Dance before the Police Come in Datacide

My recent article for Datacide magazine, Dance Before the Police Come, has now been published on their website:

'Shut Up and Dance’s 1991 hardcore LP ‘Dance Before the Police Come’ was released at a time when the UK authorities were struggling to contain the massive explosion of raves. Thousands of people each weekend were playing a cat and mouse game with the police to party in fields and warehouses, and if the state was often outwitted by meeting points in motorway service stations and convoys of cars, it tried to keep the lid on the phenomenon by staging high profile raids. In 1990, for instance, an incredible 836 people were arrested at a Love Decade party in Gildersome near Leeds in the north of England.

Since then the global spread of Electronic Dance Music has generally been accompanied by the flashing blue light, the siren, and that moment when the music is abruptly turned off and the order given to clear the building. Indeed, let’s face it, the frisson of illegality has sometimes added a pleasurable edge to partying – the thrill of overcoming official obstacles just to get there, of getting one over on the authorities. And even the most mainstream of commercial club promoters like to pose as underground outlaws because they once got told to turn the music down by a man in uniform.

But police raids are serious business – often involving arrests which can lead to imprisonment, people losing their livelihoods and, in some parts of the world, social ostracism. People get injured, beaten and sometimes even killed. This article looks at a sample of police raids in recent times to get a sense of the current state of play between cops and dancers in different parts of the world'.

Read the full article here.

I note that Peverelist has just released a track called Dance Til the Police Come, very timely as he comes from Bristol:



Unlike the 1991 Shut Up and Dance track, Dance Before the Police Come, Peverelist doesn't sample Duran Duran in his version!

On (1997): Hierachies of Taste on the dancefloor

On was a free magazine put out in the mid-1990s by the people around the Big Chill - the editor was Pete Lawrence.

The 1997 'Winter Solstice' issue featured an article by Stuart Borthwick on 'Hierarchies... Taste... Hierarchies of Taste'. With more than a nod to Pierre Bourdieu, Borthwick denounced what he saw as the betrayal of 'the acid house revolution'. The mid-1990s was the time when dance music went supernova in the UK, and as Borthwick points out a time when some of the old baggage of the cultural industry came to the fore with super clubs and superstar DJs. Outside of the happy hardcore scene, hardly anyone talked about raving anymore - we were all clubbers instead. I agree with the thrust of what he says, though I always disliked the notion of 'you should have been there in 1988' - itself a brandishing of cultural capital - and I can assure you that in the clubs I was going to around this time there was still plenty of smiling and laughing! Not sure it's true either that previous 'style' scenes were just for 'middle class glamour-pussies' either - some of the key faces in the Blitz scene, like Boy George, were actually proletarian dandies. But some interesting thoughts here, and very resonant of the kind of discussions that were going on at the time.

Click on images to enlarge to read the full article - I have just transcribed extracts.

Hierarchies... Taste... Hierarchies of Taste - Stuart Borthwick

'The reason why I got in to the dance scene was because of its disruption of hierarchies, tastes, and hierarchies of taste. Let’s take them one by one. Hierarchies. The big one was class, but gender came a close second. Back in my teenage years, clubbing was something that was done by people with money. Look at the ‘significant’ club scenes prior to 1988. You’ve got eighties individualism and the style press working hand in hand, creating a vogue culture that only middle-class glamour-pussies could truly feel at home in. I was too young to go to Blitz, too young to get the nod from Steve Strange, but I never wanted to anyway. Too much posing. And then along came Acid House and, in the immortal words of the French academic Patrick Mignon, we witnessed the ‘democratisation of Bohemia’. Slipping into the dance void became a working-class thing to do. You didn’t need fancy clothes, you didn’t need a tailored suit, just something loose and baggy, something that would allow air to circulate whilst you were dancing, and might stand a chance of keeping you warm on the way home. Crucially you didn’t need lots of money or a record deal to be a fully paid up member of the scene. The modern dance audience doesn’t seem to understand what a relief this was, the extent to which this was a revolutionary change. As a young student in Liverpool I suddenly found myself no longer distinguishable, in either dress or attitude, from local youth, and it felt fantastic to be part of a new mass youth movement. The barriers were coming down between the increasingly divided youth tribes of the 1980s.

The relaxation of dress codes went hand in hand with the disruption of other specular hierarchies. Clubbing was no longer about looking, no longer about visual experiences, but about sonic architecture, about sound systems, about tunes and melodies and bleeps and blurps and the sound of a thousand nutters screaming. The chrome-filled spot-lit discos of the previous generation had been usurped in favour of tatty disused warehouses, basements underneath shopping centres, and the great British outdoors. Furthermore, we’d turned away from the stage, we had stopped looking for some ridiculous rock god, and started closing our eyes and dancing...'


‘The reason why I feel more and more disillusioned with, and alienated from, the contemporary dance scene is that I can see all the things that I thought had been destroyed in the late eighties coming back into existence… We’ve ended up with disastrous door/clothes policies, where you can’t wear what you want, even to the most underground of clubs. Door prices have gone through the roof, and top clubs have become the preserve of an employed elite. And with the focus on clothes we have witnessed the return of the gaze, clothing has been re-sexualised, and the old gender barriers re-erected...

