My Life in Sea Creatures: of crabs and queer clubs

 I have enjoyed reading Sabrina Imbler's 'My life in sea creatures' (2022), a kind of queer marine biology combining descriptions of the sea life and death with autobiographical reflections on race, gender and sexuality.

An account of communities of crabs gathered around isolated vents of hot water in the cold ocean depths segues into memories of Night Crush, a queer night at Re-Bar in Seattle they first visited in 2016:

'We showed up embarrassingly early —the bouncer was eating a ham sandwich by the DJ booth and had to be called to stamp us. We walked to the dance floor, a large black box crowned with a glinting disco ball, and watched the DJ spin Rihanna to the empty room, vocals glancing off the walls, from a booth decorated with a banner reading PAY ME, DO NOT FETISHIZE ME. I danced so hard all night that I didn't pee; my sweat made me as moist as a salamander. There were moments when the whole room vibrated together and I could have sworn my feet left the ground, lifted by the bodies swaying and shrieking around me'.

The club is now closed. In both the sea and the city, 'Oases here, where so few things are certain, inevitably blink on and off. But life always finds a place to begin anew, and communities in need will always find one another and invent new ways to glitter, together, in the dark'.

Swarms of sea creatures encountered at Jacob Riis beach in New York evoke comparisons with the city's annual Dyke March:  'Every June in New York, we swarm. We come from all around, on trains from other boroughs and cars from upstate and bikes over bridges that seem to quake, throttled every few minutes by subway cars careening into open air. However we come, we always recognize one another, limbs stuffed in mesh and netting and leather, teeth bared, nipples out. Our shirts, if we wear them, are emblazoned with the conditions of a world we would rather live in: without TERFS, without ICE, without imperialism...  We meet in a part of Manhattan many of us have no business in, a patch of green surrounded by glass-fronted stores and metallic offices, and once there, we grow larger, friends finding friends and water-getters winding their way through an obstacle course of bodies. We swarm because we are full of the joy of being together, full of anger at the systems that exclude or endanger us, full of hope for the possibilities of the future'

Dave Lawson's Indieprints

Dave Lawson (1972-2021) was a  London and North Wales based artist whose Indieprints series features numerous music themed designs, often inspired by 1980s indie bands and songs. I came across  a display of his works recently at Caffi Caban in Brynrefail,  lots of very striking vintage style images.

Pogues 'Fairytale of New York' as book jacket

'If I could settle down, then I would settle down'
(lyric from Pavement, 'Range Life')

'I will love you til I die, and I will love you all the time'
(lines from Spiritualized 'Ladies and Gentlemen we are Floating in Space' translated into Welsh in this version)

His prints are still available from Indieprints, which has been kept going by family members.

By the way if you find yourself in the Yr Wyddfa (Snowdon area) I strongly recommend checking out Caffi Caban, great coffee and food (including vegan options) and five minutes walk down the road you could be swimming in Llyn Padarn.

Caffi Caban

Llyn Padarn

London queercore 1995: Vaseline, Up to the Elbow, Sick of it All

'Vaseline zine' started out in 1995 'for gay people who love indie and alternative music and want to rage against the scene'. They put on club nights including at the Bell in Kings Cross (later the Cross Bar, today the Big Chill). The period saw a flourishing of 'queercore', riot grrrl and LGBTQ+ indie clubs and bands in the UK - including Sister George, Mouthfull,  Bandit Queen and Sapphic Sluts. 

Vaseline, no. 2 1995 'rage against the scene' - with review of PJ Harvey at Kentish Town Forum, May  1995

Vaseline no.2 (May 1995) mentions that 'Popstarz is a new weekly gay indie night' opening at at Paradise Club with 'indie-pop downstairs and 70s discos and trash upstairs'. Not sure where the Paradise Club was (don't think this was the Paradise Bar in New Cross) but Popstarz went on to be a massive club night moving to the Scala in Kings Cross and continuing for 20 years at various locations. Its founder Simon Hobart died in 2005 (see Remembering Popstarz)

from Vaseline no.5

'Mouthfull' interview from issue 7

My friend Katy Watson DJ'd  at the time at Up to the Elbow, a club night started by the band Mouthful, and then started another night Sick of it All. Here's her brief account of the scene, from an interview I did with her:

'I’ve played music with a few people over the years but we never got it together to be a performing band.  I did try to start a band with my old flatmate Rosanne but it didn’t work out. She had been in a band called The Sluts from Outer Space. We had a very nice drummer we used to rehearse with, I was well into her.

