Miners Strike: (2) Kent; (3) Dick Gaughan

Following my earlier post about the 25th anniversary of the Miners Strike, here's some recollections of being a strike supporter in Kent - plus next in a series on miners strike songs, Dick Gaughan's The Ballad of '84.

When the Miners Strike started in 1984 I was living in Whitstable in Kent, very close to the small Kent coalfield. The Kent mining villages in the 1980s were radically distinct from the surrounding area. In the middle of the 'garden of England' the three pits of Snowdown, Tilmanstone and Betteshanger were more or less the only major industry, employing two thousand miners, many of them living in the villages of Aylesham, Elvington and Mill Hill on the edge of Deal. A fourth Kent pit, Chislett, had been closed in 1968.

Betteshanger in particular had a long history of militancy. During the Second World War, three union officials were imprisoned and over 1000 men were prosecuted after going on strike. In 1961 miners occupied the pit for 6 days in a stay-down strike in a successful protest against redundancies - 'an old record player was sent down the pit, and each of the teams organised a show of songs and comedy acts' (Pitt). In the 1972 strike, Kent miners had travelled around the country as 'flying pickets' .

Map of the Kent coalfield (from Pitt)

My first introduction to the mines was during my pre-strike time in the Socialist Workers Party when the worst task for a drinking and smoking student was a paper sale at the pit gates early in the morning as the miners were changing shifts. We never seemed to sell more than 1 or 2 - there were a few vaguely sympathetic miners, but nobody wanted to talk politics a couple of hours the wrong side of dawn. Most just walked by no doubt wondering quite rightly why anyone would want to get out of bed that early unless they had to. Soon I too was crying off the early shift, and indeed the whole trotskyist project, but that's another story.

When the strike started, me and some friends at our college (University of Kent at Canterbury) took the initiative to set up a Miners Support Group. The aim was practical solidarity - we collected money, organised transport to demonstrations and pickets and generally encouraged support for the strike. There was plenty of support to be tapped into, even though for most people this never went beyond putting some money in a bucket and wearing a 'coal not dole' sticker. As the radical historian Raphael Samuel perceptively argued at the end of the strike: 'In retrospective it can be seen that support for the strike, though fervently expressed, was also precarious; that it was predicated on the miners' weakness rather than their strength; and that it owed more to a humanitarian spirit of Good Works, than, in any classical trade union sense, solidarity, and it is perhaps indicative of this that the local organisation of aid took the form of Miners Support Groups rather than, as in 1926 - an analogy fruitlessly invoked - Councils of Action. The support was heartfelt and generous, but with the important exception of the seamen, the railwaymen and the Fleet Street printers, it did not involve stoppages of work'.

Coal Not Dole - slogan in Whitstable, Kent (by the Labour Club)

The strike polarised society with passionate support on the one hand and equally virulent opposition on the other. We encountered some of the latter in Kent too, from the college official who tried to stop us collecting to our landlord in Whitstable who tried to get us to take down posters from our window.

Kent NUM leaflet from May 1984 [click on pictures to enlarge] - 'Our fight is a fight for everyone' - the language of this leaflet is very much in line with the Communist Party of Great Britain politics of Kent NUM leaders Jack Collins and Malcolm Pitt, combining calls for solidarity with appeals to nationalist sentiment (e.g. 'The Coal Mining Industry of Britain belongs the whole nation')

When the strike started, the Kent miners unanimously joined in. In Nottinghamshire many miners continued to work, and strikers from Kent travelled up to the Midlands to join their comrades from Yorkshire in picketing the working mines. The police mounted a massive operation to prevent the Kent miners from moving around the country. 'On Sunday March 18th, police officers from the Kent constabulary attempted to stop anyone who appeared to be a miner or who was going north to aid the miners strike from crossing the Thames through the Dartford Tunnel'. Strikers were threatened with arrest for trying to leave Kent, even though the police had no legal powers to stop them (State of Siege).

Malcolm Pitt , President of Kent National Union of Mineworkers, was jailed for 18 days for defying bail conditions which prohibited from going anywhere near a picket line. I took part in pickets of Canterbury Prison, where he was being held in May 1984.

Later in the strike, some Kent miners did begin to go back to work and the strikers mounted pickets of the Kent pits. The Miners Support Group joined the pickets, and the canteen in the miners welfare club had to get used to the vegetarian demands of student radicals!

The Kent miners were the last return to work in March 1985, staying out longer than the rest of the country in an attempt to win the reinstatement of miners sacked during the strike. Within five years all three of the remaining Kent mines had been closed for good, with the loss of 2000 jobs (Betteshanger was the last to go in 1989)

References: Malcolm Pitt, The World on Our Back: the Kent Miners and the 1972 Strike (London: Lawrence and Wishart, 1979); ; Raphael Samuel, Barbara Bloomfield and Guy Boanas (eds.), The Enemy Within:Pit villages and the Miners Strike of 1984-5 (London: Routledge, 1986); Jim Coulter, Susan Miller and Martin Walker, State of Siege: Miners Strike 1984- Politics and Policing in the Coal Fields (London: Canary Press, 1984). There's some interesting material on the strike in Kent here

Dick Gaughan

The folksinger Dick Gaughan was a tireless supporter of the Miners Strike, performing at benefit gigs all over the UK. Immediately after the strike he wrote a song about it entitled The Ballad of 84, first performed at a benefit for sacked miners at Woodburn Miners Welfare Club in Dalkeith, Midlothian in '85.

Gaughan's song recalls the strikers who died, as well mentioning Malcolm Pitt and others who were imprisoned:

Let's pause here to remember the men who gave their lives / Joe Green and David Jones were killed in fighting for their rights / But their courage and their sacrifice we never will forget / And we won't forget the reason, too, they met an early death / For the strikebreakers in uniforms were many thousand strong / And any picket who was in the way was battered to the ground / With police vans driving into them and truncheons on the head/ It's just a bloody miracle that hundreds more aren't dead... And Malcolm Pitt and Davy Hamilton and the rest of them as well / Who were torn from home and family and locked in prison cells'.

You can listen to the song here.

I will be doing some more posts about the miners strike, if you can recommend any songs (or better still point me in the direction of MP3s) let me know. Particularly keen to get hold of Chumbawamba's Common Ground and Fitzwilliam - my tapes long lost - and The Enemy Within track (done by Adrian Sherwood).

Sapeurs of Bakongo

Interesting review by Dylan Jones of Gentlemen Of Bakongo, Daniele Tamagni's book chronicling "a journey with the Sapeurs of the Bakongo district of Brazzaville in Congo, the real cradle of Sape, the 'religion of clothing' ". Apparently many of the Sapeurs 'fantasise about walking the streets of Paris or Brussels - places most can only dream of visiting - returning to Brazzaville as sartorial aristocrats of ultimate elegance. They emerged from the chaos of the Mobutu reign, their distinctive look a way of rebelling against his dictatorial decree that everyone should dress in traditional African costume... To them, to be well-dressed is to be successful, which is not just the essence of bling, it is a cri de coeur. But they do look extraordinary. They wouldn't look out of place strolling down Savile Row, resplendent in their multicoloured finery, carrying canes and cigars, putting one white buckskin loafer in front of the other and smiling as though they haven't a care in the world'.


The book blurb notes that 'In 1922, G. A. Matsoua was the first-ever Congolese to return from Paris fully clad as an authentic French gentleman, which caused great uproar and much admiration amongst his fellow countrymen. He was the first Grand Sapeur. The Sapeurs today belong to 'Le SAPE' (Societe des Ambianceurs et des Personnes Elegantes) - one of the world's most exclusive clubs. Members have their own code of honour, codes of professional conduct and strict notions of morality. It is a world within a world within a city. Respected and admired in their communities, today's sapeurs see themselves as artists. Each one has his own repertoire of gestures that distinguishes him from the others'.