We’ve seen the return of seriousness to dance clubs. Back in the late eighties and early nineties the dance floor was fun, everyone was giggling and laughing and blowing whistles and shouting and screaming. You simply don’t get that anymore, everyone is holding on and concentrating rather than just letting go… No one is smiling, no-one is laughing, everyone is paying too much attention to the mix, too much attention to the DJ…'


'All those hierarchies of taste inverted or destroyed in the late eighties and early nineties have been resurrected. Clubs full of poseurs, and anyone too prole-like knocked back on the door… In short the chin strokers have created a nice little enclave where hedonistic working-class folk are most definitely not welcome, because they’re simply tasteless, darling…

All musical tastes, and all hierarchies of taste, are social constructions. The distribution of ‘cultural capital’ invariably mirrors the distribution of ‘real capital’, and I’m on the side of the have-nots… I’m on the side of those who have no style, because style is seriously over-rated, because style is something that is used to keep people down. Style is, for want of a better word, ideology. I’m against dance snobs. I’m against the trainspotters. I’m against those who worship DJs, even brilliant DJs. I’m against those who think they’re somehow better than the next generation of dance music fans. I’m for those dance music fans who might not know much about Derrick May, but know what they like. I’m on the side of the oppressed'.

We live to tread on Kings

O gentlemen, the time of life is short!
To spend that shortness basely were too long,
If life did ride upon a dial's point,
Still ending at the arrival of an hour.
An if we live, we live to tread on kings

William Shakespeare - Henry IV, Part I (1597)



Charles Windsor, who's at the door?
At such an hour, who's at the door?
In the back of an old green cortina
You're on your way to the guillotine

Here the rabble comes
The kind you hoped were dead
They've come to chop, to chop off your head

Hundreds of bound big business men
Hacks from The Sun, military men
So many rich men weep in despair
On and on into Trafalgar Square

Here the rabble comes
The kind you hoped were dead
They've come to chop, to chop off your head

These once peaceful streets
The scenes of revenge you had not wished to see
Revenge is so sweet to those who have never known anything sweet

McCarthy - Charles Windsor (1987)



God save the Queen
the fascist regime,
they made you a moron
a potential H-bomb.

God save the Queen
she ain't no human being.
There is no future
in England's dreaming

Don't be told what you want
Don't be told what you need.
There's no future
there's no future
there's no future for you

God save the Queen
we mean it man
we love our queen
God saves

God save the Queen
'cos tourists are money
and our figurehead
is not what she seems

Oh God save history
God save your mad parade
Oh Lord God have mercy
all crimes are paid.

When there's no future
how can there be sin
we're the flowers
in the dustbin
we're the poison
in your human machine
we're the future
you're future

God save the Queen
we mean it man
we love our queen
God saves

God save the Queen
we mean it man
there is no future
in England's dreaming

No future
no future for you
no fufure for me

Sex Pistols - God Save the Queen (1977)




Tear me apart and boil my bones
I'll not rest till she's lost her throne
My aim is true my message is clear
It's curtains for you, Elizabeth my dear

The Stone Roses - Elizabeth my Dear (1989)



Jewels drip red and I don't sound proud
Treason is ambition, I want dead procession
All we got unholy left-overs of a compromise
Leaving us like butterflies trapped in frost

Ceremony rape machine
Love wont corrode you
Ceremony rape machine
Love wont corrode you

England's glory lives on in world wide genocide
So celebrate buchenwald as her majesty's heir
Now an obsolete face on a currency of illusion
No matter what we own we can't buy freedom

Throw myself against you cos you ain't frail
Underneath silk riches sixty six million giving slaves
This needle of religion's gonna rust my skin
Tear out and exit obeyance of created sin

Faces pressed at gates of anniversary torture
Without these fake images we'd never bow down
Don't need this history but we still accept
Conscripted into a past that invents our guilt

Manic Street Preachers - We Her Majesty's Prisoners (1992)

(see also the Manic Street Preachers' song song Repeat -'Repeat after me, f*ck Queen and Country... Death sentence heritage, Repeat after me, Death camp palace, Useless generations, Dumb flag scum')



Class War - Better Dead than Wed (1986)

A few suggestions for your anti-Royal wedding party - other suggestions welcome!

See also: Funk the Wedding 1981; Repeat After Me, F*ck Queen and Country. K-Punk has a great 1983 quote from William Burroughs: 'What hope for a country where people will camp out for three days to glimpse the Royal Couple? Where one store clerk refers another as his 'colleague'? ... God save the Queen and a fascist regime ... a flabby, toothless fascism to be sure. Never go too far in any direction is the basic law on which Limey-Land is built. The Queen stabilizes the whole stinking shithouse and keeps a small elite of wealth and privilege on top...' (more here)

Police attempt to harrass benefit gigs in South London

FITwatch report that police officers visited two South London venues in dubious circumstances last weekend:

'On Saturday 23rd of April and Sunday 24th of April, the Metropolitan Police attempted to harass and intimidate the management of two established and fully licensed venues with intelligence gathering - or 'fishing' - exercises. The two venues, both in the Borough of Lambeth in South London, were set to host benefit parties for FITwatch and London Student Solidarity Campaign respectively.

