Muzik magazine issue One: 1995 club listings and Drexciya

Muzik magazine was launched with this June 1995 issue by IPC magazines, the publishers of NME and many other established publications. The mainstream music press had been caught hopping by the massive dance music explosion of this period, outflanked by magazines like Mixmag, DJ and Jockey Slut. Muzik was IPC's attempt to get a slice of the pie, and to me it felt a bit of a step backward. Or what I no doubt ranted about at the time as a musical counter revolution applying usual culture industry techniques of elevating cover star music makers out of the relatively anonymous masses of DJs, dancers and producers. It was all about 'proper' musicians (even if electronic ones), making proper albums filed neatly into product categories of techno, garage, house or even, as in this issue, hardbag. Of course Muzik didn't start the 'superstar DJ' trend but I think they went further than before in separating out the music from the experience of dancing to it - it was less clubbing focused than say Mixmag.

Still there's extensive record reviews and the club listings are evocative, even if very far from the 'definitive club listings' promised on the cover. Here's an extract for a weekend in May 1995 with some of the many places (the more obvious ones)  I was going to at the time: Leisure Lounge in Holborn, the Cross at Kings Cross, the Mars Bar,  Ministry etc.

The Techno reviews section does at least include a critique of the state of music from the late James Stinson of Drexciya:

'Too many people focus on what label a record comes out on, rather than what the track actually sounds like. To me, that means there's something wrong. I remember the days when nobody cared if you were on Warner Brothers or Booty Up, just so long as what you were doing was good. When you throw a party, what are you spinning? Are you spinning the middle of a record where all the writing is at or are you spinning the wax? You know what I'm saying? When a group comes to perform, who's up on the stage? Is it the business people punching their little computers or is it the artists themselves? 

Drexciya won't be putting records out for a while now. We'll still be making music, but not records. We won't allow this form of music to just stop where it's at, but we're not even satisfied with the quality that we are producing. And I have to say that I really wish people wouldn't follow us. Be inspired, sure, but please don't follow. The minute we hear footsteps following us, we switch our style. We'll totally abandon what we're doing. We won't release any records or perform anywhere until things change'

I believe the magazine continued until 2003, and having fiddled around taking photos of my one surviving copy I see that Dance Music Archive have scanned in the lot. So if you want to read more go there!

See also other listings posts:

London Gay Disco 1972

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

NME Guide to Rock & Roll London (1978): Gay clubs

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

London Club Listings 1982 - Time Out

Clubbing in London i-D listings, 1984

Clubbing in Sheffield i-D listings, 1984

Clubbing in Manchester listings, 1984

Clubbing in Luton, 1984

1987: Dancing in Brixton and beyond

1988 London club listings: 'do not play acid'

The Face London Club listings, March 1989

Speed and other London clubs, i-D 1995

More 1995 London Clubs

 

100 years of anti-fascism in Britain

Mussolini's ascent to power in Italy in 1922 was the start of a terrible period in European history, followed by similar far right dictatorships in Germany, Spain, Romania, Hungary and other places - leading to war and genocide. Mussolini's admirers in Britain set up their first organisation, the British Fascisti, in 1923. There was opposition from the start, so 2023 marks the centenary of  both organised fascism and anti-fascism in Britain.

In his excellent  history of 'Anti Fascism in Britain', Nigel Copsey dates anti-fascism here from efforts to disrupt the founding meeting of the British Fascisti in London's Hyde Park in 1923: 'The roots of Britain's anti-fascist tradition can be traced back to 7 October 1923, when Communists disrupted the inaugural meeting of the British Fascisti (BF). This rally of Britain's first fascist organisation, attended by some 500 people, ended in 'pandemonium'. Two further meetings, both held in November 1923 in London's Hammersmith, were also disrupted'. These early British fascists were a wannabe paramilitary outfit with a main focus on anti-communism and defending King, Country and Empire (with anti-semitism never far behind). 

Their public launch in October 1923 followed several months of secretive organising but it was described in the Daily Herald (8 October 1923) as 'British Fascisti's Comic Show' interrupted by hecklers:

 

There does seem to have been a slightly earlier anti-fascist effort in London associated with the milieu around Sylvia Pankhurst's Women's Dreadnought (later Workers Dreadnought) paper. Sylvia, the most radical of the famous suffragette family, had by this point helped established a Communist Workers Movement independent and critical of the mainstream Bolshevik inspired Communist International.