I used to DJ in a couple of gay punky clubs, that was lots of fun. It gives you a focus for lots of record buying, so lots of shopping in Rough Trade. It was very nice doing it, having the motivation to check out lots of new records and you can justify buying them and also I was writing reviews of them for Bad Attitude. 

At first I played music in a sort of indie gay club - Up to the Elbow (the world’s worst name). That had quite an indie music policy, I put in my punky classics as well, like Iggy Pop and New York Dolls. The club was in Islington and sometimes at The Bell, an alternative gay pub in Kings Cross.

 And then after that I bonded a bit with these two gay punks called Rick and Satoshi and we did our own club very positively called Sick of It All (that was Rick’s gloomy American approach to things!). That was more punky than indie sort of gay stuff.  We didn’t do that many nights of it, but it was lots of fun. We had trouble fixing a venue, it was in a different place every time - we did one night at 121 Railton Road, the anarchist centre. Another one we did upstairs in a funny little club place off Warren Street with gold lame curtains and velvet chairs, it was a bit too smart for us..

 It was around the period of riot grrrl with bands like Bikini Kill. We went to two or three Bikini Kill gigs, and hung out with the band including Kathleen Hanna. She’s a very good self-promoter, so we interviewed her for Bad Attitude and she hung out with us in the squat that I was living in at the time. Tribe8, another US queercore band, also came and stayed in Brixton.  It was a very happening time for gay punky/indie bands and female punky/indie bands – the whole riot grrrl thing. We were being very cool and punky with our dyed hair and squatty lifestyle and all that sort of thing'

[notes: you can see Rosanne Rabinowitz in the great Rebel Dykes movie and the Sluts from Outer Space feature on the soundtrack; Katy's Brixon squat where Kathleen Hanna once stayed was at 2 Saltoun Road; I remember meeting San Francisco band Tribe8 in Brixton, in someone's house in Josephine Avenue around this time]

Katy (right) on her way to see Bikini Kill

Good to see some mentions of some of these nights in Vaseline. It seems that the first Sick of it All was at Sol's Bar near Warren Street in July 1995

Sick of it All's first night - 'The philosophy of the club seemed to be 'fuck the common denominator' and the atmosphere was reminiscent of Up to the Elbow. DJs Rik and Katie careered their way through punk, queercore and harder edged indie music, while Satoshi added the je ne sais quoi' (Vaseline no. 5).

The 'punk party extravaganzathon in a huge Brixton squat' in October 1995 was presumably the night at the (not particulary huge!) 121 Centre in Railton Road, Brixton. Katy was involved with the feminist paper Bad Attitude which had an office upstairs at 121.

Vaseline no. 7

Flyer for Sick of it All at 121 Centre, Brixton, 21 October 1995
'A one off punk party for homosexuals, bisexuals, heterosexuals, fags, dykes, and their special "friends" ("gays" admitted at discretion of management)'

I went to a couple of  'Up to the Elbow' nights with Katy on the decks at the Bell (I saw Bandit Queen and the Frantic Spiders) and downstairs at Freedom in Wardour Street. Of the latter I noted at the time (January 1995) that I went  'to 'Up to the Elbow', the queercore club where Katy (DJ KT) does her stuff. It had moved from the Bell (which has been bought by the Mean Fiddler for heterosexualisation) to the Freedom Cafe in Soho. There were a couple of good bands playing - Mouthfull who were a bit Nirvana-like but did a great punkified version of 2 Unlimted's No Limits and Flinch who were more in the Pixies/Throwing Muses mould'.

Katy Watson (1966-2008)

See also:

Remembering Katy Watson

Katy's music column in Bad Attitude (1995)

[thank to MayDay Rooms archive, whose display of Vaseline zines at the radical bookfair at the Barbican library set me off down this wormhole. The bookfair was part of Quiet Revolutions: A Celebration of Radical Bookshops, 26 November 2022]

[updated September 2023 with Sick of it All flyers found at 56a Info Shop]

Monica Sjöö - art of anarcho-feminism, the Goddess and the peace movement

'Monica Sjöö: The time is NOW and it is overdue!' at the Beaconsfield Gallery, London SE11 brings together a large collection of paintings by the Swedish anarcho/ecofeminist artist and activist Monica Sjöö (1938-2005). Some of this work would be familiar in pagan scenes - for instance her paintings have been part of the Goddess Temple in Glastonbury for many years - but less so in the gallery art world which is rushing now to catch up with previously marginalised women artists.