Management at Brixton's 'Jamm' were puzzled to find Police officers arrive on Saturday 23rd April asking questions about a FITwatch benefit that they had branded an 'illegal rave'. Management soon set them straight, though - reminding them that it was a perfectly legitimate and legal venue... On Sunday 23rd of April, management at 'The Grosvenor' in Stockwell were quizzed by Police about an upcoming benefit party on Mayday (Sunday May 1st) as a fundraiser for the London Student Solidarity Campaign - who are a self-organised group of arrestees and defendants from the student demonstrations of late last year. The officers in question also seized posters for the event' (full story here).

The event at Jamm went ahead, featuring Alabama 3, and hopefully the Stockwell event will too. Both venues have a long history of hosting various benefit gigs over many years. I remember going to Poll Tax Prisoners and Irish Republican benefits at the former when it was the Old White Horse twenty years ago. The Grosvenor is south London punk central, hosting the ScumFest punk festival among many other events. It is a worrying development that the police seem to adopting the time-discredited technique of a 'quiet word' with the management to discourage such events. Given the influence that the police have on whether venues get their licenses, this kind of approach can be - and is designed to be - very intimidating.

Long hot summer starts early in Berkshire and Bristol

An early start for the long hot summer of 2011, with the warm weather prompting people to head out on to the streets and thegreat outdoors.

Two weeks ago, police broke up a party at Devil's Highway on land between Bracknell and Crowthorne in Berkshire, but not until about 1 pm on the Sunday after around 1,000 people had partied all night (see report at Get Bracknell, 10 April 2011). The party was seemingly put on by Koalition sound system (looks mighty crowded on the dancefloor!):



Last weekend there was a party in the woods near Catmore in West Berkshire. The police arrived at 4 am to close it down, but were prevented from doing so and the party continued until 11 am on Sunday. According to the BBC (18 April 2011), six people were arrested and sound equipment was seized. Thames Valley police claimed: 'This was an illegal rave which at times descended into violent disorder. When our officers tried to stop the event at around 4am, lots of missiles were thrown, which included burning wood. Thirteen officers and a police dog were injured in total. Fortunately, the rave happened in a very isolated location so there was minimal impact on the neighbouring community'. In that case it would probably would have been better for all concerned if the party had been left to get on with it.

Bristol

Then there was Bristol on Thursday night this week, with a full scale riot in the Stokes Croft area after police raided the Telepathic Heights squat. Barricades were set up, a police car destroyed, and a Tesco store attacked. This film shows something of a carnival atmosphere with crowds of people milling around the street - note the bit where some people get hold of police riot shields and run up the road with them.



There was some heavy police violence, with even the local Labour MP complaining that she was shoved by a cop. As Oli Conner reports, people were injured in by police batons and dogs, with people taking photos being targeted by police (see also report at The Commune).

Apparently there were also saxophone players on a bus stop outside the squat during the riot, and the strains of Summertime could be heard...

See also: St Pauls Uprising 1980; Bristol parties 1611 and 2006.

Justice 4 Smiley Demonstration Today

Just got back from today's Justice 4 Smiley Culture demonstration in London, pretty impressive with maybe a couple of thousand people heading from Wandsworth Road, along the Albert Embankment, over the river, past Parliament and on to the Metropolitan Police HQ at New Scotland Yard.

A striking aspect of the campaign is that they have used the higher profile death of an internationally-known reggae artist to shine a spotlight on many other less publicised deaths in police custody. The families of some of these took part in the march. Sean Rigg died in a police van at Brixton prison in 2008:

Kingsley Burrell died in Birmingham last month after being detained by police. A speaker from the Campaign 4 Justice 4 Kingsley Burrell spoke at the rally today:

Asher Senator speaking (Smiley's musical collaborator from his school days and later with Saxon Sound System):

There was a determined atmosphere on the march, the noise reminded me a bit of Notting Hill Carnival, with whistles, drums and conflicting basslines from the various sound systems.

Naturally there was lots of Smiley Culture's music, Police Officer in particular getting aired outside Parliament and Scotland Yard. This number also got people singing at the end

Noise at Night - 1595

An early regulation against noisy parties ('revyling') was included as Rule 30 in London's The Lawes of the Market in 1595. Seemingly it was less of a problem if people beat their wives or servants, as long it was before nine o'clock!

'No man shall after the houre of nine at Night, keep any rule whereby any such suddaine out-cry be made in the still of the Night, as making any affray, or beating hys Wife, or servant, or singing, or revyling in his house, to the Disturbance of his neighbours' (Rule 30 of The Lawes of the Market, 1595)

Source: Emily Cockayne, Hubbub: filth, noise and stench in England 1600-1710 (Yale University Press)

10 Brit-Funk Greats

At the Salvation Army charity shop on Deptford High Street this week I came across this classic 12" from 1980.
I knew it was a sign that I had to get around to finishing the long delayed post on Brit-funk (or jazz funk as some prefer to call it). I will spare you the analysis now and let the music speak for itself, but suffice it to say that it is incredible to me that so little has been written about the outpouring of UK dance music creativity in the late 70s/early 80s compared with the amount that has been written about punk and post-punk from the same period.