In March 1923 Sylvia Pankhurst spoke at 'A protest meeting against the fascist reaction in Italy' held at Signor Dondi's Club in Clerkenwell (Eyre Street Hill).  Also on the bill was Pietro Gualducci, a long term anarchist exile in London  who had once been jailed in Italy for singing anarchist songs.The paper also advertised 'Il Comento', an Italian anti-fascist newspaper. 

In May 1923 it was reported that 'An Anti-Fascist Organisation, specially appealing to young people between 15 and 30 has been formed. It proposes to attend demonstrations, carry banners. collect, sell literature, and so on  on. It will organise classes and meetings for the young. A Red Shirt uniform is being discussed. Secretary, Mr H . T. Noble. 157 Church Street, Stoke Newington'. Copsey dates the first anti-fascist organisation to 1924 when the People's Defence Force was established in Soho, but this seems to predate that. How long it lasted is unclear but this does seem to be the first specifically anti-fascist organisation in Britain.

Interesting to see that the Dreadnought crew held a series of jazz dances in this period at Circle Gaulois in Archer Street off Shaftesbury Avenue. The fascists too were dancing, with a Black Shirt Gala Ball  held at the Cecil Hotel in the Strand with Italian fascists and their supporters  in February 1923.

[sorry to have missed Alfio Bernabei’s exhibition “Sylvia and Silvio” is at the Charing Cross Library earlier this year, which covered some of the above - see his article here]

Sheffield Gramophone Shops

Sucker for old gramophone record sleeves, advertising the shops they were bought in. I found these examples in a Peckham charity shop, both of them from Sheffield I'm guessing in the 1920s. Cann the Radio Man sold musical instruments and record players as well as records, while Goddard's Pianos in the same city clearly also sold instruments too. If you want to know more about these places check out the exhaustive Sheffield Music Archive.

 i

 

Birmingham Stop the City 1984

We've previously covered the Stop the City demonstrations in London of 1983/84 when a couple of thousand  people, mainly young anarcho-punks, attempted and partly succeeded in bringing chaos to the financial centre of the city. The biggest event was in March 1984, by September 1984 heavy policing more or less shut it down with nearly 500 arrests. 

The idea spread around the country. Leeds Stop the City in August 1984 was by all accounts quite successful with around 400 people taking part, 100 of whom were arrested. Later, in 1985, there was a decentralised Stop Business as Usual with events happening simultaneously in different towns and cities.

But the attempted Birmingham Stop the City on October 11th 1984 was generally viewed as a dismal failure. Less than 200 people turned up and were contained by a large police operation, only occasionally managing to break away to little effect. Getting nicked in the Tesco meat department by plain clothes cops was not my finest moment. The night before some doors were glued up at banks and there had been some graffiti too.

Report from Black Flag, 10/12/84: ' 'We decided to meet at Chamberlain Square on the way noticed many banks had excessive numbers of security guards, shops had their windows greased to prevent paint getting on. A few people marched into Barclays to leaflet but got escorted out quickly. Leafletting was done on many matters. Several supermarkets had meat thrown about, people filled trolleys and either dumped them or took them to the cash register and refused to pay, saying no South African goods'.

Report from Green Anarchist, November 1984 - "Stop the City: we couldn't even stop a public loo"

The night before eight people who had travelled from London for the protest were arrested when their van was stopped by police. Charged with conspiring to cause a public the case dragged on for many months, with a committal hearing at Birmingham Magistrates Court in July 1985 and a trial at Birmingham Crown Court in December 1985 (I haven't been able to find out outcome of trial - does anybody know?).

'The so called evidence in relation to this charge is that the eight travelled together to Birmingham the night before Stop the City and during their stay in police custody the eight refused to co-operate and some shouted and sang for much of the time. During this time the police found a leaflet on the police station floor, not even on or near any of the defendants. The leaflet suggested actions for Stop the City such as sit-ins, blockades and causing damage to oppressive property. It went on to suggest that if arrested disruption should continue, non-cooperation with police and making lots of noise in the cells. The police are trying to claim that because the eight were  'carrying out' the second part of the leaflet they must have been intending to carry out the first and disrupt Birmingham so cauusing a public nuisance... if the eight are found guilty this will mean that to conspire to cause a public nuisance you need only to travel with others to a demo where anything like this might happen'

