Turnmills closes

Another London nighttime landmark has closed, following the final weekend of Turmills - the famous club in Clerkenwell. The final record to be played last Monday afternoon was apparently Blue Monday by New Order. Landlord Derwent London is planning to convert the building into an office block.

Turnmills opened as a wine bar in 1985 and came into its own as a club from 1990 when it became the first in the country to be granted a licence to open 24 hours a day all year round. In the mid-1990s it became home to groundbreaking gay nights Trade and FF and then to the Friday house night The Gallery, which started in July 1994 and featured DJ 'Tall' Paul Newman - whose dad John Newman owned the club.

I spent some happy nights at The Gallery and techno club Eurobeat 2000 which was also held there for a while. The pages reproduced here are a hyperbolic article about The Gallery from Muzik magazine (July 1998 - click on them to read) which described it as 'the full-on Northern club night in the middle of London' on the basis of it being an attitude-free night of full-on hedonism in 'a cool venue full of twists, turns and little hideways to indulge in a "bit of the other"'. It is true that the dancefloor wasn't massive, but it didn't matter as there were speakers all over the place and people danced wherever they happen to be standing, by the bar or the pinball machine as well as on the dancefloor proper.

There was also a gallery overlooking the main part of the club. I remember sitting up there on The Gallery's first birthday night in 1995, watching Boy George (who is a tall bloke) walking though the crowd in a T-shirt saying "Hate is not my drug", shaking hands, and heading into the DJ booth to announce himself with Lippy Lou's Liberation, followed by a stampede to the dance floor. I remember wearing a silver sparkly top, girls with fairy wings and a man walking into the toilets wearing a dress and offering round a bowl of bonbons (at Easter 1996 they also gave out chocolate mini eggs at the door). Musically I remember pumped up mixes of disco classics I Feel Love and Do you wanna Funk, Insomnia by Faithless and more than anything else bouncing around under the lasers to Access by DJ Misjah & Tim.

In his book, London: The Biography, Peter Ackroyd mentions Turnmills, seeing it as an inheritor of Clerkenwell's historic reputation for disrespectful nightlife and more broadly as 'the harbour for the outcast and those who wished to go beyond the law'. For Ackroyd, these continuities in London life 'suggest that there are certain kinds of activity, or patterns of inheritance, arising from the streets and alleys themselves', a kind of spirit of place which he has referred to as a 'territorial imperative'. Whether this spirit of Clerkenwell will withstand property developers remains to be seen. Derwent London at least seem intent on exorcising the ghosts of Clerkenwell radical and salubrious past, stating that their business is 'to improve the desirability of people coming to these buildings'.

Here We Dance

Last week I went to the launch of Here We Dance, at Tate Modern. The exhibition aims to look at 'the relationship between the body and the state, exploring how the physical presence and circulation of bodies in public space informs our perceptions of identity, nation, society and democracy. The title derives from a work by Ian Hamilton Finlay, which refers to the celebrations that took place during the French Revolution, and alludes to the importance of social gathering in any form of political action or resistance. Bodily movements and gestures, collective actions and games are examined through media as diverse as film, photography, neon text and performance'.

At the private view there was a performance of Gail Pickering's Zulu - a woman moving around wooden shapes while reciting texts which seemed to be from the Weather Underground and similar 60s/70s urban guerrilla groups. This is powerful material that needs a lot of critical discussion and I am not convinced that playing with it in a gallery context really allows the space for reflection - given that most people viewing it would have no idea of the context or even where these words come from.

For me, the most striking piece is the late Ian Hamilton Finlay’s neon sign Ici on Danse ('here we dance/here one dances') - the words displayed at the entrance to a festival that was held on the site of the Bastille in July 1790 to celebrate the anniversary of the storming of the prison. On the gallery wall next to the sign, there is an accompanying text by Camille Desmoulins:

‘While the spectators, who imagined themselves in the gardens on Alcinous, were unable to tear themselves away, the site of the Bastille and its dungeons, which had been converted into groves, held other charms for those whom the passage of a single year had not yet accustomed to believe their eyes. An artificial wood, consisting of large trees, had been planted there. It was extremely well lit. In the middle of this lair of despotism there had been planted a pike with a cap of liberty stuck on top. Close by had been buried the ruins of the Bastille. Amongst its irons and gratings could be seen the bas-relief representing slaves in chains which had aptly adorned the fortress’s great clock, the most surprising aspect of the sight perhaps being that the fortress could have been toppled without overwhelming in its fall the posterity of the tyrants by whom it had been raised and who had filled it with so many innocent victims. These ruins and the memories they called up were in singular contrast with the inscription that could be read at the entrance to the grove – a simple inscription whose placement gave it a truly sublime beauty – ici on danse’.

The image of dancing on the ruins of the Bastille certainly appeals to me, even if the experience of Desmoulins – a revolutionary executed in 1794 by the new post-revolutinary authorities – suggests that those celebrating should always be looking over their shoulder for those building new Bastilles around the corner.

Neither Washington, nor Moscow, but Eton?

Interesting article by John Harris in today's Guardian looking at the seemingly bizarre phenomenon of English Conservative politicians expressing their love for the anti-Conservative music of their 1980s youth. That Tory leader David Cameron claims to like The Smiths, Billy Bragg and The Jam is not new - the latter particularly amusing as Cameron went to top toff public school Eton, satirised by The Jam in a song that included the line 'Hello, hooray, I'd prefer the plague/To the Eton rifles'. Paul Weller of The Jam at least remains uncompromising about this period according to Harris: "I think they were absolute fucking scum - especially Thatcher, who I think should be shot as a traitor to the people. I still think that, and nothing will ever change my opinion. We're still feeling the effects of what they did to the country now, and probably always will: the whole breakdown of communities, trade unions, the working class - the dismantling of lots of things."

More surprizing was to hear that Conservative MP Ed Vaizey was a fan of avowed trotskyists The Redskins: 'he still treasures a vinyl copy of their sole album Neither Washington Nor Moscow - strap-lined, in keeping with a Socialist Workers party slogan, "but international socialism"'.

The article mentions a day that I remember well: "Bragg has a theory that when he, The Smiths and the Redskins played a benefit for the doomed GLC in 1986, Cameron was probably in the audience". The gig in question was actually the Greater London Council-sponsored 'Jobs for a Change' festival on 10th June 1984, in Jubilee Gardens on London's South Bank. The GLC, then controlled by the Labour Left, was in the process of being abolished by the right-wing Thatcher government. Whatever the limitations of municipal labourism, the GLC did put on some fantastic free festivals in this period. As well as this one with The Smiths, I also saw The Pogues at an event in Battersea Park (1985) and The Damned, The Fall. New Model Army and Spear of Destiny in Brockwell Park, Brixton (1984). These were huge events, 80,000+ plus.

I could hardly forget seeing The Smiths but what sticks in my mind from that time is a feeling of powerlessness not of collective strength. While The Redskins were playing, a group of fascist skinheads stormed the stage. Despite there being thousands of avowed leftists in the crowd and only a few dozen nazis (at most), the former mostly fled in panic. Shortly afterwards a group of anti-fascists punks, Class War and Red Action types found each other and chased the fascists through the crowd - only to be slagged off by other festival-goers for being aggressive and spoiling their party. Later I saw the skinheads returning towards the festival over Waterloo Bridge - when I tried to summon up some interest from stewards I was met with complete indifference. After all these people had only just physically attacked one of the bands playing, nothing to worry about!

In the light of this I would have to reluctantly agree - albeit from a diametrically opposed perspective - with Tory MP Vaizey who is quoted in the Guardian article saying: "People could do all this ranting from the stage, but you knew it wasn't going to change the tide of history."

There are some interesting considerations in this whole discussion about the limitations of pop politics, and despite my loathing of Conservative appropriation of music that I love, I would also question any suggestion that people should automatically let their taste in music determine their political perspective, even if the bands' political perspective is a good one - that way lies the aestheticization of politics and the abandoment of critical thinking.