I have chosen ten hit tracks which some true soul boys and girls might slightly turn their nose up at for being a bit obvious - but these were the soundtrack to the weddings and school discos of my childhood so I will try and be true to that.

Real Thing - Can you feel the force? (1979)



The Real Thing were the forerunners. The band started out in Liverpool in 1970 and indeed the title of their 1977 album Four from Eight references the Liverpool 8 area (Toxteth). They had a string of soul hits (notably You to Me are Everything) but had definitely embraced the funk by the time of 1979's Can you Feel the Force? Mention of the Force obviously links this to the wave of Star Wars pop from that time, but really this is a nice slice of disco utopianism: 'You can feel the pressure lifting off your head, People who make war are making love instead, This could be the dawning of another time, Hatred is a stranger we can see the sign... Peace and love forming everywhere, Can you feel the force?'

Loose Ends - Hangin' on a String (1985)  

Real Thing brothers Chris Amoo and Eddie Amoo also wrote songs for others including early material for early 1980s London trio Loose Ends. The band featured vocalist and guitarist Carl McIntosh, vocalist Jane Eugene, and keyboard player and founder Steve Nichol. In 1985, Hangin' on a String became the first British track to top the US R'n'B chart.

Heatwave - Boogie Nights (1977)  

 Heatwave were an international outfit rather than British as such, but they were started in London by ex-US serviceman Johnnie Wilder and his brother Keith. Among the musicians they recruited to the band was keyboardist Rod Temperton who wrote the biggest hit, Boogie Nights (reached number 2 in UK and US charts). Temperton later wrote songs for Michael Jackson - yes the guy who wrote Thriller, Off the Wall and Rock with Me came from Cleethorpes!

Light of the World - Time (1980)



Light of the World were a north London band whose members spawned many other Brit-funk projects (see below). Also check out their great London anthem, London Town.

Central Line - Walking into Sunshine (1982)

A great track by Central Line that was remixed at the time by Larry Levan of Paradise Garage fame. The person who posted this on youtube mentioned that he saw this band at the California Ballroom in Dunstable in the 1970s supporting Heatwave. My mum and dad first met at that place some years before, so I guess I owe everything to that place.

Beggar and Co - Somebody help me out (1981)



Beggar and Co. was formed by three members of Light of the World. They also worked on Spandau Ballet's funk workout Chant No.1 ( Don't Need This Pressure On).

Hi-Tension - Hi-Tension (1978)



North London Brit-funkers founded by brothers David and Kenneth Joseph. See also their British Hustle.

Freeez - Southern Freeez (1981)


Freeez was initiated by John Rocca. Could equally have included their Arthur Baker produced electro classic IOU. Light of the World's Jean Paul Maunick was also in this band for a while, before he went on to form Incognito - the band that carried the torch on to the next generation of British funk bands in the 1990s Acid Jazz scene.

Imagination - Music and Lights (1982)


Formed in 1981, Imagination were and wore the campest of the Brit-funk outfits, headed by lead singer Leee John. I never really forgave him for saying that he voted Conservative at some point in the 1980s, but I guess you could make a case that that was just one of many ways that he refused to conform to other people's expectations of what a Black British man should do.

Linx - You're lying (1980)



So back to Linx, who in my view made some of the greatest tracks from this time. As well as this song, they also had a hit with the outstanding Intuition among others. The band was formed by David Grant and Peter Martin. The former went on to have solo hits, the latter joined post-punk industrial funk band 23 Skidoo.

Well could do a lot more than ten, but that's enough to start with. Will leave you now with a question which I may come back to in another post: 'Soul and funk were a more significant factor in preventing support for racist parties like the National Front in the 1970s and 1980s than punk, reggae and Rock Against Racism. Discuss'.

Mission Accomplished but the Beat goes on

Today is the 50th anniversary of Yuri Gagarin's trip into space, the first human to leave the planet's atmosphere - and the first to sing in space (let's not forget either Valentina Tereshkova who followed him a couple of years later and may have sung the first song written in space) .

Once again this has got me thinking about my Disconaut days with the Association of Autonomous Astronauts (1995-2000 - explained here for the unitiated). The following text looks back on that period. I wrote it for 'See you in Space: the Fifth Annual Report of the Association of Autonomous Astronauts' (London, 2000).

Mission accomplished but the beat goes on: the Fantastic Voyage of the Association of Autonomous Astronauts
- Neil Disconaut

"Why the blue silence, unfathomable space?
Why the golden stars, teeming like sands?
If one ascended forever, what would one see up there?"

(Arthur Rimbaud, Soleil et Chair/Sun and Flesh, 1870)

What would it be like to step into space? Beyond earth's gravity, its economy, its laws, what wonders would we discover? What unknown pleasures would we stumble across on our trip to the stars? The mission of the AAA has been to attempt some tentative answers to these questions.

