint Etienne before it poured with rain - I blame the band for playing their song 'Lightning Strikes Twice'.

In both parks there were big fun fairs, and as I was spinning upside down at high speed listening to Bob Sinclair's Feel the Love Generation at high volume I pondered the nature of fairground music to distract myself from feeling sick. In both fairs there was a preponderance of chart house, pumping four to the floor beats and melodies simple enough to pick out above the sound of screams and machines. Mid-1990s floor fillers seemed popular - I heard Heller and Farley's Ultra Flava and I Love You Baby in Brockwell Park. Even more anachronistically, The Drifters were being played on one ride. The sound of the old Fair Organ were nowhere to be heard, though you do still come across them occasionally at retro Steam Fairs. I wonder how fair music gets selected - is it just a matter of one of the operators having a Best of Ibiza '95 cd to hand or is there more sophisticated programming at work? Does the music get changed according to the audience (e.g. at an indie or rock festival would the soundtrack change)?. Does music sound different upside down? Further centrifugal investigations are required.

Back to the Classics (1): Gilgamesh

Just how fundamental is musicking and dancing to human experience? To be sure, 'music', 'dance' and indeed 'human' have meant different things to people in different times and places, but it is also clear there are continuities across time and space. As one of my favourite DJs might say, let's get back to the classics and have a look.

First up, there's Gilgamesh, arguably the oldest surviving substantial work of literature. Various tellings of this Babylonian epic tale have been found written on stone tablets some four thousand years ago. The story tells of a king who goes on various monster-slaying, goddess-defying adventures in search of the secret of eternal life only to discover the futility of his quest in the face of human mortality.

In this tale, music and dancing are presented as being very much part of the good life. Making offerings to deities and heroes, Gilgamesh presents ‘A flute of carnelian… for Dumuzi, the shepherd beloved of Ishtar'. Another character is tempted into Gilgamesh's city with the promise that 'Every Day in Uruk there is a festival, The drums there rap out the beat, And there are harlots, most comely of figure, Graced with charm and full of delights'.

The most remarkable section for me is where Gilgamesh encounters Shiduri, a goddess who keeps a tavern at the edge of the world. She urges him to abandon his quest and focus instead on human pleasures:

'But you, Gilgamesh, let your belly be full, enjoy yourself always by day and by night! Make merry each day, Dance and play day and night! Let your clothes be clean, Let your head be washed, may you bathe in water! Gaze on the child who holds your hand, Let your wife enjoy your repeated embrace!'.

This is timeless advice and arguably still holds true for those fighting today in the land where this story was first written (present day Iraq), as well as for the rest of us.

Quotes from the 'The Epic of Gilgamesh' translated by Andrew George (Allen Lane, 1999)

July global round up

This month, rave shut down in England, religious police raid club in Malaysia, and Iceland's first Reclaim the Streets party.

Suffolk, England: Five arrested as police shut down rave ( Evening Star, 16 July 2007)
'Suffolk police today put ravegoers on notice that illegal parties would be shut down this summer.The warning came after scores of officers from across East Anglia were drafted in to break up a rave in a Suffolk forest. More than 70 officers were involved in the operation to stop the party at Ingham, near Bury St Edmunds, and five people were arrested on suspicion of organising the event. Police chiefs leading three units of officers - one each from Suffolk, Essex and Norfolk - said there had been few problems and the rave of up to 1,000 revellers had been stopped relatively peacefully thanks to the number of officers brought in.

The major operation, in which officers also seized sound equipment, follows two similar raves in recent months - one at Parham Airfield and the other at Euston, near Thetford - which both erupted in violence towards the police. Supt Alan Caton stressed illegal raves on privately owned land would not be tolerated in Suffolk. He said: “This is the start of summer and our message is clear. We have a duty to ensure where possible that rural places are not subjected to the noise and disruption that these parties cause. Where evidence is found to identify the people responsible we will do everything we can to bring them to justice.”

A police spokeswoman said officers were called to the rave on Forestry Commission land in the early hours of yesterday: “Our aim was to take swift action to disperse revellers, arrest organisers, seize equipment, minimise damage to land and prevent disturbance to local people.” The illegal party was still going on at lunchtime and ravers leaving the forest clearing insisted they were doing no harm. One, from near Newmarket, said: “It's not upsetting anyone - there are no houses around here. It's just young people having good time"... Tim Root, who lives in the village, said he only heard the rave as he walked his dog and could see nothing wrong as long as the parties were kept out of the way and the revellers left no damage or litter behind.