Many of her works feature powerful Goddess figures, standing stones as well as more personal imagery relating to the tragic early deaths of two of her sons. Sjöö was a deeply political figure, going back to her involvement in the anti-Vietnam war movement in the 1960s. An article by Rupert White in the excellent Legion Projects zine 'Monica Sjöö; artist, activist, writer, mother, warrior' notes that in the 1960s 'she became affiliated with Anarchist and Situationist groups' including befriending King Mob in London who 'gave her some contacts in the States, such that in August [1968] 'she was able to travel to New York and stay with pioneering Eco-anarchist Murray Bookchin. Whilst she was there she also met up with Black Mask'.

Becoming more involved in the feminist spirituality movement, Sjöö was very critical of what she termed 'The Patriarchal Occult Thinking of the New Age' which in its focus on the light and spirit she saw as disavowing the dark (including the dark skin), the body (especially the woman's body) and the Earth. She wrote that the 'most frightening aspect of the New Age is its adoption, and perpetration, of a mishmash of reactionary, patriarchal occult traditions and thinking of both East and West, all of which have in common a hatred of the Earth, authoritarianism, racism and misogyny' (Return of the Dark/Light Mother or New Age Armageddon?: Towards a Feminist Vision of the Future, 1999).

She was also critical of Goddess worship separate from political action. In her book with Barbara Mor, 'The Great Cosmic Mother', they argued: 'Nor does the Goddess "live" solely in elite separatist retreats, dancing naked in the piney woods under a white and well-fed moon. The Goddess at this moment is starving to death in refugee camps, with a skeletal child clutched to her dry nipples. The Goddess at this moment is undergoing routine strip-and-squat search inside an American prison. The Goddess is on welfare, raising her children in a ghetto next to a freeway interchange that fills their blood cells and neurons with lead. The Goddess is an eight- year-old girl being used for the special sexual thrills of visiting businessmen in a Brazilian brothel. The Goddess is patrolling with a rifle slung over her shoulder, trying to save a revolution in Nicaragua' (interestingly this is very similar to language of Christian liberation theology).

Women reclaim Salisbury Plain

She became very involved in the 1980s women's peace movement, and in her book 'Return of the Dark/Light Mother' she gives an account of a remarkable 1985 action 'Women reclaim Salisbury Plain' which saw women walking from Avebury to Stonehenge across the military land used for tank exercises:

 'This extremely powerful and empowering pilgrimage was magical and a highly political direct action which as far as I am concerned is a truly spiritual-political women's way... We joined a group of punk women from Greenham sitting within the stones [at Avebury]. Police were also gathering by now, and when we were sitting later at the foot of Silbury having our lunch they approached us and warned us not to entertain any ideas of camping for the night anywhere in the vicinity. We all knew, however that we would sleep on Silbury and by late afternoon we gathered up there.

This was the night of Beltane and we were here to celebrate the Mother. We made a Beltane-fire carefully so as not to damage the mound and then gathered to discuss a possible ritual. By now, we had been joined by the American wise woman/witch, Starhawk' [who] 'suggested that we cast a circle, call in the elements, ground ourselves and dance the spiral dance. We danced and drummed and chanted'

At the end of the procession on 4th May they 'cut holes through the fences and snaked our way into the stones across the field, all the while singing Return to the Mother while police and tourists looked sheepishly on. Our number had by now increased since many women had come from London, Bristol and other nearby places to join us just for the weekend. Once within Stonehenge, we gave the ancient stone-beings loving care and energies and danced for hours amongst them; we meditated, sang, lit candles and dreamed. 

Many pagans and people of the Craft have a love for the land and a reverence for the Earth, but many too do not realise that this is not enough and that one must also take political direct action against those that ill-treat and exploit Her. It was this understanding that fired the women on our walk'.

From the Flames: radical feminism with spirit' (Winter 1998/99). Cover design by Monica

  Sjöö. The contents inside included her poem 'Are there Great Female Beings out there waiting for us to be free?'.  Sjöö certainly thought so and believed she was in some kind of communication with them across time and space.