Our criticism of state and commercial space agencies has been precisely that they have been closed to the new possibilities of space. Instead of relishing the eruption of the marvellous they have attempted to smother it with all the baggage they have dragged behind them from earth - money, power, heroism. The Space Industry is like Michael Moorcock's 'Singularity... forever seeking to impose its simplified and sterile laws upon multiversal variety', against whom are ranged the 'Chaos Engineers who delight in all forms of experience' (2).

With a tiny fraction of their resources the Chaos Engineers of the AAA have travelled much further in the past 5 years than NASA & co. have done in almost 50 years of space exploration. Despite this a common reaction to the AAA has been that we were creating some kind of grand metaphor. Of course what we were doing did pose broader questions about the use of technology, the struggle over space with a small 's', and so on. But we have also seriously engaged with Space - experiencing zero gravity, talking to interesting members of the British Interplanetary Society and dissident space researchers like Millennium Twain and directly confronting the militarisation of outer space.

Yes we were serious, and have demonstrated that community-based space exploration is really possible. But we have never let the present social and political barriers to its full development stand in the way of experiencing some of its wonders in the here and now. This is why the AAA has put so much effort into creating situations where people have been able to step outside of their usual roles and try things they have never done before. Sometimes we have referred to these as training sessions, but really they have been less about preparation for some future task than about prefiguring the actual experience of being in space. Put simply the AAA has created its own space where interesting things have happened.

In many ways the AAA mode of operation has in itself been an experiment in collective elaboration of ideas. From somewhere in South London a notion spread and a network developed. Each new connection added its own ingredients to the mix so that what emerged was an unpredictable and constantly shifting creation that refused to be confined to art, science, music, politics, magic or any other specialist category, and that crossed the arbitrary borders dividing our home planet. Of course there are examples in literature of disparate writers creating a shared world (the Cthulhu mythos developed by HP Lovecraft and others springs to mind), but the AAA has never been confined to the realms of fiction. A closer parallel might be the Church of All Worlds in the US which started out from the pages of Robert Heinlein's Stranger in a Strange Land and became an actually existing and influential eco-pagan group moving (in several directions) away from the author's dubious vision.

The AAA assembled its own tool box of techniques, dreams and ideas between which numerous unexpected connections arose. Disconaut AAA undertook our own survey of possibilities with our 'Means of flight: an alphabet for autonomous astronauts' from Alchemy to Zebedee. But the ground covered in this was scarcely more fantastic than some of the real combinations of people and places that emerged. Children building their own full size model of a spaceship in Vienna... grown-ups playing on swings and roundabouts... passers-by getting to grips with the intricacies of 3-sided football in Hyde Park and Honor Oak... walking into the office of Lockheed death corporation wearing a space suit.... raves in space in Bologna and elsewhere... a motley crew of marxists, musicians and the curious being put through their astral aerobics by a ritual magician on Hampstead Heath.... balloons, airplanes, Space 1999 costumes, vinyl, video, endless e-mail rants about communism, art and Zoe Ball...

So why stop now? Well even the wildest of adventures can become routine, startling ideas cliches and the most radical gestures a source of light entertainment. Space imagery has become increasingly banal and retro, featuring in numerous adverts and pop videos. We don't want to be the space industry's court jesters when capitalism itself is being openly contested, as seen in Seattle and the City of London in the last year.

The AAA has been a radical movement from the future operating in the present - now the present is catching up with us. Already we are seeing mass opposition developing to the militarisation of space (see the recent action at Menwith Hill in Yorkshire) in and before long space will become a major arena for all kinds of social struggle (3). As the first space mutineers jettison their bosses and head out into the galaxy to create new autonomous communities they will tell stories to their children about those who saw it all coming, way back in the 1990s. Or perhaps, like in the film Terminator, they will send help back into the past - to 1995 to be precise - to form a network dedicated to community-based space exploration, thus setting in motion a chain of events leading to their eventual success.

"But look at the sky! - It's too small for us,
If we feared dying of heat, we'd stay on our knees"

(Arthur Rimbaud, Le Forgeron/The Blacksmith, 1870).

Notes:

(1) Mission Accomplished... but the Beat Goes On is the title of the Rezillos LP recorded live at their 1978 farewell gig in Glasgow. The Rezillos were responsible for such Disconaut faves as Destination Venus and Flying Saucer Attack.
(2) Michael Moorcock, Blood: a Southern Fantasy (1995).
(3) For information on this check the website of the Global Network Against Weapons and Nuclear Power in Space.



Destination Venus more than darkness lies between us
Twenty million miles of bleakness - human weakness
Holding my receiver I can feel you coming nearer
Probing through the airwaves clearer - clearer clearer

Destination Venus - My heart was never slow
Destination Venus - Where you are I'll always go
I hear your voice on the radio

Further modulation of the frequency rotation
Triggered waveband activation - near elation
Somewhere in the distance I could hear a voice one instance
Then it faded from existence - no persistence

(Rezillos, Destination Venus, 1978)

Brixton Uprising 1981

Thirty years ago this weekend Brixton exploded in the middle of Operation Swamp 81 - a police operaation that saw almost 950 mainly black young people stopped and searched in the area. It was the start of a period that saw uprisings up and down the country, reaching a peak in July 1981.