Malaysia: Nightclub Singer Facing Prosecution (The Star, 16 July 2007)

'The Perak Religious Department (JAIP) will decide on Aug 6 whether to charge nightclub singer Siti Noor Idayu Abd Moin for dressing sexily and “encouraging vice” by performing at a club. JAIP director Datuk Jamry Sury said he would wait for a recommendation from his enforcement personnel after they meet the 22-year-old at the department here on that day. On July 3, the department detained Siti Noor Idayu and several others during a raid at a nightclub in Tambun here.

In a move that drew criticism from non-government organisations, Siti Noor Idayu was ordered to explain why she had “exposed her body” and “encouraged immoral activities” by working at the outlet. However, Siti Noor Idayu had said she was not even drinking and wore a white sleeveless top and long pants when JAIP officers raided the nightclub' (picture of singer in offending outfit).

Iceland: Reclaim the Streets (Indymedia, 14 July 2007)

'REYKJAVIK, July 14th - Today, Bastille-day, around a hundred people raved all over Reykjavik's ring road in a carnaval against heavy industry. Iceland's first Reclaim the Streets began cheerfully as Saving Iceland ran down Perlan and onto Reykjavik's western ring. A clown army danced to the beats down into the city centre. This Rave Against the Machine was organized by Saving Iceland to "reclaim our public space, space to be free to dance, to be free from dreary industrial car culture and to voice a sound of festival in opposition to the grim industrialisation plans for Iceland," says a Saving Iceland activist.

When the crowd descended Snorrabraut on it's way to Laugavegur, the main shopping street, police blockaded the road and there was a standoff for an hour and a half. When the driver of the sound system tried to exit the vehicle, police attempted to arrest him, violently attacking bystanders. A number of people got injured and four arrested. Police went for people's throats, knocked people face down on the ground, leg-cuffed people and smashed a car window. Activists stayed non-violent. The crowd moved on to the police station down the road, and sympathizers welcomed us with a surprise second sound system'.

Video of party here: http://www.youtube.com/watch?v=NenbTc0cQs4

Brooklyn Bridge Street Party

One night of Fire in New York (Village Voice, July 16 2007) :

'Global terror, the NYPD's increasingly restrictive rules governing public gatherings, and a city economy based on honing New Yorkers into efficiency drones has sucked much of the spontaneity from New York City's street life. So it was a rare act of liberation to watch a crowd of thousands—sans permit—swamp the Brooklyn Bridge on Saturday for a renegade street party known as "One Night of Fire."More amazing still, the cops let it happen.

Perhaps the NYPD brass figured there was just no stopping the exuberantly costumed hordes who began converging from both sides of the Brooklyn Bridge at the assigned time of 7:57 pm. Organized via email and listservs, the party came with instructions to "wear white, the more costumed the better. You are the angels that keep this city alive and untamed." People did that and then some, showing up in wings, festooned in sequins and gossamer threads, smothered in white plastic bags, or covered in face paint.

Prodded along by "coaxers" dressed in red and black with flaming cherry motifs, all sorts of drummers, pipers, stilt-walkers, angels, devils, and curious creatures filled both the pedestrian and bike pathways—to the great annoyance of commuting cyclists forced to dismount and wade through what felt like a cross between Mardi Gras, Burning Man, and a Grateful Dead show parking lot.

No one knew where the party was headed, which was half the fun, the point being just to be there and test the bounds of what's possible in this increasingly bounded city. A 9:01, a great whooping went up as a txt msg came through to "follow the cavalry!" That turned out to be a guy in a rubber horse-head pedaling a bike and blaring what sounded like a foghorn. We flooded back into Manhattan and into City Hall Park, where people frolicked in the fountain for several minutes, then on to the Q and R trains to Brooklyn.

It was so packed, it took half an hour just to get on the subway, despite the gyrating exhortations of several half-naked stilt walkers and Carny gals urging people on. For a second, it looked like things might turn ugly when a half dozen cops armed with with assault rifles jumped out of a black SUV on Broadway, accompanied by several police vans. The cops eyed the crowd warily, then just as quickly got back in their SUV. But that was the closest things got to conflict.

Subway cars became moving discos, jammed with marching bands, ravers blaring boomboxes, pole dancers and a guy toting a cooler full of liquor-drenched cherries and other libations. And at Coney Island, police watched as a dozen or so fire twirlers whirled flames on the beach, accompanied by scattered bursts of fireworks. The commanding officer clapped as he ordered the cops to shut down the pyrotechnics. Later these same officers watched as skinny dippers dashed into the waves. They eventually ordered everybody out of the water'.