The exhibition at Beaconsfield gallery, 11 June to 10 September 2022

 

Marching against megadeath - June 22 1980 in London

Peter Kennard's design for the flyer/poster

The announcement of the deployment of a new generation of US nuclear weapons in Europe, coupled with increasing tension between NATO and the Soviet Union, led to a mass peace movement across the West in the early 1980s. In England the first major demonstration against these cruise missiles was called by the Labour Party on June 22 1980, during a brief period when the leadership of the Party were voicing opposition to nuclear weapons.

Around 25,000 people marched in the pouring rain from London's South Bank to Hyde Park.  Speakers included veteran peace campaigner Fenner Brockway,  soon to be Labour leader Michael Foot and the actor Susannah York who told the crowd,  'I refused to accept that 25,000 people here today are one fortieth of a megadeath. I am not a millionth of a megadeath. We are ourselves'.  

The image of the megadeath and mass nuclear destruction haunted the nightmares of young people like myself getting involved in this new peace movement and recurs across popular culture in this period. In its report of the demo, Socialist Challenge noted that 'One of the most striking features of the demonstration was the high proportion of young people who turned out. Groups of friends carried home-made placards calling for an end to war: "Fall in against fallout", "Education not Missiles", "Wage War on Weapons", "Germ Warfare means Nightmare".

'I won't die for Thatcher - stop cruise missiles' badge. According to Socialist Challenge (26/6/1980), 2,000 of these were sold to marchers. The badge was available from Hackney Socialist Education Group.

Socialist Challenge, 12 June 1980

Socialist Challenge front page for the demo - demanding 'Give up NATO', which was not the position of the Labour Party organisers

This is part of an ongoing series on the 1980s peace movement. See also:

The first march against nuclear missiles at Greenham Common,  September 1980

CND Reborn - the Protest and Survive demonstration in London, October 1980

Glastonbury CND Festival 1982

[I am not a particular fan of Socialist Challenge/International Marxist Group but the online archive of this paper is a good source of news on social movements in the period. If you come across other reports of this demo let me know]

Parallel Mothers: History refuses to shut its mouth

Lots to love in 'Parallel Mothers'/'Madres Paralelas' (2021), the latest Pedro Almodóvar film.

One plot thread concerns the uncovering of a mass grave for victims of Franco's fascist forces, very much a live issue in Spain where The Association for the Recovery of Historical Memory (which features in the film) has been leading the movement to uncover the stories, and physical remains, 'of thousands of civilians executed during the 1936-39 Civil War and the 1939-75 Franco regime. It is estimated that 200,000 men and women were killed in extrajudicial executions during the War, and another 20,000 Republicans murdered by the regime in the post-war years. Thousands more died as a result of bombings, and in prisons and concentration camps'.

The film finishes with a quote on screen from the Uruguayan writer Eduardo Galeano

'No history is mute. No matter how much they burn it, break it, and lie about it, human history refuses to shut its mouth'.

The quote in its wider context is as follows:

'Does history repeat itself? Or are the repetitions only penance for those who are incapable of listening to it? No history is mute. No matter how much they burn it, break it, and lie about it, human history refuses to shut its mouth. Despite deafness and ignorance, the time that was continues to tick inside the time that is. The right to remember does not figure among the human rights consecrated by the United Nations, but now more than ever we must insist on it and act on it. Not to repeat the past but to keep it from being repeated. Not to make us ventriloquists for the dead but to allow us to speak with voices that are not condemned to echo perpetually with stupidity and misfortune. When it is truly alive, memory doesn’t contemplate history, it invites us to make it' (Eduardo Galeano, Upside Down: A Primer for the Looking-glass World, New York: Picador, 1998, p. 210).

Nights full of sex and dancing: the New York hot summer of 1967

'There was a hit song in the 1960s by the Lovin’ Spoonful called Summer in the City all about how the days were hot and gritty, everyone looking half-dead, but the nights passionate and fun, full of sex and dancing. That was certainly my experience of the summer of 1967, an especially hot one when New York became a tropical city full of cruising and drinking, of people sleeping without air conditioners on the cindered roofs of their buildings, sharing wine coolers out of Mason jars, and attending late-night horror movies...