It was April 1981,
Down in the ghetto of Brixton,
That the babylon cause such a friction,
That it bring about a great insurrection,
And it spread all over the nation
It was truly an historical occasion
It was the event of the year
And I wish I had been there
When we ran riot all over Brixton
When we mash up plenty police van...
When we mash up the Swamp '81

Linton Kwesi Johnson - Di Great Insohreckshan



Great new version of this released last week produced by Hiatus (featuring LKJ):



From back in the day, Roy Rankin & Raymond Naptali - Brixton Incident



Prince Hammer - Brixton Trial and Clashes ('we never stop fight until we black nation free, from Bablyon wicked pain and misery'):

The dance wound through the windless woods

And in a wild and sudden dance
We mocked at Time and Fate and Chance
And swept out of the wattled hall
And came to where the dewdrops fall
Among the foamdrops of the sea,
And there we hushed the revelry;
And, gathering on our brows a frown,
Bent all our swaying bodies down...



The dance wound through the windless woods;
The ever-summered solitudes;
Until the tossing arms grew still
Upon the woody central hill;
And, gathered in a panting band,
We flung on high each waving hand,
And sang unto the starry broods.

William Butler Yeats - The Wanderings of Oisin Photos © Ellen Rogers

March for the Alternative in London

Some reflections on last Saturday's anti-cuts March for the Alternative in London (March 26th)... I knew it really was going to be a big one from the moment I left home. The fact of the demonstration was everywhere, graffiti, stickers, a bus full of people talking about the demo. I knew it was going to be bigger still when I got to Kennington Park to join the South London feeder demonstration (see pictures here). This was organised independently of the main demonstration, and the police had contacted the organisers in the week to urge them to cancel it, claiming it would be a tiny failure. In fact by the time we reached Westminster Bridge there were at least two thousand people on it, and I was already noticing that it wasn't just the usual political and union activists - there was my daughter's music teacher, some random people from work, even the guy who sits drinking at the corner of my road.

We crossed Westminster Bridge to the sounds of Get Up, Stand Up (Bob Marley version) on a bicycle sound system. I assumed we must have been near the start of the march because the crowd stretched as far back along the Embankment as I could see. But then I heard that the front of the demonstration had already reached Hyde Park.

The size of the crowd has been estimated as half a million, significant for a number of reasons not least of which is that this big a demonstration is almost beyond the need for representation. A small protest is to an extent dependent on the media to communicate its intent to the wider public, but in this case a good proportion of the public were actually there or would know somebody else who was. Half a million is more than one per cent of the adult population of Britain, and everyone who was there can probably think of 4 or 5 people who said they intended to go but couldn't because of family commitments, illness or other reasons.

The core fact of the demonstration - that a huge number of people are opposed to the cuts and are beginning to take action against them - was viscerally felt by everybody who was there, not to mention the many other people in central London who saw it. And many other people who weren't there would have heard about if first hand from somebody who was. In this context the fact that some of the press and TV coverage may not have accurately reported what happened is arguably less significant.

'Millionaire Boys Club' - 'Tax is for the little people':

Trafalgar Square - 'Strike like an Egyptian':

Much of the commentary since the march has focused on a supposed distinction between the peaceful main demonstration, the non-violent direct action of UK Uncut (including the occupation of posh food store, Fortnum and Masons in Piccadilly) and riotous 'Black Bloc' anarchists. Of course a great diversity of tactics was in evidence and not everybody agreed with everything that was going on , but things were much more fluid than a categorisation of the crowd into three distinct blocs would suggest.

There were thousands, maybe even tens of thousands of people, who headed off the main march route into the West End with a sense of wanting to take things a stage further than just a rally in Hyde Park. All round Mayfair, Oxford Street, Piccadilly and Trafalgar Square there were people in the streets. This crowd was much more diverse than just young people in black, all kinds of folk were hanging around caught up in the excitement. A sense too that while not everybody was up for it, many were glad that people younger, fitter and with less to lose than them were acting out the rage they felt.

The actual violence was fairly sporadic and limited, as was the window breaking - what was much more widespread was a diffuse sense of wanting to go beyond business as usual.

Sound Systems

Lots of sound system action - ranging in sophistication from back packs, via speakers in bike baskets to sophisticated bike trailers. Thought I saw Rinky Dink Sound System, one of the original cycle powered rigs from Reclaim the Streets in the 1990s.

There was a sound system next to the line of riot police outside the occupied Fortnum and Mason's (above), and while I was there another one cycled past seemingly called the Tolpuddle 6 sound system, complete with pictures of the Dorset agricultural workers transported to Australia for starting a union in the 1830s. They were playing Got to be Real by Cheryl Lynn, great 70s disco classic and indicative of the diverse music being played on the day. I heard drum & bass, dancehall, reggae, punk, techno and dubstep - including this guy doing human beatbox wobbly bass dubstep in Trafalgar Square:

Back pack sound system:

Sound system in a push chair:

Tolpuddle 6 Sound System:

Also heard reports that at Oxford Circus the crowd chanted the Star Wars Imperial Stormtroopers theme at police - as widely used on the student protests before Christmas.