More Sapeur photos by Hector Mediavilla (who took the picture above here).

(note to self - must get round to doing that post on proletarian dandyism...)

Flash Mob Simulacrum Continued

Following the analysis here of the recent T-Mobile pseudo-flash mob, I notice that Stewart Home was actually inadvertently present at Liverpool Street station when this was being filmed. He notes: 'This definitely wasn’t a flash mob because the filming was still going on when I returned to Liverpool Street station an hour later. Coming back I noticed a sign that claimed if I went into the area being used to fabricate the ad, I had consented to being filmed… Not so, since I hadn’t seen this sign until after I’d been through the station once, and besides which not everybody can read English… Liverpool Street station is a public space and a lot of people have no choice about using it if they need to catch the tube or an overground train'. Naturally he has demanded payment from T-Mobile should they use his image!

In the comments to Stewart's post, someone mentions Baudrillard and his notion of the Simulacrum. I must admit, though not an uncritical admirer, my first thought when I read that T-Mobile had created a simulation of a flash mob (in itself arguably a simulation of a Reclaim the Streets party), and that subsequently thousands of people had created a real flashmob partly as a simulation of this simulation - thus rendering the notion of what was 'real' at least problematic - my first thought was 'Blimey, Baudrillard eat your heart out'. Unfortunately Baudrillard is no longer around to spin a few moments of flashmobbing into a pithy if incomprehensible epigram.

Moving Gallery - The Mysterium

Moving Gallery - The Mysterium was an event held at Trinity College of Music in Greenwich last month (19th February) as part of In the Moment: a Festival of Improvised Music and Dance. The festival was a joint initiative between Trinity and the Deptford-based Laban centre - the two of which are working together as Trinity Laban Conservatoire of Music and Dance.

The inspriation was Alexander Scriabin's never realized plan for his Mysterium, a work that called for a cast of 1000 musicians and dancers to realize his vision where: 'There will not be a single spectator. All will be participants. The work requires special people, special artists and a completely new culture. The cast of performers includes an orchestra, a large mixed choir, an instrument with visual effects, dancers, a procession, incense, and rhythmic textural articulation. The cathedral in which it will take place will not be of one single type of stone but will continually change with the atmosphere and motion of the Mysterium. This will be done with the aid of mists and lights, which will modify the architectural contours."

For this event, every corner of the building seemed to have been turned into a space for performance and installations, with corridors, corners and rooms full of dancers and musicians, through which the audience wandered between and within waves of movement and sound.

We particularly enjoyed Night Chant, a beautiful piano performance by GéNIA (picutre below), inspired by Yeibichai (Night Chant), a Navajo ritual. The Aviary, a bird themed performance by the group The Conference of Birds, also felt quite shamanic with dancer Helka Kaski moving as if she was channelling a bird.


The Practice Corridor, a homage to Rebecca Horn's Concert for Anarchy, featured eruptions of piano noise with dancers and pianists moving around the corridor:

The baroque buildings, designed by Christopher Wren, used to be part of the Royal Naval College in Greenwich. Trinity College of Music, which occupies them now, remains tied to Royal patronage but nevertheless it was pleasing to see a former hub of the Empire and military transformed into a festive space. And indeed for some of the ex-colonial subjects to temporarily take over some of the space - Samvaada was a musical collaboration between the Bhavan Institute for Indian Arts and some Trinity music students:

The final piece was Snowscape, outside in the courtyard, and beginning with a procession of a dancer wrapped in lights.

Watching contemporary dance can sometimes feel like hard work, and we weren't sure whether we were going to enjoy four hours of performance. As it happened we ended up only being able to take in a fraction of the events and wished it had gone on longer. In fact it would have been interesting if it had gone on all night, and perhaps begun to get a little messier with the boundaries between audience and performers maybe blurring a bit more.

Miners Strike (1): Here We Go

As many people have mentioned over the last couple of weeks, it is 25 years since the start of the last great Miners Strike in Britain. On 5 March 1984, mineworkers at Cortonwood colliery in South Yorkshire walked out and the strike soon spread to other parts of the country.

The focus of the strike was the threat of pit closures, but everybody involved knew that there was much more at stake than simply jobs in the mining industry (important as that was). Margaret Thatcher's Conservative government was clearly determined not just to win the strike but to decisively break the most powerful section of the working class. Ten years before (in 1974) the previous Tory government had after all been forced to resign after a miners strike, and another strike in 1972 had led to power cuts.

This time round the state had made elaborate preparations, stockpiling coal and putting in place a massive police operation. As a result, the direct economic impact of the strike was minimised - power stations and other industries were not closed down, a major factor in the strike's eventual defeat a year later. The strike did though have a huge impact across society, and it has now assumed a kind of depoliticized iconic status. Witness the ongoing success of the film/musical Billy Elliot, the story of a young boy learning to dance against the backdrop of the strike. Witness too a recent advert for Hovis bread in which images of the strike feature in a parade of images of Northern authenticity that the little brown loaf has borne witness too!

I am not even going to attempt an overall analysis of a year of hope, violence, solidarity, betrayal and ultimately defeat. But I am planning a series of posts setting down some of my memories and reflections, including some of the musical aspects of the strike.

Here We Go

Several songs were written about the Miners Strike, and many more performed at the countless benefit gigs up and down the country. But if there's one piece of singing that reminds more than any other of the strike it's the chant 'Here We Go', heard on demonstrations and picket lines, and sungalong to in bars and parties. For instance, Bob Hume recalls that at Hatfield Main Miners Welfare club in Yorkshire 'We brought the New Year in [1985] with a disco/buffet... knees up, for all our kitchen staff, pickets and visiting friends, the night and early morning came with rousing 'Here We Goes', the Red Flag and Never Walk Alone'.

Here We Go is a football chant (in the US as well as UK) sung to the tune of Sousa's Stars and Stripes Forever. Banner Theatre recorded a cassette based on the strike called "Here We Go" in 1985. The cartoon below from the time of the strike shows Thatcher & Co. singing the song as the car of 'British Capitalism' heads towards a crash.


(The Bob Hume quote comes from 'A Year of Our Lives: Hatfield Main, a colliery community in the great coal strike of 1984/5', Hooligan Press, 1986)

Dancing and Xhosa Resistance

The revolt of the Xhosa against the British colonial forces in early 19th century South Africa was marked by dancing. Like the Native American Ghost Dancers, and similarly faced with overwhelming military force, some hoped that dancing would summon the ancestors to aid them in their struggle. The Xhosa did not rely on dancing alone though, and waged a long campaign of armed resistance. Today an area of the Eastern Cape is named after Makana (sometimes splet Makanda or Makanna) the leader of this campaign.

A close association of millennialist prophecy and warfare against intruders occurred in South Africa during the unsettled period of European conquest in the first half of the nineteenth century. European misconceptions of the tribal system of the Bantu and, even more, the misapprehension of the missionaries concerning native religion, were important factors in the wars between the Xhosa and the British forces in the Cape in the carly nineteenth century.

... Ndlambe [leader of many of the Xhosa groups], who had been a persistent enemy of the British... was pushed over the Fish River by British forces in the Fourth Kaffir War in 1812. A prophet, Makanna, arose as Ndlambe's adviser, and he persuaded Ndlambe's following, and the warriors of the Gcaleka, that with his aid the bullets of the English would turn to water, and the English themselves would be pushed into the sea. The numbers involved on the two sides were so utterly disproportionate that, once bullets were neutralized, such a result appeared a certainty. He would release lightning against them, and ensure victory for Ndlambe's warriors...

He taught that he was the emissary of Thlanga, creator of the Xhosa, who would raise ancestor spirits to assist them in battle. The god of black men, Dalidipu, was greater than the white god, Tixo, and Dalidipu's wife was a raingiver, while his son was Tayhi, the Xhosa name for Christ. Dalidipu sanctioned the Xhosa way of life, including the customs of polygamy and brideprice, which the missionaries said were sins. Makanna taught that black men had no sins except witchcraft, since adultery and fornication were not sins: on the other hand, the white men were, on their own admissions full of sins. Dalidipu would punish Tixo, and the white men would be destroyed. If the Xhosa danced, they could bring back the ancestors, who would come armed and with herds of cattle.