Black Flag 12 August 1985

Freedom, December 1985

See previous posts:

Stop the City, London, March 1984

Stop the City, London, September 1984

Karma Sutra and Luton anarcho-punk

Stop the City, London, September 1984

1983/84 saw a series of anti-capitalist 'Stop the City' actions focused on the financial centre of London and other cities too, including Leeds and Birmingham. In London, momentum built with large protests in September 1983 and March 1984 (I've written about the March one here). A fairly half hearted one in May 1984 didn't amount to much, but a more serious attempt to organise and mobilise led up to the action on September 27 1984. By this point though the police had got used to this mode of protest and had developed their own tactics for dealing with it - largely mass preventative arrest. 470 people were arrested, most of them later released without charge. A high proportion of people came from the anarcho-punk scene, but there was advice to dress in more casual clothes to avoid being singled out by the police. I did so, not sure I would have passed for a city gent but I didn't get nicked!

There were occasional short lived breakaways from police lines, as reported below: 'There was a small rampage not far from the Stock Exchange where windows were smashed and cars jumped on and later Barclays Bank off Cheapside had windows broken'. I recall somebody stepping up on the window sill of a bank and kicking the window in. Other than these brief moments there was a lot of wandering around aimlessly.

Dave M, who helped organise the London events as part of London Greenpeace, summarised the day as follows:

'On Sept 27th, maybe 2000 came - mostly anarchists and unemployed, as well as some peace and animal rights campaigners. Police repression was well organised and strong. It was impossible to gather at the City centre (St Paul's and the Bank of England, used previously, were cordoned off). Individuals and isolated small groups who were 'looking for the demo' were threatened with arrest, and soon left, disillusioned. Anyone looking like a punk was particularly harassed. 470 were arrested and held hostage (only 35 were charged) to break up the collective strength.

However, many people who'd organised into independent groups were able to do quick actions all over the place (graffiti, smashing bank windows, a quick occupation etc). 2 or 3 times 3-400 people came together for a march into the centre… Hundreds who were dressed up smart continued to float about (giving out leaflets, passing messages, doing actions...). But generally the City became a no-go area almost for us. Many demonstrators therefore decided to go to Oxford Street, and Soho in central London and were able to make quite a few effective protests at various banks, offices and stores etc.' (A Brief Account of the Stop the City Protests)

Report from Green Anarchist, November 1984

There was quite a lot of soul searching afterwards. The following chronology from anarcho zine Socialist Opportunist (October 1994) ends up asking 'People put months of planning into all this. Was it worth it?'

The general consensus was that it was 'time for us to move on, having learnt from Stop the City' as expressed in this response written on the day:

 

(there a couple of other responses in the same issue, full copy of which can be read at the excellent Sparrows Nest Archive).

Press coverage

Evening Standard calls for police to move in on the organisers

Guardian: 'Police swamp  City's 2,000 anarchists'

Benefit Gig

The night before there was a benefit gig for the Stop the City Bust Fund in Camberwell at Dickie Dirts, featuring among others Conflict, Subhumans and Stalag17. The venue was an old Odeon cinema that for a while had been a Dickie Dirts jeans warehouse before being squatted.   I think there may have been some Stop the City planning meetings in the same venue.

There's a little confusion about the Conflict/Subhumans gig, the flyer is clear that it was the night before Stop the City though some people (mis?)remember it as being on the night of the protest. 

Earlier that Summer Subhumans had recorded a song Rats about Stop the City, having taken part in the previous London actions. As lead singer Dick recalls:

"We're talking about thousands of people — a lot of them punk rockers, hippies, alternative types — all turning up, dressed up, making a lot of noise... bells, whistles and drums, that sort of thing. It was an angry party atmosphere, and it was just really refreshing. It was one of the first protests I'd been to that wasn't a CND march, and it felt slightly more relevant, more 'everyday' than a protest for nuclear disarmament. That was a one-subject protest, but this was against the exploitation of people across the world by the people who press all the buttons and control all the money — it was about the very  hold that money and profit and greed have got on society in general. It felt more urgent to be there. I went up there on my own, and met up with lots of people. I remember the band Karma Sutra from Luton were there.  At one point, people were being violently thrust around by the cops, and I overheard one of them say, 'If you act like rats, you'll get treated like this... ', which became a line in the song and is the reason the song's called 'Rats' , which may not be an obvious name for a song about protesting against capitalism" (quoted in 'Silence Is No Reaction: Forty Years of Subhumans' by Ian Glasper).