Pictures by Sarah Ferguson. More reports and pictures at NYC Fashion Geek

Born in the UK

Previous posts have considered the recent 30th anniversary of The Sex Pistols' God Save the Queen and the 25th anniversary of The Falklands War. 1977 is marked in a series at 3am magazine, where (ex)punks like Richard North/Cabut and Michelle Brigandage recall The Summer of Hate as it played out from the Kings Road to Dunstable (some interesting personal photos in this series).

In 1977 I was still at school, old enough to be fascinated by punk but not quite old enough to acitvely participate. So I was intrigued to hear Badly Drawn Boy's recent Born in the UK where he remembers the period from the perspective of being born in 1969, with landmarks including punk, the silver jubilee and the Falklands War:

Where were you in Seventy Six, The long hot summer,

You wanna be a rebel, Then turn your hosepipes on,

With two years to wait, For the sound of Jilted John

Virginia Wade was winning our hearts, She made us want to live

Vicious and his brothers, Were trying to set us free,

But much more than this to you and me, This was the Silver Jubilee,

We made something out of nothing, A sense of loathing and belonging

Some of us were gonna be rich, With the Iron Lady,

Lennon's gone already, Let's post the boys to war,

Oh mother, what're you worrying for,

It's somewhere he's not been before

Then you see the Union Jack, And it means nothing,

But somehow you know, That you will find your own way,

It's a small reminder every day, That I was born in the U.K.

The video is very evocative too, maybe less so if you were born in 1979 or 1989

Dancing in the Service of Thought

Soren Kierkegaard has a great line about ‘dancing in the service of thought’. I don’t think he was really talking about dancing, but it got me thinking about dancing and thinking. Reading lots of books about dance, it has struck me how little consideration is given to what is going on in people’s heads when they are dancing. I guess there’s this Cartesian notion that dancing is something done with the body, whereas thought, the work of the mind, is best suited to quiet contemplation. Hostile critics see dancing as mindless, while others enthuse only over the body in motion.

Sometimes it's possible to be lost in music, but in my experience there’s often a lot of thinking going on, particularly if the physical body gets into a semi-automatic groove and there are no distractons like conversation (well usually the music's too loud). Sometimes there are flashes of insight, sometimes a stream of consciousness - ‘I love this tune – I recognise this sample – I remember dancing to this in Ibiza – I loved that crème brulee we used to have in the café in the old town when we couldn’t be bothered to go clubbing – they’re cute – have I get enough money for another round – I must remember this so I can write about it in my blog - I wish life could be like this all the time – I hate my job – what time’s the last bus - I love this tune’. Awareness of the present slipping betweent the past (memory) and the future (desire). Indeed the tension between actuality (concrete, immediate sensation) and potentiality (abstraction, 'what is not' actually present) that constitutes consciousness for Kierkegaard.

What do you think about when you're dancing? Have you ever written a song, solved a problem or made some kind of breakthrough of thought? If you can't remember perhaps you should try to notice next time, though obviously the act of being conscious of consciousness might partially invalidate the thought experiment!

I wanna be a cosmonaut

Next up in our collection of space-themed songs comes this East London punk obscurity from 1978. 'I wanna be a cosmonaut' by Riff Raff (Chiswick Records) includes the lyrics: 'I should be starring, Just like Gagarin, There’s the place for me... I wanna be a star in USSR'.

Other than being the first punk record from Romford, this is probably most notable for being the first outing on vinyl by one Mr Billy Bragg.

Download - Riff Raff - I wanna be a cosmonaut (MP3)

Remembering George Melly

Just a few months after the death of his former bandmate Mick Mulligan, another of the great jazz ravers has died - George Melly. We have mentioned here before his role in the 40s and 50s revivalist jazz scene in London, seemingly the time when people in England first used the word 'rave' for a party. There's lots more to be said about Melly - as pop culture writer, libertarian, surrealist for a start - but for now here's an extract from his 1965 book Owning Up, describing dance hall venues in the early 1950s (by the way does anyone know where Le Metro club he refers to was?).

During this period the band was rehearsing for its first public appearance... we used the upper rooms of various pubs. I suppose that most of early British revivalist jazz emerged from the same womb. Rehearsal rooms existed, of course, but we never thought of hiring one at that time. They were part of the professional world of which we knew nothing.