The British were allied with Gaika [leader of another group of Xhosa], who was the first object of attack by Ndlambe and Makanna. His defeat led the British into the Fifth Kaffir War of 1818-19, but their first success against Ndlambe's men beyond the Fish River did not prevent further hostilities between Gaika and Ndlambe, and Makanna's army crossed the Fish River singing that they would chase the white men from the earth. On 23 April 1819 ten thousand warriors, led by Ndlambe's son, Dushane, and Makanna attacked Grahamstown, which they failed to take and where they suffered heavy losses. This failure did not, however, bring about Makanna's downfall, and the war continued with the British driving the Xhosa back as far as the Kei River. In August Makanna gave himself up because his people were starving, and, so he declared, to see whether this would restore the country to peace. He was drowned some months later in attempting to escape, after his fellow prisoners on Robbell Island had overwhelmed the guard and made a bid for the mainland. That he was dead was not believed by the Xhosa, who for years expected his return to help them.

Source: Bryan Wilson, Magic and the Millennium (London: Heinemann, 1973).

Musical Psych Ops in Kent

Poor Joe Strummer must be turning in his grave at the latest abuse of his music:

'A report into the policing of last year's Climate Camp demonstration [at Kingsnorth power station in Kent], to be presented today in parliament, has criticised Kent police for its apparent use of "psychological operations". To wake protesters during the week-long protest last August, police are accused of using vans to play loud music that included Wagner's Ride of the Valkyries and the theme from 80s sitcom Hi-de-Hi. On the final day of the protest the van departed and - in what was taken as a smug gesture of triumphalism - blasted out "I fought the law and the law won", the lyrics to the Clash's rowdy cover.

The report, launched by the Liberal Democrats, said the music seemed "an attempt to deprive attendees of sleep". The report also highlighted the police approach to participants of a "festival picnic" procession mostly made up of families and small children. A helicopter ordered them via loudspeaker: "Disperse now, or dogs, horses and long-handed batons will be deployed."'

[full story in today's Guardian]

Artists and Borders

A campaign has been launched against the impact of the government's latest tightening of immigration controls on arts and music. According to the Manifesto Club: 'The Home Office recently introduced new restrictions on international artists and academics visiting the UK for talks, temporary exhibitions, concerts or artists' residencies. Visitors now have to submit to a series of arduous and expensive proceedures to get their visa, and then more bureaucratic controls when they are in the UK. Already a series of concerts and residencies have been cancelled'.

A letter signed by artists including Jeremy Deller and Anthony Gormley states: 'As professionals committed to the principles of internationalism and cultural exchange, we are dismayed by new Home Office regulations which will curb our invitations to non-EU artists and academics to visit the UK. All non-EU visitors now must apply for a visa in person and supply biometric data, electronic fingerprint scans and a digital photograph. The Home Office's 158-page document also outlines new controls over visitors' day-to-day activity: individuals must show that they have at least £800 of savings, which have been held for at least three months prior to the date of their application; the host organisation must keep copies of the visitor's passport and their UK biometric card, a history of their contact details; and if the visitor does not turn up to their studio or place of work, or their where-abouts are unknown, the organisation is legally obliged to inform the UK Border Agency. We believe that these restrictions discriminate against our overseas colleagues on the grounds of their nationality and financial resources and will be particularly detrimental to artists from developing countries and those with low income...'

Immigration controls have always acted as a barrier to the circulation of musicans - last year for instance Congolese band Konono No.1 had to cancel a London gig. If major art institutions are going to find the new points-based system hard to negotiate, imagine how difficult it will be for someone just putting on a gig or a party with a band or DJ from outside the EU.

No One is Illegal

While the campaign is welcome, we shouldn't make a special case of musicians and artists. The UK and EU border regime also causes misery to many other people - indeed the deaths of hundreds of people every year (usually at sea) as they try and enter Europe in defiance of these restrictions.

I was reminded of this while re-reading No One is Illegal, a seminal manifesto written by a group of people including Steve Cohen, who sadly died at the weekend. The text argues: 'Immigration controls should be abolished. People should not be deemed ‘illegal’ because they have fallen foul of an increasingly brutal and repressive system of controls. Why is immigration law different from all other law? Under all other laws it is the act that is illegal, but under immigration law it is the person who is illegal. Those subject to immigration control are dehumanized, are reduced to non-persons, are nobodies. They are the modern outlaw. Like their medieval counterpart they exist outside of the law and outside of the law’s protection. Opposition to immigration controls requires defending all immigration outlaws'.

The manifesto also makes that point that seeking to reform immigration control by 'defining who may be excluded from it by necessity entails defining who is included in it'. The UK Border Agency has created a separate category of temporary 'creative workers', with specific rules for them, but we should be wary of treating them as more deserving than other human beings subject to these barriers to the freedom of movement.

Dancing Questionnaire (14): Paul from Twickenham

1. Can you remember your first experience of dancing?
My mum used to have a Felicity Kendall exercise tape, which she would have in a little stereo on the landing, and I would dance along aged 5 or so. One of the tunes was In the Navy by the Village People and another was Being With You by Smokey Robinson, which I do still like today.

2. What's the most interesting/significant thing that has happened to you while out dancing?
I don't know, the first night I ever went out in Oxford I was punched in the face, Ol' Dirty Bastard had just died and we'd been in the pub getting pissed. We went to a club and I expect we were enormously obnoxious, my flatmate had climbed over the DJ booth and was screaming for Black Sabbath (he wasn't wrong), and I was wearing a bear-trapper hat and some other hat and my coat and my then-girlfriend's coat and her huge hot-pink scarf and running on the spot holding my two pints. Anyhow, they put on God Save the Queen by the Pistols, and I seized this guy by the lapels and screamed 'we mean it maaaaaaaaan' in his face, and he punched me, which I deserved, and the earflaps of the first hat protected me anyway.

3. You. Dancing. The best of times…
Electrowerkz, a birthday party, loads of tunes I thought I'd never hear out, mostly modernish freaky ragga ones, we did hear a lot of Supercat too. Any time the Specials have been on, actually, often drunk round someone's house and just prancing around.

(photo: Electrowerkz, Islington - All You Can Eat, October 2007 - photo from Darrell Berry's excellent clubbing photostream at flickr)

4. You. Dancing. The worst of times…
Just any time you're tired and bored and try and give it a go, in the hopes that you can gee the evening up and you fail.

5. Can you give a quick tour of the different dancing scenes/times/places you've frequented?
Pogoing in the suburbs, big beat when it was good (which it was), jungly skipping, ska skipping, roots rocking (principally standing still while hurling the upper half of your body up and down, very cool, obviously), and just twatty dancing at house parties, not to take the piss out of dancing or other people who want to dance, just to dance in a silly way, which is immense fun as we all know.

6. When and where did you last dance?
I don't know, I think it may have been a Meat Puppets concert but I often dance in my living room.

7. You're on your death bed. What piece of music would make your leap up for one final dance?
Wicked Mathematics, by Nicolette.

All questionnaires welcome - just answer the same questions in as much detail as you like and send to transpontine@btinternet.com (see previous questionnaires)

Anti-music Islamists Destroy Shrine

William Dalrymple on the destruction of a Sufi shrine in Pakistan (full article in yesterday's Observer):

'Rahman Baba, "the Nightingale of Peshawar," was an 18th-century poet and mystic, a sort of North West Frontier version of Julian of Norwich... For centuries, Rahman Baba's shrine at the foot of the Khyber Pass has been a place where musicians and poets have gathered, and his Sufi verses in the Pukhtun language made him the national poet of the Pathans. As a young journalist covering the Soviet-mujahideen conflict I used to visit the shrine to watch Afghan refugee musicians sing their songs to their saint by the light of the moon.