The lyrics of the song do capture the feeling of those days (maybe especially the line  'Co-ordination was not so good, But everyone did just what they could'!):

A sense of enterprise is here, The attitudes that conquer fear

Stability, togetherness, The feeling cannot be suppressed

Hand in hand we had our say,  United we stand but so did they

Hands in handcuffs dragged away, To cheers of hate and victory!

We fought the city but no-one cared, They passed it off as just a game

The city won't stop til attitudes change, Rats in the cellars of the stock exchange

Co-ordination was not so good, But everyone did just what they could

Unarmed with inexperience, We had to use our common sense

If you act like rats you get treated like this,  Said a policeman like we didn't exist

When the force of law has lost it's head, The law of force is what you get

We fought their calculations, Money gained from third world nations

All that money spent on war, Could be used to feed their poor

The papers played the whole thing down, Said there was nothing to worry about

The rats have all gone underground, But we'll be back again next time round

See also:

Stop the City, London, March 1984

Karma Sutra and Luton anarcho-punk

Ewan McColl and Peggy Seeger interview (1978)

An interview with folk singers Ewan McColl and Peggy Seeger from 1978, published in the socialist  newspaper Militant (28/7/1978) after the couple had played at a Militant Folk Night at Wallasey Labour Club.  The interview includes  McColl's reflections on the mass trespass movement of the 1930s:

'The earliest songs I wrote were for factory newspapers, from 1928 onwards. At one time I was writing satirical political songs for five different newspapers. Only some were folk songs, but by the time I wrote "The Manchester Rambler' in 1933 it naturally slipped into that style. I wrote four songs for the Mass Trespass that we organised over Kinder Scout [in 1932]. One was for the Ramblers rights Movement, which was affiliated to the British Workers Sports Federation- but that's history now. the only one that survived was the "The Manchester Rambler' Another one started:(sings)

"We are young workers in search of healthy sport, We leave Manchester each weekend for a hike, Oh 'the best moorlands in Derbyshire are closed, to us, we ramble anywhere we like. For the mass trespass is the onlv way there is to gain access to mountains once again".

It's a very crude song as you can hear- but expressed our feelings. Nearly all the open areas were closed off. There were more than 3 million unemployed, and nearly half a million were young workers or had come straight from school at 14 on to the dole... A big hiking movement developed out of the young unemployed and from this all the best of the young militants came'

 

Marcuse - the barricade and the dance floor

Happy 125th birthday Herbert Marcuse (1898-1979) , born 19th July 1898 and still spooking fascists from beyond the grave - see how he features in their ridiculous 'cultural marxism' conspiracy theory.

Marcuse took a more positive view of the counter culture and the radical movements of the 1960s than some of his Frankfurt School contemporaries, as he articulated in his 1969 'An Essay on Liberation':

'the hatred of the young bursts into laughter and song, mixing the barricade and the dance floor, love play and heroism. And the young also attack the esprit de serieux in the socialist camp: miniskirts against the apparatchiks, rock ‘n’ roll against Soviet Realism. The insistence that a socialist society can and ought to be light, pretty, playful, that these qualities are essential elements of freedom, the faith in the rationality of the imagination, the demand for a new morality and culture – does this great anti-authoritarian rebellion indicate a new dimension and direction of radical change, the appearance of new agents of radical change, and a new vision of socialism in its qualitative difference from the established societies?'.

Radio Citta Futura 1976

 1976 article about Italian radical radio station Radio Citta Futura (Radio Future City) from Red Weekly, paper of the International Marxist Group in the UK. The Rome-based station began broadcasting regularly in that year and played a role in the tumultuous events of that period. It was temporarily closed down by the state while covering the riotous demonstrations of the Movement of '77, as was the another Rome based station,  Radio Onda Rossa. In 1979  five  women involved with the station's feminist programme Radio Donna were shot and seriously injured in a fascist attack on the station.