Many of these pub rooms were temples of 'The Ancient Order of Buffaloes', that mysterious proletarian version of the 'Freemasons', and it was under dusty horns and framed nine­teenth-century characters that we struggled through 'Sunset Cafe Stomp' or 'Miss Henny's Ball'.

Although we had not yet performed we already had a name. The fashion was for something elaborate and nostalgic. Admit­tedly Humph was satisfied with 'Humphrey Lyttelton and His Band' but he swam in deep water. Among the minnows, names like 'The Innebriated Seven', 'Denny Coffey and His Red Hot Beans', and 'Mike Daniel's Delta Jazzmen' were more typical. Mick decided on 'Mick Mulligan's Magnolia Jazz Band'...

We still played a few jazz clubs, mostly in the provinces, and, due to the fact that several towns still wouldn't license Sunday cinemas, there was the odd concert. Most of our jobs, however, were in dance halls. The dance halls of Great Britain, the halls, that is, where dances are held, can be subdivided into various groups. Start­ing at the top are the great Palais, some, like Mecca, part of a nation-wide chain, others individually owned.

The Mecca Halls are standardized so that once you're inside you might be anywhere in the country. They are run like mili­tary organizations in which the musicians are privates. The band-rooms are full of printed rules: no alcohol to be brought on to the premises (we were actually frisked in some places), no women allowed behind stage except for band vocalists, no frat­ernization with the public. The decor is usually Moorish in inspiration. There are strange bulbous ashtrays on thick stems, a forest of lights sprouting from the ceiling, bouncers with cauliflower ears circling the dance floor in evening dress, revolving stages and managers with safes in their offices and 1930 moustaches.

The privately-owned halls were on the whole a great im­provement. Of course they very much depended on the character of the manager or owner. Some of these suffer from a Napoleon complex. The hall is their Europe, the visiting band­leader an ear which cannot refuse to listen to their grandiose schemes and delusions. Others are friendly and courteous men who ask you in for a drink after the dance and become, over the years, familiar faces in the endless repetitive nomadic round.

The decor of the dance halls outside the big chains was as varied as their owners. Some were luxurious, influenced by the Festival of Britain, given to a wall in a different colour, wall­papers of bamboo poles or grey stones, false ceilings and modern light fittings made of brass rods and candle-bulbs. Others were as bare as aeroplane hangars, or last decorated during the early picture palace era. Mick's inevitable comment as we staggered in with our cases and instruments into these was, 'What a shit-house!'

There was also a series of halls over branches of Montague Burtons and Co-ops. There were always a great many very steep steps to drag the drum kit up. We also played for promoters whose offices were either in London or some large provincial town, but who covered a par­ticular area and hired halls which had other day-time func­tions.

Territorial Halls where the floor was marked out with white lines and there were posters showing muscular young soldiers giving a thumb up in a jungle or diagrams of a machine gun with the parts painted different colours.

Corn exchanges, often rather beautiful nineteenth-century buildings with glass roofs and terrible acoustics. Round the circular walls were little wood-encased partitions with the names of cattle-food firms or grain merchants painted across the back in faded trompe-Foeil Victorian lettering.

Above all the town halls, massive monuments to civic pride in St Pancras Gothic, where we played on stages big enough to seat an entire chorus and orchestra for 'The Messiah', and the young bloods of Huddersfield or Barnsley staggered green-faced from the bar in a vain attempt to make the gents, and were messily sick under a statue of Queen Victoria or the portrait of some bearded mayor hanging above the marble staircase.

The jazz clubs were moments of release and pleasure from this dismal round. We didn't have to change into uniform, we could drink and smoke on the stage, above all we knew the audience would be on our side and that we would only have to play jazz. In London, too, we made a deliberate effort to go on playing jazz for kicks. At the beginning of the week, unless we were away on a long tour, we were usually in town, and every Tues­day we played in a cellar club which catered for French stu­dents and was called 'Le Metro'. The club had a curved ceiling and did look rather like a tube tunnel. Behind the bandstand was painted an unconvincing metro train. The bar had Lautrec posters in it.

Dancing with Emma Goldman

The anarchist Emma Goldman (1869-1940) is perhaps best known today for one quote attributed to her: 'If I can't dance I don't want to be in your revolution'. It seems that she never actually said these words, but in her autobiography Living My Life her joy in dancing is obvious.