Then, about 10 years ago, a Saudi-funded Wahhabi madrasa was built at the end of the track leading to the shrine. Soon its students took it on themselves to halt what they saw as unIslamic practices. On my last visit, I talked about the situation with the shrine keeper, Tila Mohammed. He described how young Islamists now came and complained that his shrine was a centre of idolatry and superstition: "My family have been singing here for generations," said Tila. "But now these Arab madrasa students come here and create trouble. "They tell us that what we do is wrong. They ask people who are singing to stop. Sometimes arguments break out - even fist fights. This used to be a place where people came to get peace of mind. Now when they come here they just encounter more problems, so gradually have stopped coming."

... Behind the violence lies a long theological conflict that has divided the Islamic world for centuries. Rahman Baba believed passionately in the importance of music, poetry and dancing as a path for reaching God, as a way of opening the gates of Paradise. But this use of poetry and music in ritual is one of the many aspects of Sufi practice that has attracted the wrath of modern Islamists. For although there is nothing in the Qur'an that bans music, Islamic tradition has always associated music with dancing girls and immorality, and there is a long tradition of clerical opposition.

At Attock, not far from the shrine of Rahman Baba, stands the Haqqania, one of the most radical madrasas in South Asia. Much of the Taliban leadership, including its leader, Mullah Omar, were trained here, so I asked the madrasa's director, Maulana Sami ul-Haq, about what I had heard at Rahman Baba's tomb. The matter was quite simple." Music is against Islam" he said. 'Musical instruments lead men astray and are sinful. They are forbidden, and these musicians are wrongdoers.'

...Later, I returned to the shrine and found Tila Mahommed tending the grave. Making sure no one was listening, he whispered: "We pray that right will overpower wrong, that good will overcome evil. But our way is pacifist," he said." As Baba put it, 'I am a lover, and I deal in love. Sow flowers, So your surroundings become a garden. Don't sow thorns; for they will prick your feet.We are all one body, Whoever tortures another, wounds himself''.

I thought of this conversation, when I heard that the shrine of Rahman Baba had finally been blown up on Thursday, a few hours after the Sri Lankan cricketers were ambushed in Lahore'.

Agit Disco

Agit Disco is an archive project dedicated to political music, initiated by Stefan Szczelkun. The format is a series of CD length selections of tracks with written commentary, with selectors so far including Howard Slater, Stewart Home, Louise Carolin, Tom Vague, Simon Ford and several others.

Stefan's take is that political music is continually being undermined by corporate pop: 'The harmless pop pap is bolstered and promoted out of all proportion to its value as art. Its production values can be lushed up with loadsamoney to hide the inner vacuity. This deluge of light entertainment then waters down the political messages of music until it is practically colourless. But deeply coloured stuff still bursts through occasionally. .. An agit disco would distill the politics out from the weak solution of popular musics. By counterpointing themes and problemmatising genres and bringing the more repressed and uncommon examples to the surface we might respark this potentially inflammatory material'.

I am working on my own Agit Disco mix at the moment, so will refrain from saying too much more about this for now - I guess it should be clear from previous posts here that I tend to take a more otimistic view of the possibilities of pop, seeing it as open to political appropriation even if the producers didn't intend it. But I appreciate Stefan's contribution in terms of trying to open up a space to think through these issues through listening to and talking about actual songs, rather than just in the abstract.

Anthony Iles makes some interesting points in Dissident Island Discs, a review of the agit disco project at Mute. He asks: 'There is a tendency towards music which wears its political content safely in its lyrics. But what of instrumental music? Is music with no lyrical content never political? What of the milieus around musical production? Could we leave Jazz (largely instrumental) out of any discussion of politicisation and music? Techno and Jungle? And if we can talk of a politics that does not claim to represent its aims or political demands - then can't music also build a politics out of its very material, form and delivery?'.

Stefan though certainly doesn't rule out a politically-engaged music that is lyric-free: 'Music is political through its ability to form alliances of like mindedness that can by-pass verbal discursive activity. By its way of forming part of identity and cultural affiliations... Urgent beats can respond to a sense of forwarding of moving the collective energy of which underlies any challenging change against systemic grains'.

Less than Zero

Less than Zero (1985) by Brett Easton Ellis is, as everybody knows, a study in nihilism set among the young, bored and wealthy in 1980s Los Angeles. A lot of time is spent hanging out in clubs and bars. I'm not sure if any of the places Ellis mentions were real clubs, or based on real places (anyone know?), but there are some good descriptions of feeling pretty vacant in nightclubs.

Clay (narrator/main character) visits The Land’s End on Hollywood Boulevard:

'From the back door you walk into the club like you're walking into a cellar and it's dark and like a cave with all these partitions separating the club into small areas where groups huddle in the darkness... Before I can make out any faces, my eyes have to wait a minute to get used to the darkness. The club's crowded tonight and some of the kids waiting out in back won't be able to get in. 'Tainted Love' is playing, loudly, over the stereo system and the dance floor is packed with people, most of them young, most of them bored, trying to look turned on. There are some guys sitting at tables who all look at this one gorgeous girl, longingly, hoping for at least one dance or a blow job in Daddy's car and there are all these girls, looking indifferent or bored, smoking clove cigarettes, all of them or at least most of them staring at one blond­haired boy standing in the back with sunglasses on... We pass through the crowd and walk into the back, leaving the thumping music and the smoke-filled room behind us.'

He also goes to the New Garage 'downtown between 6th and 7th or 7th and 8th':

'The New Garage is actually a club that's in a four-story parking lot; the first and second and third floors are deserted and there are still a couple of cars parked there from the day before. The fourth story is where the club is. The music's loud and there are a lot of people dancing and the entire floor smells like beer and sweat and gasoline. The new Icicle Works single comes on and a couple of The Go-Go's are there and so is one of The Blasters...'

There are also a couple of scenes set in 'The Edge':

'The DJ at the Edge tonight isn't wearing a shirt and his nipples are pierced and he wears a leather cowboy hat and between songs he keeps mumbling 'Hip-Hip-Hooray.' Kim tells me that the DJ obviously cannot decide whether he's butch or New Wave... Lindsay and I walk upstairs to the restroom and do some coke in one of the stalls. Above the sink, on the mirror, someone's written in big black letters 'Gloom Rules.' After we leave the restroom, Lindsay and I sit at the bar upstairs and he tells me that there's not too much going on anywhere in the city. I nod, watch the large strobe light blink off and on, flashing across the big dance floor'....

'It's two in the morning and hot and we're at the Edge in the back room and Trent is trying on my sunglasses and I tell him that I want to leave. Trent tells me that we'll leave soon, a couple of minutes maybe. The music from the dance floor seems too loud and I tense up every time the music stops and another song comes on. I lean back against the brick wall and notice that there are two boys embracing in a darkened corner.... We walk out into the hot night and Blair asks, 'Well, did we have a good time?' and nobody answers and she looks down'.

Handsworth Songs

Tate Britain in London is currently showing films by the Black Audio Film Collective, including the excellent Handsworth Songs (1986). The film takes as its starting point the riots in Handsworth (Birmingham) in 1985, with its iconic images of burning cars and the then Home Secretary Douglas Hurd being confronted by an angry crowd.

photo credit: John Akomfrah: Handsworth Riots - Twenty Summers On

© Pogus Caesar / OOM Gallery Archive 1985

Arguing that 'there are no stories in the riots, only the ghosts of other stories', the film summons up some of these ghosts with early footage of hopeful migrants arriving in the 1950s cutting backwards and forwards to later experiences of racism - including harrassment on the streets of Handsworth and the death of Cynthia Jarrett following a police raid on her home in Tottenham (which sparked the Broadwater farm riots).