There is a recording of The Smiths GLC set out there somewhere

Classic party scenes (2): Basic Instinct

It's 1992 and cop Michael Douglas pursues suspect psycho Sharon Stone into a San Francisco club with sex, drugs and pumping sounds by Channel X (Rave the Rhythm) and LaTour (Blue). Jacques Peretti once characterised this as 'The Citizen Kane of club scenes... in which Michael Douglas, playing an Andrew Neil-lookalike in V-neck jumper and no shirt (a sweaty fashion detail signifying middle-aged man smelling out sex) watches Sharon Stone, who taunts his manhood by indulging in a faux-lesbian sex dance'.

Apparently this scene was not filmed in a real club but on a Hollywood film set inspired by the Limelight Club in New York.

Trance Dancing

I originally wrote this article for ‘Head’ magazine where it was published in issue no.10, ‘Altered States’, 2000.

After more than ten years of the instant altered states offered by drugs, dancing and electronic beats it has become almost a cliche for people to see themselves as following the shaman’s footsteps on the dancing ground. A typical example talks of 'techno trance parties as the new contemporary ritual', embodying “the power of ecstatic trance dancing' like 'the temple dancers of Egypt, the ecstatic Dionysian dances in the temples of Greece', Sufis, Native American Sundancers and Australian Aboriginals (Return to the Source).

Music, dance (and sometimes pyshcoactive plants) are certainly key ‘archaic techiques of ecstasy’ (Eliade) used to achieve trance states throughout history and in most parts of the world. But it is misleading to think of a universal, unchanging trance dance. There is a great deal of variation in terms of the kind of music used (and in some cases there is even dancing without music); the bodily movements of the dance, which range from the calm to the frenetic; and the kind of mental state induced. Most importantly, the meaning given to the trance state varies according to the ritual context and the beliefs of the participants.

Clearly there are parallels with modern dance scenes, but it is arrogant to assume that all the various techniques of trance dancing amount to the same thing as staying up all night at a club in South London. It implies that we already know it all, and have nothing more to learn. Considering the differences may be more instructive.

In most settings, trance dance is not just about hedonism (although pleasure is often part of it) or even the mystical state of oneness. Typically, trance involves some notion of possession, with spirits being invoked in a controlled ritual context. These spirits may be ancestors, nature sprites or aspects of Gods and Goddesses. Furthermore these rituals tend to be undertaken not just to achieve altered states of consciousness but to bring about change in the material world, such as curing sickness or making it rain. These rituals can be very complex, with the trance dance only one element. For instance the all night dance of the Navajo’s healing ‘medicine sing’ marked the conclusion of a nine-day ceremonial featuring prayers, sand paintings, sweat baths and medications.

It follows from this complexity that to be able to master the trance experience can take years of training. It is perhaps typical of the commodified New Age spiritual supermarket that people imagine they can achieve the same results for the price of a pill and a ticket.

To say that contemporary mass dancing offers a different kind of trance experience is not to say that it is always inferior. Practitioners of esoteric/magical trance dancing sometimes bemoan the lack of focus for the energy raised in a club or party, but in some ways the key to this experience is precisely the pleasure of abandon and excess without purpose, an anti-economic expenditure of energy without return (Bataille).

There is a clear political aspect to many traditional trance practices. I.M. Lewis refers to spirit possession/trance as a ‘ strategy of mystical attack’ by which people of low social status are able to act and speak in ways which would not otherwise be socially permitted. He gives examples of spirits which possess women and servants, demanding that their husbands or masters treat them with respect or offer them gifts. Since it is the gods or the sprits who are responsible, this ritualised rebellion is tolerated within certain limits, beyond which people risk being labelled as witches or sorcerers.

Trance dancing is also characterised by what the anthropologist Victor Turner calls ‘liminality’ (from the Latin for threshold). This describes the way that people in ritual activity ‘separate themselves... from the roles and statuses they have in the workaday world’ crossing the threshold to a space emphasising ‘equality, anonymity and foolishness when compared with the heterogeneous, status-marked, name-conscious intelligence of the social order’ (Driver).

An example is the medieval phenomenen known as St Vitus Dance or tarantism. In Germany, Holland, Belgium and Italy ‘In times of misery, the most abused members of society felt themselves seized by an irresistable urge to dance wildly until they reached a state of trance and collapsed exhausted... peasants left their ploughs, mechanics their workshops, house-wives their domestic duties, children their parents, servants, their masters - all swept headlong into the Bacchanialian revelry’ (Lewis).

Trance dancing ceremonies often involve reaffirming the bonds between people, between the living and the ancestral dead; between humans, animals and the land. Turner calls this ‘communitas’, a spirit of unity and mutual belonging generated by ritual that is more than simply the fact of living in a common space implied by ‘community’.

Prior to their last stand against confinement in a reservation in the 1870s, the Comanches held an elaborate sun dance: ‘the people danced in bands for five days before the sun dancers themselves danced, drummed and sang for three further days, doing without food and water for the duration of the dance’ (Wilson). We can trace a similar link between dance, community and resistance today. On Reclaim the Streets parties for instance dance music is much more than just a soundtrack. It is the act of dancing together that help creates a collectivity from a collection of isolated individuals, giving us a sense of our power and a vision of a different way of being.

Anybody who has been out dancing in the last ten years will recognise something of their own experience in these ideas of liminality and communitas. (I would add that this applies not just in the self-defined trance scene, but in dance music scenes generally whatever the soundtrack.). Of course, it is possible to criticise this experience as illusory, compensating for, but not challenging the ruling society that denies real community. In this sense, the contemporary dance scene could be said to perform the same role as religion as ‘the heart of heartless world... the opiate of the masses’ (Marx). And there is a truth in this. In clubs you sometimes get an incredible mix of people dancing together, but whatever the feeling of togetherness, at the end of the night some go back to stately homes, some to children’s homes. Yet, however fleeting this feeling, it is never entirely a fiction - even if it only provides a glimpse of how different things could be.

References:

- G. Bataille, Eroticism, 1962.
- T.F. Driver, The magic of ritual: our need for liberating rites that transform our lives and our communities, 1991.
- M. Eliade, Shamanism: archaic techniques of Ecstasy.
- I.M. Lewis, Ecstatic Religion: an anthropological study of spirit possession and shamanism.
- Return to the Source, Deep Trance and Ritual Beats booklet, 1995
- B. Wilson, Magic and the Millenium, 1973.

Clubbing in Luton 1983-87

In the mid-1980s the centre of the musical universe, or at least my universe at that time was Luton in Bedfordshire. For any non-UK readers, this is an industrial town 30 miles north of London – or at least it was at this point, before General Motors closed down the Vauxhall car factory.

Martin at Beyond the Implode has chronicled his memories of the downside of living there in the early 1990s – driving around all night listening to Joy Division on the run from ‘Clubs where you'd pay 10 quid to enter (5 if you were a girl) with the promise of a free bar all night. Pints of watered down Kilkenny Ajax, or single vodkas with a squirt of orange. Bobby Brown skipping on the club's CD-player. Bare knuckle boxing tournaments outside kebab shops’. Sarfraz Manzoor has also painted a less than flattering account of the town in his book Greetings from Bury Park: Race, Religion, Rock’n’Roll (later filmed as Blinded by the Light).

There’s nothing in these accounts I would really disagree with, though only people who have lived in Luton earn the right to criticise it. I would of course defend it against other detractors by pointing out to its interesting counter-cultural history!

I was born and grew up in Luton and give or take some time away at college I stayed there until my mid-20s, spending my last few years in the town as a pretty much full time  anarcho-punk. I think the anarcho-punk stories can wait until another post, but for now lets look at the mid-1980s nightlife, such as it was.