At one point she recalls her first ball in St. Petersburg, aged 15: "At the German Club everything was bright and gay... I was asked for every dance, and I danced in frantic excitement and abandon. It was getting late and many people were already leaving when Kadison invited me for another dance. Helena insisted that I was too exhausted, but I would not have it so. "I will dance!" I declared; "I will dance myself to death!" My flesh felt hot, my heart beat violently as my cavalier swung me round the ball-room, holding me tightly. To dance to death - what more glorious end! It was towards five in the morning when we arrived home".

After moving to the United States, she was involved in supporting a strike by Jewish women cloakmakers in New York's East Side in the 1890s, including dances for the strikers: 'At the dances I was one of the most untiring and gayest. One evening a cousin of Sasha [Alexander Berkman], a young boy, took me aside. With a grave face, as if he were about to announce the death of a dear comrade, he whispered to me that it did not behove an agitator to dance. Certainly not with such reckless abandon, anyway. I grew furious at the impudent interference of the boy. I told him to mind his own business, I was tired of having the Cause constantly thrown into my face. I did not believe that a Cause which stood for, a beautiful ideal, for anarchism, for release and freedom from conventions and prejudice, should demand the denial of life and joy. I insisted that our Cause could not expect me to became a nun and that the movement should not be turned into a cloister. If it meant that, I did not want it. "I want freedom, the right to self-expression, everybody's right to beautiful, radiant things." Anarchism meant that to me, and I would live it in spite of the whole world - prisons, persecution, everything. Yes, even in spite of the condemnation of my own closest comrades I would live my beautiful ideal'.

Later in New York, Goldman met the veteran Russian revolutionary Catherine Breshkovskaya known as Babushka: 'At the Russian New Year's ball we greeted the advent of 1905 standing in a circle, Babushka dancing the kazatchokwith one of the boys. It was a feast for the eyes to see the woman of sixty-two, her spirit young, cheeks ruddy, and eyes flashing, whirling about in the popular Russian dance.'

So even if 'Red Emma' didn't say the exact words put into her mouth on posters and t-shirts, it would seem that they were a fair enough representation of her stance.

The picture of Emma Goldman was taken in around 1886 shortly after she left Russia in the wake of anti-semitic pogroms.

Stop the Violence

A sad weekend in London, with two young people out with their friends killed in separate incidents. Annaka Pinto (left), a 17 year old from Tottenham, was shot in the Swan Pub/club in Phillip Lane, Tottenham, North London.

Across town at The Works nightclub in Kingston, South West London, 23 year old Mikey Brown was stabbed to death.

Of course it's not just a London thing - in Miami a 15 year old has been charged with shooting dead Samuel Brown, 16, and Michael Bradshaw, at a party at the city's Polish American Club. Every weekend all over the world there are people being stabbed, shot, raped or beaten to a pulp at nightclubs and parties or on the way home afterwards.

On this site I try to focus on the positive possibilities of people coming together for music and dancing, but despite what I sometimes say I know that parties and gigs aren't really Motherships that lift people away from everyday life (or at least not always). All the shit of this society - violence, machismo, nihilism, addiction, despair - is played out on the dancefloor just like everywhere else. I don't have any great analysis of this, let alone solutions - do you?

Blinkers Instrument

I went to the degree show at Camberwell College of Arts yesterday and was struck by Georgia Rodger's video piece Blinkers Instrument, with its image of a woman plucking at a harp-like instrument physically connecting her eyes and her thighs.

The artist explains at her website: "In the gendered system of musical instrument classification, string instruments are Apollonian - external, public and masculine. In my contemporary response to this subject instead of the string instrument being representative of the external it is internalised and made bodily (as opposed to being worldly) by the player's elongated eyelashes becoming the plucked strings of the instrument. Compounding my subversion of traditional expectations, the blinkers cut off the player's visual perception of the world and force them to become more aware of the internal world. In respect to gender this feature also forces the aversion of the female player's gaze whilst super feminizing her by the ridiculous extension of her lashes". It put me in mind of Joanna Newsom (right) - well obviously she plays the harp, but also perhaps explores a similar territory of the boundaries between private introspection and public performance.

Sheep Farming in the Falklands

The Celebrating Sanctuary refugee music festival last weekend (see earlier post) was rudely interrupted by the sound of assorted airborne killing machines flying past at low altitude. Indeed at Gabriel's Wharf on London's South Bank there was the surreal spectacle of a socialist choir (Raised Voices) performing a version of the Internationale being drowned out by military helicopters.