When a gay bar would open, everyone would rush there until the police closed it; it wasn’t until 1969, two years later, and the beginning of gay liberation following the Stonewall uprising that gays could freely congregate. At bars like the Blue Bunny, when a plainclothes cop would enter, the overhead Christmas lights would start to twinkle and all the dancing couples would break apart' 

Summer in the city: Edmund White on sex and dancing in 60s New York (Guardian 14 August 2021)

Love is the Message Podcast

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

They describe the new podcast as follows:

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

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

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

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

'And I Dance with Somebody' - Diamonds are Forever & the Yokohama AIDS Conference 1994

In 'And I Dance with Somebody: Queer History in a Japanese Nightclub' (History Workshop Journal, Autumn 2020), Mark Pendleton  reflects on queer spaces, drag and HIV activism (among other things) through the prism of  'a drag-based club night called Diamonds are Forever' which was launched in Kyoto in 1989 and is still going. Pendleton frequented the club while living there in 1998-9 and returned to it recently.

The club was started by the 'artist and activist Furuhashi Teiji, also known by his drag persona Glorias' who while living in 1980s New York  became part of 'the East Village’s burgeoning drag and gay scene centred on the Pyramid Club'. Back in Japan he started the club in Kyoto as well as being involved in 'the radical performance art collective Dumb Type, which challenged social norms around gender, sexuality and identity'.

Pendleton honours the club founders but also warns against 'a narrow focus on creation.. A scene is created, sure, and that act of creation is fundamentally important, but what is created is also experienced by participants, who may or may not be known to the creators themselves and who make those spaces their own through their acts of resistance, or their dance moves'.

In Japan and elsewhere, Pendleton argues, queer spaces can be 'A retreat from the heteronormative world outside. A place to grow into cultures and histories marginalized from that world. That flash of bliss that gives a sense of a future beyond those dull places that fettered us. And a damn fun night of dancing, as a political act in and of itself'.

The 1994 International AIDS Conference in Yokohama

Pendleton highlights the significance of the Tenth International AIDS Conference held in Yokohama in August 1994, a decade into the AIDS crisis and the first event of its kind held outside of Europe or North America. The conference was attended by 10,000 people from 140 countries, with researchers, clinicians, policy makers, community workers, activists and others gathered under the slogan ‘The 

global challenge of AIDS: together for the future’.

Pendleton is critical of a framing of this conference as a culture clash between 'the conservative Japanese society and the western activists' (International AIDS Society), noting that it 'also featured Japanese artists and activists joining with those from elsewhere to remind scientists and policymakers that HIV positive people continued to live their lives through the crisis'. Specifically, Furuhashi and others involved with Dumb Type and Diamonds are Forever  intervened at the conference 'hanging red banners and hosting a party to reflect this insistence and the mechanism through which they understood that life could continue to be realized – collective acts of dancing and love. The AIDS acronym was stripped of its association with illness, stigma and death to become 'And I Dance with Somebody, accompanied by the slogans LOVE POSITIVE in English'.

Yokohama 1994 - image from Mori Art Museum

I attended the Yokohama conference and the party mentioned here so it was great to see this documented, and I thought I would contribute my fading memories of this event and my small collection of documents related to it (I wish I'd taken more photos now of course - I did take some of Yokohama street art which I've featured here before)

'Love Positive' with its slogan 'And I Dance with Somebody' was a series of cultural events, including a Symposium involving the US art critic and ACT UP activist Douglas Crimp. The Love Ball was an evening event taking place in the Plaza in front of the Pacifico Yokohama International Convention Center, the main conference venue. The Ball was described as 'A party to conference participants and the general public' with 'appearances by Diamonds are Forever's drag queens from the Kyoto club scene'. 

'And I Dance with Somebody' - postcard from AIDS Poster Project, Japan

More details are included on this fyler which lists DJ Lala and performers including Ms Glorias (Furuhashi), Simone Fukayuki, Maria Le Reina, OK Girls, Blue Day Girls and others:

As I recall there were a few hundred people there. It wasn't the wildest party, starting as it did in daylight in the humid outdoors, but it was a striking departure from the conference format of endless presentations. The drag acts would certainly have disabused anybody with misconceptions about Japan being a homogenously conservative nation! Of course I was familiar with drag, but I guess the mainstream UK conception of it at the time was of men dressing up as versions of women. If I had to describe it now I would say in Yokohama it was people (who may have defined themselves as men, women or neither) dressing up in outrageous costumes that were beyond anything usually worn by anybody and in a sense beyond gender.