There's some interesting historical footage of Birmingham, including a 1937 Labour Day procession, Malcolm X on a visit to the city in the 1960s and the 1977 anti-National Front demonstrations in Handsworth. The soundtrack is similarly eclectic, ranging from Lord Kitchener to Mark Stewart and the Maffia's take on Jerusalem, alongside Trevor Mathison's brooding soundscape composed especially for the film. No inclusion of Steel Pulse's classic Handsworth Revolution though -maybe at the time it just seemed too obvious.


The film lasts about an hour and is being shown on continuous loop until May just off the main entrance hall at Tate.

Dancing Furries

Crossing the Thames on the Millennium Bridge yesterday I came across a group of furries. Apparently there’s a whole international scene of people into anthropomorphic animals who create their own characters, dress up in fursuits and socialise. There’s a London group (LondonFurs) who meet up regularly.


Anyway there was a fun moment yesterday next to the river by Tate Modern where the furries encountered a band busking, resulting in a spontaneous party of dancing animals.

Dancing Questionnaires (13): Tom from Cardiff

Tom from Vamos a Bailar: Salsa in Cardiff and Around steps up:


1. Can you remember your first experience of dancing?
Dancing to a rhythm’n’blues band in the 1970s on the beer-soaked linoleum of Cardiff’s notorious – and long-demolished – New Moon Club.

2. What's the most interesting/significant thing that has happened to you while out dancing?
My answer to this changes all the time, because it always relates to the most recent dance where I really make a connection with a partner.

3. You. Dancing. The best of times…
Paris last summer. Free dancing on a warm Saturday night in the open air on the banks of the Seine, and then Sunday afternoon in Barrio Latino: I was on form and the dancers and the music were great.


4. You. Dancing. The worst of times…
Cattle markets in Cardiff Students’ Union in the late 70s, trying to pluck up the courage to ask for a dance.

5. Can you give a quick tour of the different dancing scenes/times/places you've frequented?
I used to jump about in an uncoordinated way at parties in the 70s. Myself and my (straight, male and female) friends also used to go to gay clubs and dance to disco music around the same time. I only got seriously into dancing around seven years ago: I’ve become addicted to dancing LA-style and more recently Cuban salsa (and the group version ‘rueda de casino’). I also dance merengue and bachata (dances from the Dominican Republic) and reggaeton if I’m sufficiently relaxed, though strictly speaking I'm too English and middle-aged for the latter.

6. When and where did you last dance?
Last night in Jumpin’ Jaks, Cardiff. A great night.

7. You're on your death bed. What piece of music would make your leap up for one final dance?
‘Este te Pone La Cabeza Mala’ by Los Van Van.

All questionnaires welcome - just answer the same questions and send to transpontine@btinternet.com (see previous questionnaires)

Dancing Questionnaires (12): Abbey from Boston

The latest dancing questionnaire has been completed by Abbey who lives in the Boston, MA area. Her summer camp dancing adventures reminded me of going to youth club discos and dancing round in a high kicking circle to Hi Ho Silver Lining by Jeff Beck as well as the perennial awkwardness - for boys and girls - of that last slow dance. We also played the B-52s at that youth club, who would have thought they would end up in the pop canon, but I guess they have - in fact only last week I played Love Shack out withn my ukulele band.


1. Can you remember your first experience of dancing?
Dancing in my family room to a video of a Parachute Express concert as a very small child. Ever since I've know what music is, I've danced to it.


2. What's the most interesting/significant thing that has happened to you while out dancing?
Probably when I was at the dances at my camp last year. A slow song came on, and instead of wandering around and feeling awkward about not wanting to dance with guys, all of my friends and I broke into faux-ballet moves and just...let go. It wasn't embarrasing, it wasn't awkward, it was...so much fun.


3. You. Dancing. The best of times…
It all happens at camp for me. We're all dorks, on the fringe of society at home, but when we get together, we just go crazy. Not just at the dances, but one incredible moment when it started pouring rain, and instead of running for cover, we danced. And sang Bohemian Rhapsody, but that's a longer story.

4. You. Dancing. The worst of times…
I was at a dance at home, at a private boy's school that my friend goes to. He invited me and a few of my friends, and after slight worry over the sex-deprived boy schoolers, we decided to go. A guy asked me to dance, and I was weirded out, since that never happens to me, but I said yes. ...Before I realized what was happening, he started grinding with me. I was freaked out, and had no idea what to do, just sort of stood there until he stopped, said it was nice to meet me, and walked away. Apparently I'm not a very good grinding partner, which is nice, because I find it disgusting.


5. Can you give a quick tour of the different dancing scenes/times/places you've frequented?
Not much. I'm pretty young, pretty sheltered, and live in the most boring place in the universe. So the craziest I get is school or camp dances, or randomly instigated dancing in random places with my friends. We're awesome like that.


6. When and where did you last dance?
If you mean seriously danced, it was at the winter semi-formal at my school, and it was some crazy awesome fun (as long as we avoided the sea of grinding taking up most of the dance floor). But for any dancing, the last time would be in the car, with my brother and dad, dancing in my seat when Revolution by the Beatles came on the radio. I make it a point to dance pretty much every day.


7. You're on your death bed. What piece of music would make your leap up for one final dance?
American Pie. It's played last at every dance at my camp, we know all the words, it's packed with traditional dance "moves" and called responses to the lyrics. It's the one song I've danced to that really affects me emotionally. This could actually be said about a few canon songs from my camp, including Tunak Tunak Tun, Love Shack, and the Time Warp.

All questionnaires welcome - just answer the same questions and send to transpontine@btinternet.com (see previous questionnaires)

Clubbed to Death

I've posted this before at my south east London blog, Transpontine, but am reposting here as a follow up to the earlier Club UK post on crime, drugs and London clubbing.

Raving Lunacy: Clubbed to death – adventures on the rave scene (2000) is by Dave Courtney - sometime East Dulwich resident, former Southwark Council dustman (at Grove Vale depot), and celebrity villain. Must admit I’m not big on the loveable gangster genre, violence isn’t glamorous - it’s brutal, bloody and leaves behind grieving children who are damaged for life. In this book, Courtney plays up to his image and some of the stories can no doubt be taken with a pinch of salt. Still, he does a service in documenting the early days of acid house and raving in late 80s/early 90s South London.

By his own account, Courtney went to some of the first 'acid house' events in London - Shoom in Thrale Street, Southwark and the parties held in old prison museum in Clink Street by London Bridge: 'The Clink was wicked... Very druggy and very housey place, full of proper hardcore havin'-it-larger's in there. And it was good cos it had all these individual cells so it was like having loads of little VIP lounges'.

Soon he started a club of his own: 'near the Elephant and Castle, I found a viaduct arch beneath the mainline railway track running over John Ruskin Street... The Arches was the first all-night, illegal rave in London... All the other clubs in London shut at about 2 am but mine was still banging at 8 o'clock in the morning! ... Under this great big curved, black and red railway arch roof there was the scaffolding gantry holding the DJ on the decks, massive speakers either side and the lights hanging above; and below that this heaving mass of lunatics just going completely mental, arms in the air, whistles and foghorns blowing... Steam and joint smoke hung like a fucking fog, people were dancing on speakers and scaffolding... we'd have a girl walking round in a Playboy Bunny outfit with an ice-cream tray round her neck full of ready-rolled spliffs for a quid each - Get yer Joints 'ere!' And big plastic dustbins filled to the top with ice and free apples and Ice-pops... we had a mad mixture of people: from hardcore ravers, professional clubbers, black geezers, white geezers, plenty of women, football hooligan nutters going all smiley, hardnuts softened by Ecstasy... I had names DJing there before they became superstar DJs like they are now - Danny Rampling, Carl Cox, Fabio & Grooverider, Brandon Block'.