The occasion was apparently an event to remember the 25th anniversary of the Falklands War. The crowd in Whitehall and around Buckingham Palace was the opposite of the diverse crowd of New Londoners gathered on the other side of the river - mainly white and looking back nostalgically to past imperial adventures. A crowd that cheered Margaret Thatcher in a ceremony that 'concluded with the massed ranks singing Rod Stewart's contemporary hit I am Sailing, with rear admirals, former squaddies, Prince Charles and the prime minister's wife seen joining in'.

The Falklands/Malvinas conflict was a squalid affair. On the one side was the fading Argentinian military dictatorship facing growing unrest, on the other a Conservative government in its first term of office keen to blood its armed forces and rally patriotic support after a year of mass unemployment and urban riots. Over 900 people died in an argument about which flag would fly over a sparsely populated group of islands in the South Atlantic.

The short but bloody war inspired a number of songs, the best of which is undoubtedly Shipbuilding, written by Elvis Costello and Clive Langer for Robert Wyatt, and later recorded by Costello himself on his Punch the Clock album. This lament links the war, unemployment and industrial decline, featuring the lump-in-the-throat lyrical gem 'diving for dear life, when we could be diving for pearls'.

The Argentinian Junta had been sold British arms prior to the conflict, a point highlighted by Billy Bragg in his Island of No Return: 'I never thought that I would be, Fighting fascists in the Southern Sea, I saw one today and in his hand, Was a weapon that was made in Birmingham'. Bragg had only bought himself out of the army in 1981, so had had a lucky escape from being dispatched 'to a party way down South'.

The most sustained assault on the war and its instant mythology came from Crass. When How Does It Feel To Be The Mother of 1000 Dead? was released in 1982 there were calls in Parliament for it be banned. It is a fairly straightforward anarcho-punk anti-war rant with lyrics like 'Throughout our history you and your kind have stolen the young bodies of the living to be twisted and torn in filthy war'. The following year's Sheep Farming in the Falklands is more specific, sticking the boot into 'Winston Thatcher', The Sun newspaper and the monarchy: 'The Royals donated Prince Andrew as a show of their support, was it just luck the only ship that wasn't struck was the one on which he 'fought'?" Their most audacious act was to feature a picture of Falklands 'hero' Simon Weston on their album Yes Sir I Will. The title came from the badly-burned Weston's reply to Prince Charles wishing him to 'get well soon'. For Crass such apparent servility to crown and country simply meant obedience to the war machine.

There were other punk efforts. The Exploited released Let's Start a War (said Maggie one day), while New Model Army's Spirit of the Falklands saw the war as a cynical diversion from the home front: 'The natives are restless tonight sir, Cooped up on estates with no hope in sight, They need some kind of distraction, We can give them that'.

Rod Stewart's Sailing wasn't written for the Falklands (it actually came out in 1977), but this dreadful dirge has twice been pushed into the patriotic service. As well as being adopted as an unofficial anthem for the Navy in the Falklands War, it was also the record that was officially declared as the Number One Single in the Queen's Jubilee Week 1977, widely believed to have been a ploy to disguise the fact that the best selling record was actually The Sex Pistols' God Save the Queen.

Stonehenge

Big solstice celebration at Stonehenge this morning: 'An estimated 20,000 people gathered at the stone circle in Wiltshire, in southwestern England. Dancers writhed to the sound of drums and whistles as floodlights colored the ancient pillars shades of pink and purple, and couples snuggled under plastic sheets.' The authorities now allow a time limited access for the gathering at this time of year, a long way short of the old free festival but a step forward compared with virtually no access at all except for paying customers in the 1990s.

Andy Worthington's excellent book 'Stonehenge: Celebration and Subversion' is the counter-cultural history of people's efforts to gather there. The state's brutal crackdown on the Stonehenge Free Festival in the mid 1980s is covered in depth, culminating in the infamous 'Battle of the Beanfield' on 1 June 1985 when riot police battered and arrested 420 travellers in a field in Wiltshire. The various Druid groups celebrating there are also documented.

Less familiar to me were the gatherings at Stonehenge earlier in the 20th century. A report from 1930 stated that 'Girls and boys danced by the lights of motor-cars which lined the road to the music of gramophones and a complete jazz band'. The following year 'Some erected portable tents by the roadside. Music was provided by several gramophones at various points outside of the enclosure and minstrels enlivened the vigil with mandolin selections'. He includes a great photo from the 1963 summer solstice of crowds including druids inside the stones with 20-odd sharply dressed mods looking down from the lintels.