There was a kind of utopian energy, captured in the slogan on this postcard featuring OK Girls, one of the acts participating in the Love Ball: 'O Developed Nations of Desire! O Superpowers of Fantasy' . As described by Pendleton, Japanese slogans on the banners 'imagined a dissolution of binary divisions, whether HIV+/-, man/woman or citizen/foreigner: "I have a dream that my status disappears. I have a dream that my sex disappears. I have a dream that my nationality disappears"'.

 After the performances everyone was invited up on the stage where we danced to disco.

The Plaza venue for the Love Ball (though this photo is of another event at the conference)

My encounter with the Kyoto crew was fleeting but it cheered me up, the conference itself was (understandably) a sober affair. At that point the World Health Organisation was estimating that 6000 people were being infected with HIV every day and that at least 17 million people had acquired HIV world-wide. Medical treatments had not progressed much beyond AZT, which had first been licensed in 1987. There was some positive news at the conference, such as a study that showed AZT could prevent babies being born with HIV to HIV+ mothers. But even the limited treatments available were out of reach of many in Sub Saharan Africa where the  majority of people living with HIV resided.  In her speech at the closing ceremony, 'Noerine Kaleeba from Uganda said that many young women there were asking why, if AZT was effective in reducing mother-to-child transmission, did they not have access to it' (quoted in Orr, Children, Families and HIV: The Global Picture, 1994).

It sometimes felt that such issues were as at risk of being sidelined in the increasingly professionalised AIDS industry of doctors, drugs companies and NGOs. Of course many of these people were doing good work and I was in the latter category myself. But there was a need for a strong activist challenge to put the lived experience of people with HIV at the forefront, and to maintain a sense of urgency.

There were some people in Yokohama from direct action group ACT UP, and they staged a protest at the closing ceremony focused on immigration restrictions on people living with HIV. New York activists reported that  'ten ACT UP members from New York, eight from Paris, and more than 100 members of Tokyo's OCCUR spearheaded several events during the week, including an unprecedented AIDS/coming out march in Yokohama on the opening day of the conference' (The Advocate, 15 November 1994)

ACT UP New York Press Release for Yokohama
(full publication here)

OCCUR (Association for the Lesbian and Gay Movement, based in Tokyo) had established  'The Executive Committee for Learn from PWA and Minorities' in May 1994 and had spent the months leading up to the conference lobbying against immigration restrictions on people with AIDS, sex workers and drug users that would have prevented many people from attending the conference. While some flexibility seems to have applied for the conference, the Committee continued to argue against discriminatory immigration laws and that 'The fight against AIDS has no border and so efforts must be made to assure all PWA/H's [People with AIDS/HIV] freedom of international mobility and to encourage solidarity through global networking, cooperation and actions of community-based organisations'. 

Newsletter published by 'The Executive Committee for Learn from PWA and Minorities'/OCCUR for Yokohama conference (full text of document here)

As well as discrimination against people with HIV, another big issue in Japan at the time was the blood products scandal. At least 1,000 haemophiliacs had been infected with HIV through blood products and those affected were taking legal action against the Government and drug companies for failing to take action when the risk was known. Japan did not switch to heat-treated blood products until more than two years after the US had taken this action.

With language barriers and time constraints I didn't engage with Japanese activists other than picking up their literature and attending the Love Ball. But with the visible presence of OCCUR, Love Positive and the large numbers of young people who acted as volunteers to help conference attendees, there was no sense that Japan was in need of enlightenment from outside. The issue of discrimination, including in relation to immigration, was one faced in most parts of the world.

I didn't do that much networking and socialising on my all too brief visit, I diligently spent my time in conference sessions as I was writing a report on it. I did meet some interesting people though, including hanging out with some folks involved in a HIV prevention project with young women sex workers on the German/Czech border (we went on a trip to see the Amida Buddha statue in Kamakura). With so many people present there must have been many connections made, some with lasting significance. For instance, a meeting in Yokohama led to the foundation of the Asian Pacific Network of Sex Workers.

[Mark Pendleton, a historian of Japan, is conducting research on the Yokohama conference, so I am sure would be interested in any memories or reflections - you can find him on twitter]

Commemorative stamp from Yokohama conference 1994