The police at the nearby Carter Street station were not happy, and eventually it was raided by 'army of 150 police, with some fuckers called No 3 Area Territorial Support Group in flameproof overalls, bulletproof body armour and steel hel­mets with radio microphones, carrying an angle grinder, a hydraulic ram, sledgehammer'. 26 people were arrested and one person was apparently later jailed for five years for his part in running the club.

Later he was involved in putting on free open-air raves - 'I bought a massive removal van with a diesel generator ·and drove in on to fields or grasslands. Tooting Common was one. Peckham Rye was another... I'd open up the back of the lorry, set up the DJs decks and put these dirty big speakers outside. We'd get eight, nine hundred people up there really going [or it. Speakers booming it all out. And cos I didn't charge no one the law had a job Slopping me doing it. It just started attracting loads of gay blokes, which is something I hadn't counted on. But then it was the Common, the well known shag-spot for gay geezers doing some fresh air cruising, so I guess it made sense'.

He also ran a club for a while at the Fitness Centre in Southwark Park Road: 'It used to be the hottest place. It was this windowless basement space made for about 30 geezers to work out in; not two hundred people to get off their tits'.

Then he put on a club called 'Crazy Mondays', at Futures on Deptford Broadway, a club owned by Harry Hayward (later as a 'retired gangster', the Chair of Deptford Action Group for the Elderly): 'It ran from 6 a.m. Monday morning till about 2 p.m. in the afternoon... there was villains, hardcore ravers, pimps, prostitutes, drug dealers, lap dancers, strippers, drag queens, club owners, club promoters, club dancers, celebrities, sports stars (Nigel Benn and Gary Mason were there), doormen, bar staff, waitresses, croupiers, gamblers, cab drivers, sex club people - basically, mostly everyone that had· worked over the weekend in the nightclub trade watching other people having a good time, all came down to mine to have their own'.

Courtney was evidently in that generation of crooks who saw the money-making opportunities in the club scene but he is also obviously a true believer, extolling the wonders of ecstasy and raving in breaking down racism in London and challenging his own anti-gay prejudice.

Nigerian Islamists ban Dancing on Screen

Islamic authorities in Kano State (northern Nigeria) have been enforcing a ban on showing 'singing and dancing on screen' claiming it is 'necessary to protect Hausa culture against the influence of Indian Bollywood films, hugely popular in northern Nigeria'. In December 2008, film maker Iyan Tama was jailed for releasing a film without the approval of Islamic censors, and featuring singing and dancing. Last month a mob attacked his home and threatened his family (source: BBC News, 29 January 2009)

Club UK in Wandsworth: Love, Ecstasy and Crime

Heading out to Kew Gardens over Christmas, we drove through Wandsworth. As always on that journey through South West London, my partner and I reminisced incredulously about how we used to drag ourselves for miles across the capital by public transport to visit that part of the city. And we weren't alone - because from 1993 to 1996, Wandsworth was the home of Club UK, attracting people from all over London and beyond to queue in Buckhold Road next to the Arndale Shopping Centre.

Like many new clubs at this time, it was launched in a blaze of publicity about its luxurious decor and facilities. Like most, the reality was that the money was mainly spent on the sound system, and it was in fact a 'utilitarian, cavernous warehouse' (to quote DJ magazine), with 3 different music rooms - the 'techno room', the 'pop art room' and the main room. Promoter was Sean McClusky, who was also involved with the Leisure Lounge in Holborn and previously The Brain in Soho (he had also been drummer in 1980s band JoBoxers).

There were two main nights. On Fridays, it was Final Frontier, a techno/trance night put on by Universe (who promoted the Tribal Gathering festivals with the Mean Fiddler). The flyer below exemplifies the rhetoric of that scene, with its talk of a 'our weekly marriage of spirituality and technology in perfect harmony' and its call for 'No rules, no limits and no sell out'.

Final Frontier flyer, January 1995 (click to enlarge)

Saturdays was a house night, with a dominant soundtrack of the kind of anthems despised as 'handbag house' by tedious musos, but which I loved (and indeed still do). Yes lots of disco diva vocals and four to floor rhythms. When I think of Saturday nights at Club UK, the tracks that come to mind are things like Your Loving Arms by Billy Ray Martin (the Junior Vasquez Soundfactory mix), To the Beat of the Drum by La Luna, Wildchild's Renegade Master, Push the Feeling On by the Nightcrawlers. Oh and that piano break track with the sample of Blur's Girls and Boys (Pianoman - Blurred).

Club UK flyer, February 1995 (click to enlarge)

What made Club UK special was a crowd of 1400 people for which the term 'up for it' seems completely inadequate. I can still vividly picture walking in there for the first time on a Saturday night - as soon as we stepped through the doors it felt like we were in the middle of an explosion of energy. The track playing was Reach Up (Papa's got a brand new pigbag) by Perfecto Allstarz - the whole place was erupting, there didn't seem to be any sense of a separate dancefloor, everybody in the place was dancing including the bar staff. You would meet all kinds of people there from public school kids (there were press reports of Etonians being suspended for taking drugs there) to squaddies - I remember on that first visit chatting to a couple who had done a bunk from a local children's home to be there.

Club UK was the opposite of cool, in every sense of the word. It was a sweatbox with little or no air conditioning, condensation dripping off the ceilings and sometimes unbearably hot and crowded. One night when we there they had to open the fire exit into the Arndale to let people breathe - so there was an impromtu chill out area on a balcony overlooking the deserted shopping centre (pretty sure this was on their second birthday party, July 1st 1995, with Danny Rampling playing). I remember sucking ice pops to try and cool down. The place was ecstasy fuelled, so many people would go the whole night without buying a drink. Many dubious clubs at that time used to turn off the water in the bathrooms so that people had to buy water from the bar. I don't recall Club UK going to that extreme, but sometimes the cold water taps were reduced to a dribble and they certainly made a small fortune selling their own brand of bottled water. Like in many clubs, there were many random acts of kindness as strangers offered each other sips of water on the dancefloor.

South London Press, 17 October 1995 (click to enlarge)

One hazard was the sporadic police raids. The first one was in December 1994 on a Friday night. Then in October 1995, 150 police raided it on a Saturday. Operation Blade involved dogs, horses, and the Territorial Support Group. 800 clubbers were turned out on to the streets, and many searched. 10 people were arrested. The police raid on Club UK was carried out with TV cameras in attendance, correctly described by the clubowners as a 'media circus'. It seems the raid was deliberately timed to provide a story on which to hang the launch two days later of a new anti-drugs campaign called SNAP (Say no and phone). Ironically the police launched this campaign at Club UK's South London rival, The Ministry of Sound, a place where drug use was just as widespread.

 

Mixmag, November 1995 (click to enlarge)

With hindsight, there were though some dodgy people around Club UK. As in the United States when prohibition of alcohol led to the Mafia control of drinking clubs, the prohibition of drugs like ecstasy created a huge market for UK gangsters to fill.

In December 1995, three men were found shot dead in a Range Rover in a country lane near Rettendon in Essex: Tony Tucker, Pat Tate and Craig Rolfe. There are different versions of why they were killed, as they had many enemies from their involvement in violence and drug smuggling. But it is well established that Tucker ran security at Club UK. According to Tony Thompson in 'Bloggs 19: the story of the Essex Range Rover Triple Murders' (London: Warner, 2000), 'Controlling the doors of a club instantly means that you control who sells drugs inside. Tucker began to charge dealers 'rent' of around £1000 per week in return for granting them exclusive access to the club... in March 1994, twenty-year old Kevin Jones died at Club UK in south London after taking ecstasy. In a bid to track the source, police put two of the club's suspected dealers under surveillance and discovered they had been paying Tony Tucker, the man responsible for security at the club, £1000 per weekend for the exclusive rights to sell ecstasy and cocaine'. Thompson also suggests that Tucker supplied the ecstasy to a dealer at Raquels nightclub in Basildon, the source of the infamous E that caused the death in November 1995 of Leah Betts at her 18th birthday party.