The Blockers Arms

There were several pubs with an ‘alternative’ crowd in Luton around this time – The Black Horse, The Sugar Loaf, later the Bricklayers Arms. But in the mid-1980s the various sub-cultures of punks, psychobillies, skinheads and bikers tended to congregate at one pub more than any other, The Blockers Arms in High Town Road. A hostile local historian has written that ‘During the late 1970s and early 1980s, the pub became a Mecca for some of the undesirable elements of Luton society, it being reported that the pub was used by drug-peddlers, with the result that there was much trouble with fights and under-age drinking’ (Stuart Smith, Pubs and Pints: the story of Luton’s Public Houses and Breweries, Dunstable: Book Castle, 1995). Most of this is true, but of course we all thought we were very desirable!

The micro-tribes gathered in the pub were united in their alienation from mainstream Luton nightlife, whilst suspicious of each other, sometimes to the point of violence. The bikers dominated the pool table and the dealing. The traditional charity bottle on the bar read ‘support your local Hells Angels’, and you really didn’t want to argue with them. Skinheads would turn up looking for a fight, throwing around glasses. Even among the punks there were different factions, albeit overlapping and coexisting peacefully – some slightly older first generation punks, Crass-influenced anarcho-punks and goths. There were the early indie pop kids too, though I don't think anybody called them that at the time (The Razorcuts came from Luton as did Talulah Gosh's Elizabeth Price). The layout of the pub catered for the various cliques as there were different areas – the inside of the pub had little booths (the smallest for the DJ), and there was also an outside courtyard where bands sometimes played. I remember for instance seeing Welwyn's finest The Astronauts there, as well as Luton punk bands such as Karma Sutra and The Rattlesnakes.

I saw in 1984 in the Blockers. There was drinking, singing and dancing, with midnight marked with Auld Lang Syne and U2’s ‘New Year’s Day’. Inevitably Bowie’s 1984 also got an airing. Later in the year it closed down for refurbishment in the latest of a series of doomed attempts to lose its clientele. It reopened only to lose its license in 1986, closing soon after. The pub later reopened and eventually became The Well.

Sweatshop parties

After The Blockers on that New Year’s Eve nearly everybody went on to a warehouse party at 'the Sweatshop' (22a Guildford Street). Luton had once been famous for its hat industry – blockers were one of the groups of workers involved – and there were various former hat factory spaces in the old town centre. One of these was put into action on Christmas Eve 1983 and again on New Year’s Eve – the flyer for the former being recycled for the latter, inviting people to bring their own bottle and dance till dawn for £1. As well as Cramps, Siouxsie and the Banshees etc. there was lots of 1950s music, in addition to what I noted in my diary at the time as drinking, dancing, kissing and falling around. The flyer states 'Dirt Box Rip Off',  a reference to the popular Dirt Box warehouse parties in London at that time.

The space was used a few times in the mid-80s for parties over Christmas and New Year. There was a small room downstairs and a big open space upstairs, I remember one time the banister on the staircase between the two collapsed, and somebody broke their arm. But most people there would surely rather have taken their chances with dodgy health and safety than risked going out in the main clubs and bars of Luton town centre.

I believe Ric Ramswell was one of the people involved in putting on some of these parties. For a while he ran 'Identity',  an alternative clothes shop in Luton. In the 1990s he and his partner Debbie ran London club nights Pushca.

On Facebook, Luton legend Steve Spon (UK Decay guitarist among many other things) has recalled of the final (?) nights 'Think that was run by Crazy Fish and the Lovelite crew [local soul/reggae sound system], I was placed on the door to take the ad fee along on behalf of Crazy Fish with a chap from Lovelite. We were literally glued together all night, not allowing each other out of sight. The party became roadblocked as scores of cars arrived from London after word got out. It became so packed , the stairway collapsed, luckily I don't think anyone was hurt too badly. I think that was the last time at that venue as the venue was getting way to popular for it's size. Crazy Fish, got himself another Technics SL1200 with the help of the proceeds if I remember correctly. This was a portent in Luton of things to come, with underground parties taking a foothold, after the the infamous Milton Keynes parties in Woburn woods gathered large crowds from Luton on warm summer evenings. One such involved the Mutoid Waste Company who drove us around the MK fields in large Dinosaur sculpted Trucks. Then a year or two later Exodus hit the town with thousands hitting the big empty warehouses in town and the empty quarries out of town in the nearby area'.

Tuesday Night Beneath the Plastic Palm Trees

The dominant nightclub culture in the town catered for pringle-clad ‘casuals’ as we derided the mainstream youth fashion of the time. The biggest club was the Tropicana Beach – once known as Sands, it still had plastic palm trees. I often wondered whether it might have been one of the inspirations for Wham’s Club Tropicana, given that George Michael grew up not too far away in Hertfordshire.

With a dress code of ‘casual or interesting but not scruffy’, punks were generally banned and indeed most other deviations from the norm. I remember seeing the organiser of a student disco there turned away from his own party on account of his vaguely hippyish appearance. Of course the people they did let in were often far more dangerous than those outside – once when I was refused entry there were knives outside presumably left behind when people realized they’d be searched on the way in.

I did occasionally go there on Tuesdays, when with punters in short supply free tickets were given out to more or less anybody able to buy a drink – seemingly regardless of age as well as clothes. The music was whatever was in the charts with a DJ who spoke over the records mixing sexist banter with comments designed to police the dancefloor – telling my friends to stop their raucous slam dancing with the warning ‘do you girls want to stay until one o’clock?’ (not sure they did actually).

For one night only in 1984, the Tropicana Beach fell into the hands of the freaks. The local TV station BBC East were filming a performance by Furyo, one of the splinters from the break up of Luton’s main punk band, UK Decay, and all the local punks, goths and weirdoes were rounded up to be the audience.

Strokes and Shades

There were sporadic alternative nights in some of Luton's clubs which offered a bit of diversity. Sometimes they took place on the quieter mid-week nights  - since so many of us were on the dole it didn’t particularly matter whether it was a Tuesday or a Saturday night.

The Stingray Club was one such night which sprung up in various places including Cheers, The Mad Hatter and Doublets. I believe it opened at the latter in May 1983, I noted at that time that  'it has lots of mirrors, a bar, a steel dance floor and opens until 2 am' with music including 'New Order, Bauhaus, Sex Gang etc'. £1.50 in and a 'mostly Blockers set' crowd. Think Derek Smith from pioneering electronic duo Click Click helped set up Stingray, and that Rick Ramswell was also involved.

I think the Stingray Club also used Strokes nightclub, where another occasional ‘alternative’ night called The Gathering was held in 1984,  I also went to a reggae sound system night at Strokes.

Another occasional oasis was Luton’s only gay club, Shades in Bute Street (formerly the Pan Club). In 1983 it hosted Club for Heroes, an attempt at a new romanticish club night with lots of Bowie, Kraftwerk and Iggy Pop. I particularly remember Yello’s ‘I love you’ playing there. There were attempts at robotic dancing -whenever I hear the Arctic Monkeys sing of 'dancing to electro-pop like a robot from 1984' I am transported back to this place. All this for £1 and beer at 82p a pint!

I remember going too to this night at the Unigate Club on Leagrave Road in 1983 (I think). Occult Radio present The Pits, Click Click and World Circus. I believe the latter featured Gaynor,former lead singer with Luton punk band Pneumania.

There was also the 33 Arts Centre, a community arts space with print shop, video and music studios that sometimes put on gigs and events. These and other venues can be viewed in this fine gallery of notorious Luton punk venues.

The Switch

Most of these nights came and went, but there was one which defined Luton’s post-punk nightlife for quite a few years – The Switch.

In the early 1970s, Luton Council became one of the first to embrace the indoor shopping mall in a big way – by bulldozing much of the existing town centre. The Arndale Centre which replaced it opened in 1972 and was for a while the biggest indoor shopping centre in Europe. Needless to say it was, and is, a bland soulless affair but the planners did provide for it to include a pub, originally named The Student Prince and then the Baron of Beef. The name had changed again to the Elephant & Tassel by January 1985 when on a Thursday night – it happened to be my birthday – The Switch held its first night there.