Justice for Smiley Public Meeting

An electrifying event at Lambeth Town Hall tonight, the first public meeting of the Campaign for Justice for Smiley Culture. By 7 o'clock, when the meeting started, the hall was packed. The 300+ seats were all filled, and the sides and back full of people standing. Many more people were outside the hall unable to get in - no idea of the crowd size but it was more than 500. As it was only last week that the great reggae MC died during a police search of his house, the turn out was particularly impressive. The meeting was chaired by Lee Jasper, joined on the platform by the speakers and members of Smiley Culture/David Emmanuel's family, including his brother, son and daughter. After a minute's silence Bishop John Francis of Ruach Ministries launched the proceedings with the statement that 'Smiley's blood is crying out for justice' (incidentally Francis is a man with a musical history himself, as a member of the Inspirational Choir which sang on Madness's Wings of a Dove among many other things). Mike Franklin of the Independent Police Complaints Commission, who is overseeing the investigation, outlined the current state of play. He confirmed that the only witnesses were four Metropolitan Police Officers with no independent witnesses at all. His claim that the most sophisticated resources would be available for the investigation was met with a cry of 'Lie detector' from the floor, which got a huge cheer. Franklin has some local credibility as a former black community activist, so was received politely if not with enthusiasm. Later a speaker from the United Friends and Families Campaign, which has supported other families of people who have died in custody, denounced the IPCC for helping the police cover up. Merlin Emmanuel, Smiley Culture's nephew, gave a powerful speech. Without speculating on exactly what happened last week, he was clear that David Emmanuel would be alive today if police hadn't searched his house, and if, having raided the house they had followed their own guidelines of keeping the person secure while they carried out the search. Like most of the speakers, he was clear that this wasn't an isolated incident but formed part of a pattern of racism and injustice. He mentioned the Brixton uprising and the New Cross Fire of thirty years ago, and described his own family's experience of moving from Brixton to Thamesmead at the time of the murders in that part of London of Rolan Adams (in 1991) and Stephen Lawrence. He offered his condolences to the family of Iain Tomlinson, killed by police on the G20 protest in 2009 - 'The people of South London and the wider community stand with you in solidarity' - and mentioned that around 400 people have died in police custody in last 10 years. He confirmed that a demonstration was planned on April 16th from Wandsworth Rd (where David Emmanuel grew up in Stockwell) to Scotland Yard police headquarters and proclaimed that 'Unity is free and by far the most potent weapon we have at our disposal'. Asher Senator, Smiley Culture's orginal lyrics partner and like him a Saxon Sound System MC, recalled that their first photo interview, with Black Echoes magazine, had actually taken place in the very building where the meeting was held tonight. He mentioned that a couple of Smiley Culture tribute tracks were already being recorded, one a song written by Maxi Priest with possible guest singers, the other a track called Smiley Culture's Character Reference which he recorded last night at Commander B's studio. He performed some of that tonight and it was amazing, weaving his own lyrics and memories around some of Smiley Culture's lyrics from tracks like Cockney Translation, Police Officer and Slam Bam. It got a desrvedly good response, with people banging the wooden panels of the meeting room. There was an emotional speech from the mother of Wayne Hamilton, found dead in a canal in Sheffield last year after being chased by police. Many other families have suffered like David Emmanuel's family are suffering now, the difference is this time the dead man is known throughout the world. This is one death the police and the IPCC aren't going to be able to sweep under the carpet.

Loleatta Holloway (1946-2011)

Disco legend Loleatta Holloway died last night at the age of 64. For me, her best tracks were on the great Salsoul label in the 1970s, including Hit and Run, Catch me on the Rebound and my personal favourite Runaway (put out under the name Salsoul Orchestra featuring Loleatta Holloway)



Ironically her voice is probably best known to UK listeners via a track she wasn't even credited with singing on. In 1989, Ride on Time was a massive number one hit for italian piano-house producers Black Box. The track was built around vocal samples from Loleatta Holloway's Love Sensation, but Holloway was unaware of this until she heard it. She took legal action and managed to secure a share of the income.

It has been suggested that Black Box themselves were unaware of the origin of the vocal:

'It is also worth noting that Black Box were just as surprized as Holloway was to find out who actually sang the vocal. The vocal track was in all likelihood lifted from an unlabelled bootleg of a capella mixes on the album 'DJ Essentials Inc. Acappella Anonymous Volume 1' which included more than a dozen instrument-free vocals, among them Loleatta Holloway's 'Love Sensation'. A careful listen to a number of songs around the same period - including German-based duo Snap's UK Number One 'The Power' which features an ad lib from Jocelyn Brown's 1986 single 'Love's Gonna Get You', and Manchester's Happy Mondays' 'Hallelujah', which uses samples from The Southroad Connection's 'In the Mornin' - reveals that the vocals were all taken from this very same album' (Tony Bennett, Rock and popular music: politics, policies, institutions, 1993).