The scan of the article is incomplete but there's some interesting information including the daily schedule for the station. This includes 'The Night of the Comrades' a late night programme where  'each worker on the station in rotation can broadcast what he/she wants' ('the freakier part of the station') and 'Programme for night workers' based on taped interviews. As mentioned in the article the proliferation of 'Free Radio' followed a court decision in 1975 that ended the state's monopoly on broadcasting - leading to the legal creation of commercial stations as well as political projects like this one. The interviewee - Sandro Silvestri - estimates that at this time there were 800 new radio stations 'in the whole of Italy and there are 52 in Rome alone... at least 120 stations are openly declared to be left wing stations, calling themselves "democratic" radio'.

The station is still broadcasting online (its correct name is Citta Futura not Future as stated in this article).

Source: Red Weekly, 21 October 1976

Other radio posts:

Radio Evasione (prisoners radio show)/Parco Lambro 1992

Portugal 1974/75: radio and revolution

Radical pirate radio in Islington 1969

 

Feminist discos/male violence (South London 1977)

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

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

Speed (and other club listings), i-D 1995

Club listings from i-D magazine,  no. 135, April 1995, covering lots of places in Britain and Ireland, but with the photos all from legendary drum'n'bass club Speed, including shots of DJ Kemistry and Goldie. I remember dancing to the former there alongside the latter on the dancefloor. 

Tony Marcus writes: 'For the last couple of months, Speed (Thursdays at Mars, Sutton Row, W1) has been playing London's most futuristic, raw, experimental and sci-fi grooves. Resident DJs Fabio and LTJ Bukem spin the latest drum'n'bass sounds on dubplate for a crowd that regularly includes junglist heads like Goldie, 4 Hero, Nookie, DJ Rap, DJ Ron, DJ Crystl, Deep Blue and A Guy Called Gerald. The sounds are immaculate: divine harmonies and crystalline breaks that wash, float and massage the dancefloor. A few stray hippies and tantric types take the floor for some wildly expressive dancing, while small groups of skinny boys lean against the speakers and solemnly nod to the rhythms. The vibe is relaxed, chemical-free and unites musicians, music lovers and dancers for a few hours of sonic bliss. And at times it looks like a scene from William Gibson, as sci-fi skate and B-boy fashions collide under sounds for the next millennium. Recommended'.

i-D, April 1995, cover star Nikki Umbertti

Speed reviewed by Dom Phillips in Mixmag, January 1996:

'Speed was the brainchild of a young man called Leo, formerly employed in the dance department of A&M Records. He met Bukem hanging out in the legendary Basement Records in Reading, through breakbeat producer and shop owner Basement Phil. "Just basically wanted to hear the music I was into  under one roof," explains Leo. "l didn't want no big PR, just word of mouth. Because musically it's intelligent and it's Central London, you're gonna get the people you want".

So you get an older, more mixed crowd, into the music, there to dance, not show off nor take their shirts off. At  |Speed there's a quiet, determined appreciation of the  best drum n' bass has to offer and the hands and feet are  frequently flailing in delight come midnight. No attitudes,  just good vibes and even better sounds. No wonder   peed is perhaps the best midweek night London has got. 

"It's a personal thing down there," says Leo, paying respect for the hard work put in by his resident DJ crew of Kemistry and Storm, DJ Lee and of course Bukem and  Fabio. "l didn't want to turn it into a trendy West End  thing. It was just a room that felt good. I was lucky because I knew [club owner] Nicky Holloway..." 

[post last updated 18/12/2023 with added Mixmag article]

See also other listings posts:

London Gay Disco 1972

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

NME Guide to Rock & Roll London (1978): Gay clubs

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

London Club Listings 1982 - Time Out

Clubbing in London i-D listings, 1984

Clubbing in Sheffield i-D listings, 1984

Clubbing in Manchester listings, 1984

Clubbing in Luton, 1984

1987: Dancing in Brixton and beyond

1988 London club listings: 'do not play acid'

The Face London Club listings, March 1989

Muzik Magazine 1995 club listings

More 1995 London Clubs

 

Tales from a Disappearing City

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

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

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

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

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

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

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

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

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

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

-  Luton alternative club nights and warehouse parties; 

- seeing Brion Gysin speak in Bedford library;

- Compendium bookshop in Camden;

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

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

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

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

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

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

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

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

- Dead by Dawn at the 121 Centre, Brixton;

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

- Megatripolis at Heaven and emergence of psychedelic trance;

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

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

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

- Reclaim the Streets- Brixton party

- the Association of Autonomous Astronauts - Disconaut division.