The Rettendon events are fictionalised in Jake Arnott's novel True Crime, where one of the characters declares: 'It's who runs the doors, Gaz. That's what this thing is going to be all about. It doesn't matter who runs the club, who promotes the event or whatever. It's who's in control of security, that's going to be the thing. That way you decide who can bring in drugs and deal inside the place'.

 
The fulll story of criminal gangs in the 1990s club explosion remains untold. That gangsters like Tucker controlled the drugs trade in clubs is not surprizing, but as they made more and more money it seems likely that some must have crossed over to investing profits in buying and running clubs. It would be interesting to know where some of the money came from for some of the high profile new clubs that opened in that period. And its a sobering thought that in any counter-culture/alternative scene where drugs are prominent, you are only ever a few degrees of separation away from a thug with a gun.

But still... who can forget those nights in Wandsworth.

The pop art room at Club UK

More memories, flyers and mixes on the Final Frontier and Club UK groups at Facebook. Great to remember all the good nights, but let's not forget those who didn't make it: Andreas Bouzis (18) and Kevin Jones (20) who died after collapsing at the club.

See also Clubbed to Death

F.Scott Fitzgerald - May Day

F. Scott Fitzgerald's story May Day, first published in 1920, is an account of a drunken night in New York in May 1919. Drunk socialites dance and argue before hitting an all night cafe, drunk soldiers attack socialists in the streets. He describes the different stages of alcohol intoxication, from feeling good to fighting: 'At the second highball, boredom, disgust, the monotony of time, the turbidity of events, sank into a vague back­ground before which glittering cobwebs formed. Things became reconciled to themselves, things lay quietly on their shelves... as he sipped his third highball his imagination yielded to the wann glow and he lapsed into a state similar to floating on his back in pleasant water'. Before the end of the story, the same character has been in a brawl with bouncers.

A key setting is a dance to a jazz band at Delmonico's, with the author conjuring up its smell: 'From the room she had left drifted out the heavy fragrance left by the passage to and fro of many scented young beauties - rich perfumes and the fragile memory-laden dust of fragrant powders. This odour drifting out acquired the tang of cigarette smoke in the hall, and then settled sensuously down the stairs and permeated the ballroom where the Gamma Psi dance was to be held. It was an odour she knew well, exciting, stimulating, restlessly sweet - the odour of a fashionable dance'.

Fitzgerald also notes the trance-like sensation of dancing and its stimulation of memory : 'this dance, first of its kind since the war, was reminding her, with the accelerating rhythm of its associations, of something else - of another dance and another man... another roving beam... threw flickering shadows and changing kaleidoscopic colours over the massed dancers. Edith had danced herself into that tired, dreamy state habitual only with debutantes, a state equivalent to the glow of a noble soul after several long highballs. Her mind floated vaguely on the bosom of her music; her partners changed with the unreality of phantoms under the colourful shifting dusk, and to her present coma it seemed as if days had passed since the dance began. She had talked on many fragmentary subjects with many men. She had been kissed once and made love to six times... her mind was passive now, her senses were lulled to trance-like sleep; only her feet danced and her voice talked on in hazy sentimental banter'.

Free Radio

Must admit I know very little about pirate radio outside of England, but here's a few interesting stories that caught my attention:

Florida: One Love Radio (ABC Action News, 12 February 2009)

.... the Winter Haven Police Department arrested Anthony Davis after searching his Lee Avenue in Winter Haven. Detectives found audio mixers and DJ equipment and a 100 watt transmitter that they say Davis was using to broadcast his reggae music style radio station on 87.9 FM.
Complaints about his station came from a local Orlando TV station, Channel 6 which uses the freqency for their TV audio. Davis called his station format "One Love Radio". A third degree felony charge of unlawful transmission of radio frequency was filed against Davis who told detectives he worked as a security guard in Haines City.

Israel: RAM FM (Ynet news, 4.7.08)

RAM-FM, an English-language radio station broadcasting from a Jerusalem studio, was shut down by police on Monday for transmitting without a proper permit. The West Bank station broadcasts Western music in an attempt to bring Israelis and Palestinians closer together. The station's headquarters are located in the West Bank city of Ramallah, where it broadcasts on 93.6 FM.... The station's headquarters are located in the West Bank city of Ramallah, where it broadcasts on 93.6 FM...The station attracts a diverse audience of tens of thousands, from Israeli soldiers and Palestinian students to West Bank villagers, English speaking immigrants, migrant workers and foreign diplomats. It is one of the numerous pirate radio stations broadcasting throughout Israel, which are often blamed for dangerous disruptions in airport air traffic communications and interference in regular radio broadcasts. (see also this)

Free Radio Berkeley - Liberating the Commons

'Within the first year after the initial broadcast of Free Radio Berkeley [in 1993], it became clear that the Free Radio Movement was part of a much larger global endeavor. Community radio is rooted in the struggles of people for a just and humane existence. Whether it was: Bolivian tin miners establishing radio stations in the late 1940’s as part of a campaign to improve working conditions; Radio Rebelde’s role in the Cuban Revolution; Czech citizens creating clandestine radio stations after the crushing of the Prague Spring in 1968 by the USSR; or the supportive role of community radio in the recent uprising by indigenous people in Bolivia to reclaim their natural resources – community radio has always been a tool of expression and organization... After the first coup against Haitian President Jean Bertrand Aristide, Free Radio Berkeley supplied transmitters to peasant organizations fighting against the coup. Transmitters also went to both the Chiapas jungle and the urban streets of Mexico City... Embracing Free Radio as a form of media expression that is genuine and real is the first step on the road to liberation from the society of the spectacle. Only by coming together as communities can people begin to: form the relationships that really matter, tell the stories which impart a collective identity, history and purpose; dance, sing and celebrate life together; and forge new bonds of commitment and support. Free Radio is the Peoples Drum'.

Datacide Archive Online

12 years of articles from the great 'noise and politics' zine Datacide are now online. Spend some time there, it will be worth your while!

Online for the first time you can now read my article from the latest Datacide 10:

Neil Transpontine: A Loop Da Loop Era: towards an (anti-)history of rave
"We are all familiar with those superficial overviews of ‘popular culture’ in which the same clichéd images are used to denote entire social movements – a few naked hippies at Woodstock standing in for the 1960s counter-cultures, a couple of Mohicans for punk and some gurning ravers in smiley t-shirts for twenty years of electronic dance scenes from acid house to breakcore. In this way history affirms the status quo by suggesting that nothing fundamental ever changes, and the multiple possibilities of negation and creation opened up by these movements are denied... There is no single history but numberless trajectories that converge and pass through the various sonic, social and chemical phenomena grouped under that unstable term ‘rave'...."

You're on hold

I've just read a short pamphlet 'Muzak to my ears: Canned Music and Class Struggle: Public Space and Muzak as Policing'. I will write a review of this at some point, but one thing that struck me was the reflection on the music used when you phone a bank or other institution while you are kept on hold: 'music is now used as environmental material to enhance sales techniques and marketing, usually to soothe the nerves and irritation of impatient phone callers but, as Ballard points out, also to jangle the nerves and exacerbate the irritation of dissatisfied service customers, probably to make them stop holding on'. It includes a great quote on this from JG Ballard (I think sourced from the book Elevator Music):


"...the subject is fascinating - all part of mood-control. For me the intentions of background music are openly political, and an example of how political power is constantly shifting from the ballot box into areas where the voter has nowhere to mark his ballot paper. The most important political choices in the future will probably never be consciously exercised. I'm intrigued by the way some background music is surprisingly aggressive, especially that played on consumer complaint phone lines and banks, airlines and phone companies themselves, with strident, non-rhythmic and arms-length sequences that are definitely not user-friendly."