The Switch was to remain at the Tassel for a couple of years, and continued at various other venues into the mid-1990s with the DJs/promoters Nick Zinonos and Bernie James spreading their empire to run nights in Northampton, Oxford and Cambridge.

My time there though was in 1985/6, when Thursday night at The Switch fitted nicely into the Giro Thursday routine of me and many of my friends. This involved picking up our cheques from the government (£39 a week), cashing them at the post office, getting in the vegan groceries and then going home to crimp our hair before heading to the pub and then The Switch. There to drink and dance to songs like Spear of Destiny’s Liberator, Baby Turns Blue by the Virgin Prunes, the Sisters of Mercy’s Alice, Dark Entries by Bauhaus and The Cult’s Spiritwalker. In a departure from the general gothdom the last record was usually 'Tequila' by The Champs.

Tracks like these were to become staples of goth clubs for years to come, but at least we were dancing to them when they were new and anyway Luton can claim to be the town that invented goth. So at least some say on the basis that UK Decay was one of the first punk bands to start referencing horror themes, plundering Edgar Allen Poe and Herman Hesse for inspiration (see 1981 article Punk Gothique). We might also add that Richard North (aka Cabut), sometime editor of Luton/Dunstable punk zine Kick played a significant role in the early goth/ ‘positive punk’ scene – he coined the latter phrase in NME in 1983 and played in one of the bands, Brigandage - you can read his account of being a Dunstable punk at 3am magazine (Dunstable is Luton's next door neighbour).

The Switch sometimes had live music. I recall seeing a band called The Veil there in 1986, strangely enough including some Americans who had been in a band with Bryan Gregory from the Cramps and had ended up living in Luton and working in the local cinema.

The UK Decay website has resurrected a whole virtual community of punks and goths from the Luton area, and includes some good memories of the Switch such as this one: ‘I started going late '84 when I was 16 and it was wild! The most amazing collage of weird and wonderful people…I drank LOTS of DRINKS, got into lots of bands, and dyed my hair various colours. It was where I learnt about wearing makeup as a boy, lots of new bands, subcultures, and of course...GIRLS! It was a life experience, that club, and we all came away changed’.

Another recalls: ‘Oh happy days. 1985 was the start of my new alternative social life and the blueprint to the soundtrack of my life. After leaving school and starting working in the alcohol aisle of Tesco's I was introduced to this cool goth called Karl. He informed me of this goth club under the Arndale called The Elephant And Tassel. After visiting for the first time in the summer of '85 and being lucky enough to obtain a membership straight away, I was born again’.

The same person also remembers the downside: 'I remember also, all too well, getting done over on the way home by an unpleasant man with a half-brick and three mates who objected to my fashion sensibilities…Dressing in black, crimping your hair and spraying it with the contents of one of those big fucking tins of Boots hairspray somehow always managed to cause offence to beer monsters’.

When I recall my time in Luton, violence is always mixed up with my memories- skinheads threatening blokes for wearing make up, bikers beating people up for talking to their girlfriends, drunken arguments with bouncers. In the Switch one night, the DJ got a bloody nose from a guy called Maz - who really put the psycho in psychobilly – just because he hadn’t played his band’s demo tape enough. Then there was gang warfare – Luton Town Football Club’s hooligan firms the MIGs (Men in Gear) and the BOLTs (Boys of Luton Town). At least unlike some of the London firms they weren’t linked to the far right, but the fact that they were racially mixed (white british and african-caribbean) didn’t stop some of them from engaging in a long and violent conflict with the asian Bury Park Youth Posse.

Post-post punk

As the 80s wore on, the punk uniform began to feel restrictive and more to the point anybody with an appreciation for music had to acknowledge that some of the most innovative and exciting sounds were coming out of black music, such as early hip hop and electro. For some reason it was Prince more than any other artist who seemed to provide the bridge which a lot of Luton punky types crossed into an appreciation of this music.

In search of something different we sometimes went to a gay club at the Elephant and Tassel on Saturday night, where there was a diet of hi-nrg pop like Bronski Beat, Divine and Dead or Alive’s You Spin Me Round. In January 1987, I went to another night at the Tassel, Rubber Box, where DJ Crazy Fish (John Harper) played versions of Kiss by both Prince and the Age of Chance. The next week I moved down to London and my days clubbing in Luton were more or less over.

I did use to come back sometimes over the next couple of years and go to The Mad Hatter (which later became Club M), where the Switch had moved to. They played indie stuff upstairs while downstairs there was 80s soul and funk. By this time I was spending more time downstairs than up, down among the casuals who I was now indistinguishable from with my flat top and bomber jacket. Maybe they weren’t so bad after all -well my sister was one – and to be fair as well as intolerant unmusical thugs there was always a hardcore of dedicated soul boys and girls in Luton who took their music very seriously, heading off to Caister for soul weekenders etc. Mind you some of them were still thugs!

That was more or less it for me and dancing in Luton (so far!), although I did make it back to Bedfordshire for a festival put on by the Exodus Collective, Luton’s free party warriors and I also went to a 2011 night put on by their successor Leviticus. And of course I had to go when Exodus put on a party at the Cool Tan squat in Brixton when I was living there in 1995. Some of the old Luton ex-punks were there too, still going strong in an electronic outfit called Big Eye. Having put down roots elsewhere I can’t imagine living back in Luton, but respect to those still trying to make interesting things happen there, some of whom have now been at it for 30+ years.

Vandalism begins at home is a current Luton music site. UK Decay Communities is the best source of Luton punk history, with a gallery of photos that future social historians will pore over as a record of subcultural style in an English town in the 1970s and 1980s.

See also clubbing in 1984 in London, Sheffield and Manchester.

Updated August 2022 with additional Switch and Rubber Box flyers found at Friends of the Switch Club facebook group.

Note: a lot of people seem to end up at this post looking for information about Luton Town FC 1980s football firms, as I mention MIGs and BOLTs. So do quite a few people in comments - yes it's true that Luton hooligan face 'Badger' -Daniele Luciano Moskal - became a born again Christian and evangelical writer. Not quite my scene but I am a lifelong Hatter and I think quite a few of the old Luton punks can say likewise. Indeed it was because UK Decay/Furyo singer Abbo (Steve Abbott) became manager of US indie band Pavement that members of that band were sometimes seen in Luton shirts in the early 1990s.

Pavement singer Stephen Malkmus in (I think) 1992/3 Luton Town away kit

Neil Transpontine (2022),  Clubbing in Luton 1983-87  <https://history-is-made-at-night.blogspot.com/2008/02/clubbing-in-luton-1984.html>. Published under Creative Commons License BY-NC 4.0. You may share and adapt for non-commercial use provided that you credit the author and source, and notify the author. First version published 2008.

Other Luton writings:

How it all began (for me): a School Kid against the Nazis in Luton 1979/80

Blinded by the Light - memories of racism and job cuts in 1980s Luton (including the Luton Youth Movement)

Luton Nuclear Disarmament Campaign go to Greenham Common 1980

The Luton Riots of 1981 - 'Brixton comes to Bedfordshire'

The Hunger Strike, the Irish War and an English Town

Karma Sutra, Luton anarcho-punk and hunt sabbing

Luton anarcho punk squat party 1985 at the unemployed centre

Dole Days in Luton: unemployed protests, 1985

We are Luton - opposing the English Defence League in 2012

'Angry White People' book review (in Datacide magazine)

Clubbing in Manchester 1984

From i-D magazine, no.21. December 1984/January 1985, Manchester listings by Wiganovski:

Berlin, King Street: Ballroom Blitz every thursday, adm.75p for members. 15 years of glitter from Bolan to Bauhaus, all drinks 60p till 10.30. Friday House Of Noise, the ultimate dimension in terror! Subversive and underground classics from the last decade.