Soviet Union Disco Style 1982

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

From 'Sputnik - digest of the Soviet press', December 1982

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

 

Bedroll Bella: Geordie raver

Bedroll Bella by Sid Waddell (Sphere, 1973) is the story of a feisty, foul mouthed, hard drinking, 'right raver' and proud Geordie 'lass' who runs away from home in search of teenage kicks. She falls in with a bunch of 'bedrollers', itinerant hippies who drink, fight, screw and sleep rough in the ruins of Scarborough Castle by night and shoplift by day (carrying around their rolled up bedding - hence the name). Published in the youthsploitation publishing boom, it sits alongside the works of Richard Allen and Mick Norman in depicting a world of 'knockers', 'birds' and 'having it off' in alleyways and pub car parks; a world of casual violence, with scraps with Hells Angels and rugby club types. The book was apparently barred from the shelves of WH Smith when it came out. Bella is also a poet on the side, composing a sonnet in lipstick on a bathroom window. Like her the author also has higher literary ambitions. Naturally a visit to Whtiby entails a mention of Bram Stoker.

Other than the sexual politics, the thing that jars the early 21st century reader is its industrial background. The backdrop is the shipyards and mines of the north east, presented as being at the heart of local identity. The freaks are not middle class drop outs (as 'hippies' are usually portrayed) but have taken to the road as an alternative to dead end jobs, the dole and stifling conformity: 'She wanted faces and figures with style, animation, excitement.... anything different. There had to be a lifeline somewhere, a raft to sweep her out of boredom and the prospect of the dole'.

Class is at the heart of the novel. Bella, whose dad is a boilermaker, argues with a teacher's comments about greedy strikers: 'them and the miners only get a living wage by striking - and striking hard... So feeding me and my mother and seeing we've got shoes and coal is greed, eh, miss?' .

Spider, the main male character, is the son of a miner (like the author). When he reads in the paper about miners dying in a disaster in Poland, he is consumed with rage: 'The death of a miner is about as important as the death of a worm under a spade. Both are an occupational hazard. Self-pity welled in Spider's breast. How could society expect a pitman's son to be anything other than a dirty, sweaty, scruffy hippy? He had never known anything better. And if he followed his dad into the hole, who would have thanked him? Alf Robens? Ted Heath? Harold Wilson. No, not fucking likely. They were the coal-owners now. They didn't give a monkey's nut. Spider wanted to talk. To get some of the green bile of class hatred of his chest.' He manages this by having sex in a train toilet with the posh 'Weekend Madonna' character, a part time hippy who slums it at the weekend and then returns home in the week.

In a key section of the book Bella and co. head to the Yorkshire Folk, Blues & Jazz Festival, a real event held at Krumlin near Halifax in August 1970, reputed to have been hit by some of the worst weather even seen at a British festival. Before the rain comes down, Bella has that festival epiphany feeling:  'Bella was tripping out. She had never felt so entirely conjoined with society before. She was part of the primeval soup, and Spider was the umbilical cord stringing her to this wild, wondrous world. Being part of it was quintessence. It was not a case of wanting the kicks of drugs, music or men. It was deeper, more heady, wine, the scene was feeding her. This was the pure juice of the fruit. She was on her way to Heaven, and by Christ she was gonna be moved... Bella wanted to cry. For the first time in her life she knew why sparks like Wordsworth and Chaucer and even that maniac Swinburne, who she'd had to study for O levels, had written poetry. It was all here on the grass, naked and pulsating. The Daffodils, the Pardoners and Summoners and even the Hound of Heaven... The pale, streaked bleached look of the moorland sky and turf was enhanced by the gear the kids wore. Vests and stained blue jeans, Army surplus anoraks, nothing that quite fitted. Clothes had to hang, so that the loose slim bodies could flow along as freely as their hair swung... To be alive was very heaven'.

Bella eventually flees the freak lifestyle to return to the bosom of the close if restrictive working class community, symbolised by her first act on coming back to the city: putting on her black and white scarf and going to watch Newcastle United beat Leeds. 

I believe this was Waddell's only novel, though he went on to find fame as a TV sports commentator, his name being synonymous with coverage of darts in Britain up until his death in 2012. His politics remained intact until the end - asked in 2007 to imagine 'If you'd been present as a commentator when Maggie Thatcher left No 10 for the last time, what line of commentary would you have given?' he replied: "Sooo the poor little Iron Lady ends her years of vicious tyranny sobbing in a posh car. She took the kids' milk, made the rich richer and she smashed the coal miners... what a magnificent legacy!"