In the course of my own personal credit crunch I have spent a fair amount of time waiting for calls to be answered, and yes the music remains more than irritating - but at least suggests that you are waiting in a queue with some prospect of speaking to a human being, even more frustrating is going round and round in circles through endless menus of options (press 1 if you would like to get further in debt, press 2 if your house is going to be repossessed etc.) - none of which include the possibility of any kind of conversation.

Still if you think listening to Music on Hold is bad, spare a thought for the Call Centre workers on the other line - wearing headphones all day and therefore susceptible to serious damage to their hearing from Acoustic Shock caused by 'a sudden, unexpected noise, often delivered at a very intense frequency'.

'Muzak to My Ears' is available as a pamphtelt from Past Tense publications, c/o 56a Infoshop, 56 Crampton Street, LondonSE17 3A (£1.50 including post and packing, cheques made payable to A. Hodson. Most of the text is available online here.

Liverpool Street Closed by Silent Dance

Even though I stand by my critique of last month's T-Mobile pseudo-flashmob, the advert may have had the effect of amplifying the real silent rave phenomenon, judging by last night's events in London:

'Liverpool Street Station was overrun by dancers who had congregated on the concourse for a silent disco, organised via the social networking website. The crowd, who were all listening to music through headphones, broke into dance at 7pm on Friday night in a scene which aped the advert which was filmed at the station last month. The flash mob caused police to close the station for around 90 minutes due to fears of overcrowding. Participants, some of whom had travelled hundreds of miles to take part, said the station was so packed that there was no room to dance. Some revellers climbed on top of a ticket office to perform their routines, while others climbed notice boards and other station furniture... Word of the the event, called Liverpool Street Station Silent Dance, was circulated on the internet through Facebook.

Jennie Tuck, 16, a student from London, said: "It was an amazing atmosphere. Everyone assembled underneath the departures board and watched the clocks for a 10 second countdown to seven o'clock. When the clock struck seven, everyone went mad. People were dancing and screaming and jumping up and down. One guy completely stripped off and loads of others were crowd surfing."

A City of London Police spokeswoman, who was on the scene said: "We had to close the station because it was completely overcrowded. There were around 12,000 people here" (source: Telegraph, 7 February 2009).

On Facebook, people already seem to be planning a similar event in Trafalgar Square next Friday 13th February at 7 pm. What we really need is somebody to turn up with a sound system on a truck to really take this to another level.

Dancing and Class Formation

How do social classes come about? From a Marxist point of view, class is defined by people's relationship to the means of production - there are those who own (or who own substantial share holdings in) banks, factories, land and various large companies, the 'independently' wealthy who don't rely on a wage to survive. Then there are the mass of the population without reserves, who can only make a living by selling their labour. In this perspective, the middle class doesn't really exist - as most middle class people are also only a couple of pay cheques away from the same destitution as the rest of the proletariat.

But I digress. The point I want to make is that the objective economic conditions for classes are only part of the story - as the radical historian E.P. Thompson argued in his The Making of the English Working Class, for classes to become social actors with a particular world view, acting in their perceived interests, a cultural process has to happen in which people develop common ways of socialising, thinking and acting. For Thompson, class is not just about "so many men who stand in a certain relation to the means of production" and class formation "is a fact of political and cultural, as much as of economic, history".

So where does dancing fit in with this? With a nod to Jurgen Habermas, Geoff Eley extended Thompson's idea to talk of "a working class public sphere", a self-conscious independent culture with its own publications and diverse organisational forms. He argued that in addition to formal political meetings, there emerged in the nineteenth century "new forms of collective sociability" that created "a distinct public space of independent working-class activity". Dancing was part of this, with Eley identifying the tea parties and balls of the Chartist movement as examples of this collective sociability.

But dance aspects of the public sphere are not specific to the working class. Anyone who has read Jane Austen knows how important balls were in the early industrial period as a means for the wealthier members of society to meet, interact and ultimately marry and reproduce. Over time they were one mechanism by which landed aristocrats and new money bourgeoisie came to form a new dominant class (or rather for an existing dominant class to accommodate newcomers).

Something similar happened in the 1960s, as the doors of the ruling class opened to admit new moneyed stars from the media and entertainment industries. Once again dancing - this time in 'Swinging London' nightclubs - facilitated this. Terence Stamp (left) a working class boy turned actor who benefited from this recalled: 'In the sixties, amongst ourselves, our age group, there was an absolute coming together. And what made the coming to­gether was basically music and dancing. In a way it was a new aristoc­racy. But the main thing was that there was suddenly access between the classes. Had the sixties not happened, I would never have been able to spend the night with a young countess because I would never have met her. And as the great Mike Caine once said to me, 'You can't shag any­one you don't meet.'"

Of course social mobility between classes is not to be confused with classlessness - the former implies the continued existence of classes, just with the potential for a few to move up and down the ladder. As Shawn Levy has written of that era: ''As the sixties emerged, proponents of the the­ory of classlessness could point to the likes of Quant and Stamp and the Beatles and a dozen other exceptions- people who'd broken into a new class where talent and the wealth that followed success mattered more than who your parents were. But it was inarguably the case that this mer­itocracy- with its members-only restaurants and nightclubs -was just as exclusive as the old upper class of money and birthright; you may no longer have needed to be born to position but earning it was, arguably, a harder and rarer feat. And, too, entrance to the new world only lasted as long as the traditional elite chose to allow it. "The rich people let us play in their back garden for a few years," said tailor Doug Hayward, "and then they said, 'Right, lads, very nice, you've all had a good time, now let's get back to it".'

Sources: E.P. Thompson, The Making of the English Working Class, 1963; Geoff Eley, ;Edward Thompson, Social History and Political Culture: the. Making of a Working-Class Public, 1780-1850', in H. J. Kaye and K. McClelland (eds.), E.P. Thompson: critical perspectives, Cambridge, Polity, 1990; Shawn Levy, Ready Steady Go! The Smashing Rise and Giddy Fall of Swinging London, 2002.

Zines, Blogs and the Historical Record

Simon Reynolds writes in the Guardian about the continued existence of printed zines in the age of the blog (he's also put up an interesting series of interviews with zine editors here, including John Eden of Uncarved/Woofah). Simon concludes:

'What's going on here is what academics describe as "slippage of the auratic". Walter Benjamin theorised about the "aura" possessed by the singular artwork, the painting or sculpture, in the age of mechanical reproduction. Yet as digital culture takes over, "aura" is being conferred on things that not long ago would once have been considered mass produced and characterless. In the age of the webzine and MP3, it is solid-form cultural artifacts – vinyl records, vintage DJ mixtapes, yellowing magazines – that become attractive in the face of the infinite dissemination and seeming ephemerality of web culture.'

I agree that part of the attraction of zines might be a nostalgia for material culture in the age of digital reproduction. But as a sometime wannabe social historian there is also something special about the printed zine as a contemporary artifact of a specific time and place. When I pick up, say, a riot grrrl zine from the mid-1990s, it tells me many things - not just what the writer was thinking at that time, but where they were based (from the address), what wider scene they were linked in with (from the listings) etc.

A future historian relying on blogs won't have to search through obscure archives in search of old hardcopy documents but they will face other obstacles. For a start blogs are much harder to locate in time and space - posts may be dated, but they can be revised, edited and re-written, making it difficult to be sure what is a contemporary record of something and what is something amended with hindsight. Many blogs don't even state what country they are published from, let alone city, so linking utterances to people's actual experiences of particular scenes is also problematic.

But the biggest problem is that while printed sources can last for many years, blogs can be deleted at will by the authors or other parties. In some cases the only documentation for something occurring can we wiped from the historical record because somebody forgets to pay their bill, because a host company goes out of business or because somebody is embarrassed by their juvenilia.

So please don't delete your websites and blogs even if you are sick of them - and if it's really good, maybe think about printing out a hard copy and sticking it in a library somewhere. Or maybe do a zine and send me a copy!