Cloud-Nine, 15 Cross St: Sats, Alternative party night, Alan Maskell & Dave Booth DJ. Wed &: Thurs bands and disco, only £1.

The Ritz, Whitworth St, round the corner from Oxford Rd station. Monday night.
Archway 66 Whitworth St West, Mon-Sat 10-3 (bar to 2am) Hi tech, macho men and trendies. Tues: men only, free membership with UB40.

Heroes. Ridgefield St, off John Dalton St. Wed-Sat 10-2, Sunday 9.30-2 (special sunday membership). Thursday (Powerhouse) mixed. Other nights mainly men and mainly High HRG.

Jilly’s Rock Club, 650 Oxford St Manchester. Fri &: Sat rock music 8-2. Alternative night every Thursday 60p admission, drinks 60p.

Hacienda, 11-13 Whitworth St West. Fridays when no gigs adm.50p before 11pm, most drinks 60p, special offers on cocktails. Tues: l hometown gig.

Band on the Wall, 25 Swan Street, live music 6 nights a week.

See also 1984 clubbing in London, Luton and Sheffield

Clubbing in Sheffield 1984

Article by Marion Moisey from i-D magazine, no.21. December 1984/January 1985.

'It seems that at some point or other everyone in Sheffield goes to The Leadmill - and for good reason. It's practically the only place that offers varied live entertainment. Open 9am-2am, Day and Night, every day a different treat. During the day are a whole array of workshops, going from music, video, drama, pottery, jewellery, graphic design, circus training (fire-eating to juggling) ..... most of these workshops are free, and if not they will cost you just the price of the materials you use. While having a drink or a meal at the cafe, take in the entertainment:

Friday & Sunday see jazz or blues, other days anything from lunchtime theatre to string trios or school brass bands. Things really hot up at night though: Monday is theatre night. Tues: "Name" bands. Wed: Jazz 8-11pm, then 60s disco. Thursday: The Famous Door Club, adm. 50p. Friday: La Videoteque club. Saturday: Live bands (preferably local) & club. Sunday: 'Punk' gigs. The Leadmill, 6/7 Leadmill Rd.

Other clubs to check out:

- SIN BIN at Turn Ups, Wed 10pm-2am, adm. £1. The sort of music you might hear is The Sweet, Mud, T-Rex etc.
- THE LIMIT, on West St. Best nights Monday (free before 10, £1 after that) and Friday (£1.50 before 11 , £2 after that)
- WIG WAM, Saturdays at Mona Lisa's, 9pm-2am, adm. 75p. Hot Funk!
- ROCKWELLS on West St has live bands on Mond & Wed, pub hours.
- GAY BOPS: Every Friday at Stars on Queens Rd; Once a month on Friday at the Top Rank.

JYM, D.J. at The Leadmill top 10:

Dr Beat, Miami Sound Machine
Get Up Offa That Thing, Tony Baxter
Walk Alone, Sisters Of Mercy
In The Mood, Glen Miller
Out Of The Flesh, Chakk
Sensoria, Cabaret Voftaire
Ignore The Machine, Alien Sex Fiend
We Are Family, Sister Sledge
I Like Plastic, Marsha Raven
Gutter Hearts, Marc Almond

PAUL, D.J. at The Limit top 10:

Out Of The Flesh, Chakk
Sensoria. Cabaret Voltaire
Attica, Spear of Destiny
Walk Away. Sisters Of Mercy
I'm So Beautiful. Divine
Heartbeat. Psychedelic Furs
Why, Bronski Beat
Slippery People. Talking Heads
Fever Cars, Hula
Bonnle & Clyde, Papa Levi

Photo caption: ' Wendy and Yasmin make clothes - Just for friends and things like that. They listen to Bauhaus, U2, Siouxsie and The Cramps, go to The Limit, and given a chance to make good in a second life, would give it all up to be ‘another punk’. They're showing off their self-made clothes, self-styled hair and shoes at Rebino'.

See also: Clubbing in London 1984 and Manchester 1984 and Luton 1984

Clubbing in London, 1984

The following club listings come from i-D magazine, no.21. December 1984/January 1985. I wasn't around then but even allowing for i-D's selectivity, there doesn't seem to have been a lot going on. This impression is confirmed by an item in the magazine by Nick Trulocke, i-D's club correspondent:

‘Saturday has always been the night for dressing up, getting down, and putting the Big F into Fun. So no surprise that the biggest small-talk subject around town is about Saturday night bops - or rather the lack of 'em. Confirmed liggers are making do with hard times and a host of unoriginal and uninteresting, not to mention, uncomfortable warehouse parties. The Meltdown. Club Somethin’ Else, Fallout Shelter, The Dirtbox (again) and Where’s Johnny? all cashing in on helpless liggers and messing up those pretty paisley threads. Needless to say – somethin’ better change!’

Monday

- Club Sex run by Vodka Posse. DJ Danny and John play music across the board. Admission £3.00 Burlington Arcade, 52 Piccadilly W1.
- The Snatch. Fun and Funk. Admission £2.50 at Legends, 29 Old Burlington St.

Tuesday

- Straight night at Heaven. Admission £.300. 10 pm – 3am. Under the Arches, Villiers St. WC2

Wednesday
- Kit Kat Club, run by Simon Hogart. Punk funk for £3.00 10 pm-3am. Fouberts, 18 Fouberlt Place W1
- Batcave, nocturnal entertainment, admission £3.00 9pm-3am at The Cellar (behind Heaven). - H.E.D.S, at Crazy Larry's, 533 Kings Road SW1. 9.30pm-2am, admission £3 or £2 before 11 pm.

Thursday

- Fresh on Thursday run by Neville and Spike, Funk and disco 9.30pm-3am. £2.50 al Legends 29 Old Burlington St.
- Asylum at Heaven. Admission £3, Hi-Energy and Disco.
- Pink Panther DJ Graham Vine plays Hi-Tac, from 12.00 – 5.30am admission £3. 57 Wardour St.

Friday

- Black Market at the Wag, admission £4. Electro, soul jazz and reggae. 10pm-3am. 35 Wardour St, W1
- Mud Club run by Phillip Salon. DJ Jay Strongman and Tasty Tim, 10pm-3am. Busby's, 157 Charing Cross Rd, WC2
- Life run by Steve Swindle. DJ John plays Hi-Funk. 10pm-3am, admission £3 at Fouberts, 18 Fouberts Place W1.

Saturday
- Do-Do's at Busby's, 157 Charing Cross Rd, London WC1. 10pm-4am, admission £4 or £3 before 11 pm.
- Culcross Hall, music across the board played by DJs Noel and Morris, 11 pm-4am, admission £2.50. On Battlebridge Rd, off Pancras Rd, Kings Cross.

Sunday

- The Boudoir at the Donmar Warehouse, Earlham St, London WC2, admission £2.50.

Meanwhile, here's a few Christmas Dos NOT TO BE MISSED in the capital: The Mud Club Christmas Ball at Heaven, Dec 24th, The Wag Club Christmas party, Dec 20th. Do-Dos’s Santa Claus Soul party at Busby's, Dec 11th. The Circus- Date'n' Venue to be announced and don't forget! The Wharehouse.

- Function at the Junction at the Wessex Suite Clapham Junction, Dec 14th, Christmas Party night, members £2.50, guests £3.00. An evening of 60s soul, a dab of R'n'B and the best footstompers.

- Calling all Bowie Fans - Starzone, official David Bowie fan club magazine, is throwing a pre-Christmas bash at the Wag on December 4th. Live music from Boysie surprize guests, adm. £5.

- i-D night no.1... location DoDo's at Busby's, Charing Cross Rd, Tuesday December 4th, time 11 pm - late, Adm. £3.

See also Clubbing in 1984 in Sheffield, Manchester and Luton.