Milan 1992: Parco Lambro and Prisoners demo

 

In Summer 1992 I went to Milan with Italian friends who I knew from Brixton to go to a radical gathering/festival in Parco Lambro. The city's largest park has an interesting counter-cultural history, including being the site of Festival del Proletariato Giovanile from 1974-76, a kind of Italian equivalent  of the Isle of Wight festival in that what started off as a planned free festival ended up in clashes and arguments about rip off prices and poor facilities.

Anyway as the poster and programme show, the 1992 event called by 'Coordimento regional antagonista della lombardi' included plans for discussions on prisons, HIV, migration, video, theatre and evening concerts. It was themed 'Percorsi de Liberazione- contro la destra sociale' (Routes of Liberation - against the social Right).  I'm not sure though which of the scheduled events went ahead though as it poured with rain- not great for camping! - and I know some of the music was cancelled.

The main thing I remember is taking part in a demonstration at Milan's San Vittore prison in support of a prisoners' protest that was going on there. A few hundred people went from the park in the rain, charging on to the metro train en masse without paying. We marched around the prison, making lots of noise and on the way back we were charged by the Carabinieri (armed paramilitary riot cops). A few people got battered and a few arrested. There was a lot of a chanting of 'servi, dei servi, dei servi, dei servi' (mocking the police as 'servants of servants of servants of servants') and 'per tutti i comunisti - liberta' (freedom for all the communists) - there were still many people in prison as a result of repression of the movement of the 1970s and early 1980s.

'Per una societa senza galere - i compagni del movimento antagonista' (for a society without prisons - comrades of the antagonist movement) - banner in Parco Lambro, July 1992.  The self designation of the post-autonomia scene as the antagonist movement was a feature of the time.

Above: A report of the demonstration from ECN Milano (European Counter Network), found at the excellent archive grafton9. 'The procession, made up of about 300 comrades, moved from the prison towards the Porta Ticinese district, to end up at the Colonne di S.Lonrenzo, a well-known meeting place for Nazi-skins. The demonstration took place in the pouring rain, but with the determination of the comrades to complete the procession. At the end of the demonstration, while the comrades were preparing to descend into the subway, yet another provocation by the Digos unleashed a violent charge by the carabinieri'. ECN was an international radical information exchange, at this time I was involved in the London ECN group.

I found these photos of the circus tent/marquee at Parco Lambro 1992 online at https://fantasyclod.blogspot.com/2011/01/raduni-parco-lambro-1989-1990-1992.html

Earlier on the year, on 2 May 1992, there had been a concert outside the San Vittore prison with the slogan 'Liberta per tutti is proletari e i comunisti incarcerati' (freedom for all the proletarian and communist prisoners), with bands including AK47, Tequila Bum Bum, Politico's Posse and 99 Posse. Poster from Liberia Anomolia).

HIV Prisoners' Struggles

 The situation in Italian prisons in this period was particularly grim. The so called Jervolino-Vassalli law passed in 1990 criminalised possession of drugs with heavy penalties, in a country where it had previously been legal to have a small amount of any drug if it was for your own use.  The jails were filled with drug users,  many of them HIV positive and receiving totally inadequate health care. Just to make matters worse some emergency 'antimafia' laws had just been passed which made it harder for all the prisoners to get parole , have visitors etc.   Prisoners were staging hunger strikes and other protests. 

In Padova people around the radical radio station Radio Sherwood launched a project in support of prisoners, Radio Evasione, included a regular show focused on prisoners in the Due Palazzi prison. I was working in HIV in London at the time and wrote about it in Mainliners |(HIV/drugs magazine). I also visited Radio Sherwood and took them some info about HIV treatments  (basically copied a loads of stuff from the UK National AIDS Manual).

Letter from a HIV+ prisoner:

From 'Mainliners', January 1922 - full issue here

Radio Evasione zine, Padova, June 1992
(I have uploaded full issue to internet archive here)

Also from 1992 - an intifada mural at a social centre in San Dona di Piave, Veneto

 99 Posse 'Rigurgito antifascista' features the 'servi dei servi' line