Songs about dancing (1): Those Dancing Days

There's music to dance to, and then there's music about dancing (which may not even be very danceable). Sometimes a song is simply an exhortation to dance (move that body etc.), sometimes its an attempt to evoke the feeling of dancing or to tell the story of a particular night out, good or bad.

First up in a series of songs about dancing is this slice of Swedish indie pop by Those Dancing Days, a song of the same name that goes: 'High on life, in love with me, dancing in the night, dancing through the days... Living for music, living in a dance, music for life, those dancing days'. OK it's not Shakespeare but I like the bubbly exuberance and sense of music as a lifeforce.

Colette: sex and dance in Fin de Siecle Paris

The French novelist Sidonie-Gabrielle Colette (1873 -1954), known as Colette, lived life to the full in Fin de Siecle Paris, a period described by her biographer as ‘the era of cranks and seances. Alchemists have their followings. So do Krafft-Ebing and Sacher-Masoch. It is chic to have a violent or perverse death... The ranks of Gomorrah swell with the wives of bankers and politicians, as well as with the cabaret singers and laundresses of Montmartre. Like everyone else, Schwob provides himself with an exotic servant and an opium pipe. Like everyone else, Judith Gauthier embraces the Orient and takes a female lover. Wild animals, especially felines, become popular pets’.

In 1905, Colette began a lesbian affair with Mathilde de Morny, known as Missy: ‘By the end of the year Colette had formally entered Lesbos on Missy’s arm. “With such insignia as a pleated shirtfront, a stiff collar, sometimes a waistcoat, and always with a silk pocket handkerchief, I frequented a dying society on the margins of all societies”. There were discreet parties in Neuilly to which the guests wore “long trousers and tuxedos”... There were clubs whose specialities were fondue and dancing, and cabarets where the blue haze of cigar smoke hung over a zinc bar and a contralto with a fake moustache sang Augusta Holmes. Mostly, there were late nights, curtained carriages, and opera cloaks that concealed the forbidden male attire. There was cruising in the Bois between ten and noon, and on the Champs-Elysees between four and dusk... There was a code of signs and gestures: a certain glance, a certain dog”.

In public, women's behaviour was sometimes tightly policed - for instance women were not allowed to wear men's clothes. In 1906 at a masked ball in Nice ‘when Colette began waltzing with a "svelte, supple blonde" in a satin train, she felt an arm on her shoulder and heard the brusque voice of a bouncer advising them to "separate, if you please, ladies. It’s forbidden here for women to dance with each other’’'.

In January 1907, Collete caused a scandal when she performed at the Moulin Rouge in a short dance piece called Reve d’Egypte. She played a mummy who ‘comes back to life in a jeweled bra, slowly and seductively unwinds her transparent wrappings, and at the climax of the dance, passionately embraces the archaeologist’ who discovered her – the latter role played by her cross dressing lover Missy. The Moulin Rouge management hoped for a sensation when it opened and they got it – wealthy opponents filled the theatre with hired thugs and when the curtain opened ‘The stage was immediately bombarded with coins, orange peels, seat cushions, tins of candy, and cloves of garlic, while the catcalls, the blowing of noisemakers, and shouts of ‘Down with the Dykes’ drowned out an orchestra of forty musicians... When the archaeologist took the unwrapped mummy in ‘his’ arms to give her a lingering and unfeigned kiss, the uproar reached a fever pitch’. The next night a man played the male part, by order of the police.

At the end of the First World War, Colette was still roaming the streets of Paris looking for ‘new sensations’ in the company of her friend Francis Carco: ‘He introduced Colette to those picturesque little clubs of the place Pigalle where pimps, thugs and their molls danced the java to accordion music, and where the tables were bolted to the floor so that they couldn’t be smashed up in the nightly brawls. Once says Carco, he took Colette to a dive in the rue de Lappe owned by Marcel Proust’s former valet. When the police made their usual entrance, swinging fists and nightsticks, the baroness de Jouvenal [Colette] climbed on a table and shouted ‘Hooray! At last, a bit of fantasy’.

Source: Secrets of the Flesh: a life of Colette – Judith Thurman (London: Bloomsbury, 1999)

They reel'd, they set, they cross'd, they cleekit,

A low key Burns Night tonight (compared with last year's). There's a vegetarian haggis in the oven and a bottle of Laphroaig in the cupboard, but I'm not particularly in the mood for socialising right now. In a minute I am going to terrify the kids by blasting away on my dad's old bagpipe chanter (like him and Laphroaig, also from Islay), something that I have still to learn to play.

If you've never read any Robert Burns (25 January 1759 – 21 July 1796), can I just recommend a look at his Tam O'Shanter, a tale of a drunken night and stumbling on 'a dance of witches' on the way home?

'Warlocks and witches in a dance;
Nae cotillion brent-new frae France,
But hornpipes, jigs strathspeys, and reels,
Put life and mettle in their heels.
A winnock-bunker in the east,
There sat auld Nick, in shape o' beast;
A towzie tyke, black, grim, and large,
To gie them music was his charge:
He scre'd the pipes and gart them skirl,
Till roof and rafters a' did dirl....

As Tammie glowr'd, amaz'd, and curious,
The mirth and fun grew fast and furious;
The piper loud and louder blew;
The dancers quick and quicker flew;
They reel'd, they set, they cross'd, they cleekit,
Till ilka carlin swat and reekit,
And coost her duddies to the wark,
And linket at it her sark!

Or in English:

Warlocks and witches in a dance:
No cotillion, brand new from France,
But hornpipes, jigs, strathspeys, and reels,
Put life and mettle in their heels.
In a window alcove in the east,
There sat Old Nick, in shape of beast;
A shaggy dog, black, grim, and large,
To give them music was his charge:
He screwed the pipes and made them squeal,
Till roof and rafters all did ring...

As Thomas glowered, amazed, and curious,
The mirth and fun grew fast and furious;
The piper loud and louder blew,
The dancers quick and quicker flew,
They reeled, they set, they crossed, they linked,
Till every witch sweated and smelled,
And cast her ragged clothes to the floor,
And danced deftly at it in her underskirts!

There's some interesting Scottish dialect words in the light of later wider usage - Burns uses 'dub' to mean 'mud', and 'cutty sark' - the name of a famous tea clipper now in Greenwich - means a 'short skirt'.

Ghost Dance

‘All Indians must dance, everywhere, keep on dancing. Pretty soon in next spring Great Spirit come… All dead Indians come back and live again. They all be strong just like young men, be young again. Old blind Indian see again and get young and have fine time. When Great Spirit comes this way, then all the Indians go to mountains, high up away from whites. Whites can't hurt Indians then. Then while Indians way up high, big flood comes like water and all white people die, get drowned. After that. water go way and then nobody but Indians everywhere and game all kinds thick. Then medicine man tell Indians to send word to all Indians to keep up dancing and the good time will come’ (Wovoka, the ‘Paiute Messiah’).

In the wake of military defeats and conquest, millenarian hopes of divine intervention spread among the desperate Native American survivors of the West in the 19th century. The most widespread movement was the Ghost Dance, at the heart of which was the hope that a better world could be brought into being through dance. In 1870, a prophet called Wodziwob amongst the Northern Paiute people (who lived on the California/Nevada border) told of a vision that the ancestors would return on a train, the whites would disappear and heaven would be created on earth. ‘These miracles were to be hastened by ceremonial dancing around a pole and by singing the songs that Wodziwob had learned during a vision’ (Farb). Although the movement faded away, it was revived twenty years later by Wovoka the prophet, son of an assistant of Wodziwob. In his vision he was told by God ‘about a dance that the people must perform to bring the dead Indians back to life again, for the dance generated energy that had the power to move the dead’ (Farb).

The dance spread quickly to the Cheyenne, the Sioux and many other tribes. Some wore ‘ghost shirts – dance shirts fancifully decorated with designs of arrows, stars, birds, and so forth’ believing that they could ward off bullets. In 1890 Kicking Bear and his brother Short Bull brought news of the movement to Sitting Bull of the Sioux. Kicking Bear told of a vision he had of Christ: ‘Kicking Bear had always thought that Christ was a white man like the missionaries, but this man looked· like an Indian. After a while he rose and spoke to the waiting crowd. ..”I will teach you how to dance a dance, and I want you to dance it. Get ready for your dance and when the dance is over I will talk to you”… They danced the Dance of the Ghosts until late at night, when the Messiah told them they had danced enough.’ (Brown)

“By mid-November Ghost Dancing was so prevalent on the Sioux re­servations that almost all other activities came to a halt. No pupils appeared at the schoolhouses. The trading stores were empty, no work was done on the little farms. At Pine Ridge the frightened agent tele­graphed Washington: 'Indians are dancing in the snow and are wild and crazy ... We need protection and we need it now. The leaders should be arrested and confined at some military post until tbe matter is quieted and this should be done at once’.'' (Brown)

Orders were given to arrest leaders of the movement, and on December 15 1890, Sitting Bull was killed during an attempted arrest. Two weeks later at Wounded Knee Creek a group of Ghost Dance believers – 120 men and 230 women and children – were surrounded by the US military. They opened fire indiscriminately, killing between 150 and 250 people. It was the last stand of the Ghost Dance.

Sources: Man’s Rise to Civilisation – Peter Farb (1969); Bury my Heart at Wounded Knee – Dee Brown (1970). See also: Comanche Sun Dance.

Nazis and Jazz

The Nazis were hostile to jazz on racist grounds and various restrictions were placed on it. A complete ban was impossible to enforce, partly because it was difficult to define exactly what it was: "Americano nigger kike jungle music... The quote is from Joseph Goebbels, who had banned jazz, along with foxtrots and the tango. Although repulsed by the 'terrible squawk' of jazz, he soon realized that swing between the harangues held listeners. The extent of the ban and the definition of the music had both been vague anyway".

An example of racist anti-jazz propaganda is an article 'Swing and Nigger Music Must Disappear' by 'Buschmann' from the 6 November 1938 edition of a Stettin newspaper: 'Disgusting things are going on, disguised as 'entertainment'. We have no sympathy for fools who want to transplant jungle music to Germany. In Stettin, like other cities, one can see people dancing as though they suffer from stomach pains. They call it 'swing'. This is no joke. I am overcome with anger. These people are mentally retarded. Only niggers in some jungle would stomp like that. Germans have no nigger in them. The pandemonium of swing fever must be stopped… Impresarios who present swing dancing should be put out of business. Swing orchestras that play hot, scream on their instruments, stand up to solo and other cheap devices are going to disappear. Nigger music must disappear'.

The nazi stance was admired by racists elsewhere in Europe. In Denmark Olaf Sobys wrote 'Jazz Versus European Musical Culture' (1935) arguing: 'Jazz was not born in nor has it ever been integrated into European culture. It was introduced from the violent need of a primitive race for rhythmic ecstasy and cannot grow organically here. It repre­sents mankind's lowest bestial instincts. Jungle jazz rhythm is an expression of the primitive Negro's erotic ecstasy... The fact that the white race tolerates this sort of thing indicates our culture's decline. Denmark should follow Germany. When Hitler banned jazz, it was a great idealistic act.'

In countries under Nazi occupation, and indeed Germany, jazz sub-cultures survived in the face of official hostility and persecution. In France, there were the Zazous:

'Zazou boys wore pegged pants with baggy knees, high rolled English collars covered by their hair, which was carefully combed into a two-wave pompadour over their foreheads, long checked jackets several sizes too large, dangling key chains, gloves, stick­pins in wide neckties with tiny knots; dark glasses and Django Reinhardt moustaches were the rage. The girls wore short skirts, baggy sweaters, pointed painted fingernails, hair curled to their shoulders, necklaces around their waists, bright red lipstick... They spent a lot of time in cafes, on the Champs Elysees or in the Latin Quarter... On Sundays they took portable gramophones to little exurban restaurants, played their swing records loud and danced...

The Zazous took nothing seriously. They opposed the regime by ignoring it, which was a political act whether they knew it or not. Wearing long jackets with wide collars and plenty of pleats is a political provocation during a highly publicized campaign for sartorial austerity. From time to time the police would raid a Zazou cafe and take them to the prefecture. They would be questioned and have their papers and addresses checked. Some were sent to the countryside to help with the harvest, after a haircut of course. One newspaper wrote: 'We are of the opinion that when the rest of the continent is fighting and working, the Zazous' laziness is shameful. The young men without their hair or collars now are going to get healthy sweating in the July sun, the girls will soon have thicker ankles, freckles on their sweet noses and calluses on their dainty hands. And then the world will be back to its natural order.'

'Danish "Swing Crazies" wore the same costume and hair-dos as the Zazous, they jitterbugged and were described by one journalist as 'an example of the depraved upper class and the result of too much permissiveness on the part of parents and teachers'.

All quotes from 'La Tristesse de Saint Louis: Swing Under the Nazis' - Mike Zwerin (London: Quartet, 1985). See also: The White Rose and Zazous

Pop! What is it Good For?

Lots of programmes about English pop music since World War Two on BBC4 in the past couple of weeks, some of them featuring the usual lazy mix of received wisdom and the same old clips of footage you’ve seen a million times before. Paul Morley though can usually be relied on for some intelligent perspective and I enjoyed his Pop! What is Good For?

At one point Morley asked Robert Wyatt what a pop song is for, in the context of his memories of the first wave of pop in the 1950s and specifically Adam Faith’s What do you want? (1958). Wyatt’s answer, aside from some time and place-specific details, could surely still apply today: “it connects you with other people. You’ve got the scene here, you’ve got the cafe, the jukebox... you’ve got girls there with their pink lipstick on. And silence, except... awkward conversations. Then you put on the jukebox then suddenly the whole room, everybody knows it, everybody can tap their feet to it. It makes a big full warm living thing out of the room where it was cold separate isolated individuals before”.

Machine Music in an Age of Sweat

The following is an extract from 'Machine Music in an Age of Sweat' an article by Fishtoe published in the Glasgow-based libertarian magazine Here & Now, no.16/17, 1996. In a way it is typical of some of the breathless writing from that time, when in the excitement of new intensities of noise and sweat the North West Passage seemed to have been found that would bypass all previous political and cultural efforts via the dancefloor. Also here is the dawning of the realization that maybe the moment was passing, or maybe the moment is always already passing... just as it is always already becoming for the next unjaded person coming along.

Techno is re-routed machinery. It is not metaphoric. It does not show us what could be achieved in the real world. It is a practical example of the seizure of the means of production, in this case weapons technology and found sounds; and the transformation of intended purposes through a technique of melting juxtaposi­tions. The reality produced by techno machines is radically different and the vistas of possibility opened up are far wider than that envisioned by those who advocate the seizure of state power, or workers' control. The shaping of mass behaviour through the generation of aural ambiences is of greater significance for free desiring production than anything dreamed of through imposed political directives.

Techno is hardness. It forbids the seepage of humanity into its impervious structure. It is pure grounding, without mediated spirits disguising its nature. It is without representation, there are no mirrors. Movement must always be away from it. It is an architecture, shaping the possible movements and consciousness of those who skate its grooves. Techno is a surface.

However a certain slackness has appeared at the centre of the techno project, a contentment that reduces it to less than shopping mall muzak (a form that at least fulfils its own function, causing distraction from itself and attracting attention to its visual perception). For music to be negative it was usually enough to rely on loudness and speed, flooding received behaviour with tempo­rary excitations which would override the reality principle. Any other formula must be considered affirmative in its relation to social production, only extremity is true. The Future Sound of London are most prominent in the unreserved positivity felt by techno-groups towards the technology used. This is compounded by a seepage of good vibes generally into ambient; New Age affirmations of spirituality strain upwards towards the light, severing all awareness of anal capital, such anti-materialisms are the essence of cringeful vulgarity.

That dance culture which is entirely celebratory in structure should reconstitute negativity is an unforeseen perversity that certainly has nothing to do with intent, or the political opinions of the people participating. In fact the dawning political conscious­ness of techno may be taken to be its formal capitulation into affirmative culture; in adopting political discourse it finds itself subject to the forces that generate it.


Amongst the harsh landscapes of junglist drums and bass, the wistful post-war drone of synths, the fragments of sound after the humans have left. Machined ambience, always melancholic, feels the absence of swarming human proliferation over its structures and can only connect to the dancing as those who are entirely alien to each other can, in a kind of mutual excited colonisation. Like all art ­forms it intuitively recognises its connection to a post-apocalypse; formalism is a process of exclusion and refinement - it denies the excess of the real world through clear lines, holding it back behind temporary artificial limits. The faculties of perception are tuned to engage more fully with the world as it floods back in and engulfs.

Language, the human presence does not belong in techno, only snatched, disembodied phrases which remind us that we are always in crowds, that our reality is always socially generated. Voices may swirl up from the depths of machine drums but they say nothing, their randomness is their effect. It is a music that does not participate in ideologies or representations but is a generating ground, literally a background. Human action occurs entirely in the foreground, across the surfaces which stretch out, against a backdrop of noise which determines movement in the simplest of base and superstructure models. Dancers connect into the archi­tectural ambience of pure function in an unmediated reality. This is an economy of sweat; what was once a demeaning sign labour, the mark of a limit to the possession of the means of production and thus the time to enjoy the products of that labour, is now a free currency spent in a relation of pleasure. So many signs are dissolved in the reversal, supersession and forgetting of mediated object/subject relations that it's possible to observe a fleeting body which in shorting sign-systems becomes a thing itself.

The weakness of techno lies in the adoption of a formulaic criteria for the reproduction of this intensity, attempting to hold on to it, and not continue to alter its boundaries. Extremity lapses into this year's melody. The wholesale embrace of technology, of spurious New Age spiritualisms, marks the loss of the thing for itself, and the return of producing for the ear. Its the re­penetration of the human in terms of quality, a rigid formulation of easily digested cliches, and the collapse back into the arena of art. What does not occur is the rigorous dispersal of the discoveries of techno, of the relations of aural ambient architecture and unmediated behaviour, into everyday life.

New Datacide Blog

Our friends at Datacide have expanded their operations from an excellent printed zine to a blog promising 'Heterogenous theory for the invisible insurrection of a million minds'. It's in its early stages but expect to find stuff like this on 'libidinal musics':

'Electronically composed sound, communally celebrated has the effect of some collective plateau phase. Music becomes a device, a prosthetics that leads to a hypersensitization - an overspill that establishes a field of flow between listeners. This incessant repetition with its controlled highs and lows, its deep grindings is nothing other than the continuation of erotics by other means, an erogenisation without object or delimited locale. The carefully placed touches of digitalised breaks, tips of searing reverb and the conducting of frequencies through skins plays the body to effect a libidinal response… to take us elsewhere. The desire for music is the desire for erotic communicstion as diffuse sensuality. Dancing becomes the means of expending the build-up of energy that wells up as a result, not only, of sound stimulus but of the general confinement of social desires. Electricity abounds. Tension and friction. The walls are silver. Desire manifests itself in the broadest social field. Channels are opened up for the release of energies which are not necessarily directed towards the genital figure of pleasure but toward a prolongation through repetition of an endless deferral of accomplishment. Tracks that never end. The night that goes on without run-off'.

Ben Atar eviction: a cosmopolitan response

In November 2007, the Ben Atar squat in Tel Aviv was evicted by police. According to Indymedia Israel, the squat was located in Florentin, ‘a lower class neighborhood in south Tel Aviv that is going through a process of gentrification’. The building had been empty for many years when ‘Around 3 years ago, a group of young Anarchists and Punks, many of them homeless, decided to move into the building, live in it and start a social center for the activists scene and the neighborhood. During the three years of existence the squat hosted many events, film screening, shows, exhibitions, parties and many more. It also was a center for many political groups, artists and musicians, and a place for people who were looking for a warm place to stay in. It also became a home for the small but very active anarchist community in Israel, for the Anarchists Against the Wall group, for the animal rights activists, for ecological feminists and radical queers’.

In other words it was the kind of autonomous social space found all over the world, and as with many other such spaces it ended up facing eviction. As in most cases, news of this was posted at Indymedia UK, to be greeted in some cases by a very strange response. Prompted by a claim that this was Israel’s only squat, one person posted the following comment: “The whole ‘country’ is squatted. Only squat? NOT. Evict Israel. Evict the lot” (24.11.07).

Now amongst the self-defined radicals who post and comment at Indymedia we might expect to see a range of positions on Israel and Palestine: ‘Two State Solution, ‘One Secular Democratic (and/or Socialist) State for Jews and Palestinians’ or some kind of anarchist variant of a stateless society where Jews and Arabs live in harmony.

A statement like ‘Evict the Lot’ is saying something else again. It implies that the millions of Jewish people living in that part of the world should be somehow swept away. ‘Evict the Lot’ is as clear a racist statement as you could hope not to find, since by ‘the Lot’ can only be understood the people defined as being Jewish who are to be distinguished by cultural, religious or pseudo-racial characteristics from the people allowed to remain. Of course that is exactly the view of Bin Laden who states that ‘We will not recognize even one inch for Jews in the land of Palestine’ from the ‘river to the sea’.

It may be true that the state of Israel, like most states, was born in violence and dispossession, and that the state continues repressive measures is unarguable. Of course exactly the same could be said about the USA and Australia, where unlike in Israel whole populations were exterminated as their lands were seized. Whatever radical measures are proposed to ensure social justice for the remaining indigenous peoples in the US and Australia nobody would suggest that all the descendants of settlers could or should be expelled. It would be a human catastrophe to even attempt it, just as it would in Israel.

For some interesting reflections on this issue I would recommend a recent discussion paper by David Hirsh, Anti-Zionism and Antisemitism – Cosmopolitan Reflections. Aside from the specific points Hirsh makes about the use of antisemitic tropes by parts of the left, I was struck by his call for a cosmopolitan critique that ‘disrupts a methodological tendency to view the division of the world into nations as being more fixed than it is’ (e.g. the notion of Israel or Palestine as homogeneous entities) and focuses instead on the idea that, in the words of Robert Fine ‘human beings can belong anywhere, humanity has shared predicaments and… we find out community with others in exploring how these predicaments can be faced in common’.

Part of the interest at this site in music/dance scenes is precisely this cosmopolitan aspect – how common human experiences of rhythm, sound and movement can undermine fixed certainties of social categories and point towards alternative ways of being. We can see this in Israel not just in places like the Ben Atar squat and the small anarcho-punk scene, but in the popularity of dance cultures with an implicit critique of military values (and sometimes an explicit one – see the Rave Against the Occupation parties). We might also consider the way that in Israel, as in many other countries, dance scenes have been a means for the assertion of a confident queer culture in the face of intense conservative/religious fundamentalist opposition – no mean feat in a region of the world where gay men can still face execution in some countries.

It is in spaces like this, and their even more precarious counterparts in Arab countries, that the possibilities of breaking out of the cycle of nationalism and war can be posed in various ways. Limited as they may be, they deserve our solidarity, not only against the usual police and corporate interests that tend to squeeze them out but against those who want to bomb them out of existence and drive their denizens into the sea.

About Indymedia: the comment criticised above was the view of one person and all kinds of idiots leave random posts in reply to Indymedia articles. I am not therefore claiming, for instance, that Indymedia is antisemitic – only pointing out how racist comments can slip into some 'anti-Zionist' discourse in all kinds of places.