I do find it hard to believe that discophile producers could have been totally unaware of Loleatta Holloway, and to add insult to injury they used a model to mime the vocals in the video. But notwithstanding that, the affair raised some interesting questions in those early days of sampling. On the one hand, sampling seemed to offer a limitless horizon in which the whole of recorded culture was up for grabs. I defended the right of KLF to rip off samples from Abba and others in the same period on the basis that they were subversively detourning popular culture. On the other hand it was notable that sampling was reproducing the earlier pattern of popular musics, whereby mainly white record companies, producers and artists got rich on the backs of the unrewarded and unrecognised creativity and labour of black singers and musicians. In this respect, sampling was just the new face in the ongoing plunder of black musical cultures.

Still Loleatta Holloway made sure she (belatedly) got her dues, and did ultimately benefit from the exposure. As Matthew Collin recalls in his book Altered State: The Story of Ecstasy Culture and Acid House, she was paid to perform at some of the massive acid house raves of the late 1980s, notably in October 1989 at a Helter Skelter party attended by 4,000 people in 'a muddy, ploughed field in Oxfordshire. The incongruity was sweet, seeing these dance music icons climbing up a rickety ladder onto the back of a flat-bed lorry - in open farmland! - to sing and play. There was Loleatta Holloway, the lead singer on scores of classic Salsoul disco anthems, who seemed almost scared of the mob of brightly-coloured lunatics thrashing in front of the stage'. Ce Ce Rogers and KLF also played.



See also Ben Beaumont Thomas in The Guardian: 'Holloway's voice, however, full of strident indignation and volcanic sexuality, is always the dominant force in her songs, going toe to toe with even the most pounding pianos and lushest orchestras. But the key to her appeal is that she doesn't push herself too far to the front. The pleasure of listening to divas like Whitney or Rihanna is that it's an aspirational experience – women want to be them, men want to be with them. Holloway is a different proposition: a collective experience, of mutual understanding and shared joy. She takes the utopian ideals of clubland – sex, community, abandon – and massively amplifies them back at the dancers, singing to each one of them and the club as a whole. As her voice surges onto and fills the dancefloor, it really does feel like we're all getting stronger'.

South London Street Art

Skateboarding park on the South Bank, pictures taken September 2010

Smiley Culture RIP

Shocking news of the death of Smiley Culture (real name David Emmanuel) in a police raid today. According to the Voice: 'The Police Office singer, real name David Emmanuel, is believed to have stabbed himself after officers raided his home in Warlingham, Surrey, earlier today. He was due to face trial after being charged with conspiracy to supply cocaine in September last year alongside four others. A spokesman for the Independent Police Complaints Commission confirmed they were now investigating a “death following police contact”. The 47-year-old, born and raised in south London, rose to fame as a DJ with the Saxon Studio sound system'.

He will always be remembered for his two great hits of 1984/5:

Police Officer

''Police Officer' described a street confrontation between Smiley and police who stopped and searched him. The song's chorus referred to the pattern of petty harrassment in which officers carrying out a stop would arrange for black drivers to have to produce their driving documents at a police station even if nothing appeared to be amiss with their vehicle'

Cockney Translation



'The implicit joke beneath the surface of the record was that though many of London's working class blacks were Cockney by birth and experience (technical Cockney) their 'race' denied them access to the social category established by the language which real (i.e. white) Cockneys spoke. 'Cockney Translation' transcended the 'schizophrenic' elements which composed the contradictory unity that provided the basic framework for a potential black Britishness. The record suggested that these elements could be reconciled without jeapordising affiliation to the history of the black diaspora... The record contains a veiled but none the less visible statement that the rising generation of blacks, gathering in the darkened dance-halls, were gradually finding a means to acknowledge their relationship to England and Englishness. They were beginning to discover a means to position themselves relative to this society and to create a sense of belonging which could transcend 'racial'/ethnic, local and class-based particularities and redefine England/Britain as a truly plural community. They were able to express their reluctant affiliation to it in the same breath as their ties to the African diaspora'

(quotes from Paul Gilroy, There Ain't No Black in the Union Jack, 1987)

'Cockney say Old Bill we say dutty babylon'

Updated 16 March, see also:

- Future Next Level: 'he was the grandfather British MC. He started a lineage that can be followed through the Hip House MCs of the late 80s and early 90s, through jungle MCs, UK Hip Hop and to acts today such as The Streets and the grime-gone-pop acts that dominate today’s charts. Indeed, without Smiley, the very idea that it might be possible to be successful with lyrics about the black urban experience may never have been planted. Today the pop charts are littered with these voices'.

- Lee Jasper asks critical questions about his mysterious death.

- Dotun Adebayo in the The Guardian: If Smiley hadn't made it cool for black Brits to chat "British" on record UK rappers would probably still be chatting "yankee" and there would have been no UK vocal flava to drum and bass, two step, dub step or grime. There would be no Dizzie or Tinie Tempah'.

- John Eden at Uncarved.

- Transpontine on his South London roots.

Jackie Wilson's Melisma - 20 notes for the word 'for'

'The extent to which the music is integrated with the literal meaning in soul is apparent in some of its basic stylistic conventions, the call and response structure, for instance, where a phrase from the lead vocalist - which may not even take a verbal shape - is as often echoed by the band as by other singers. Or the distinctive use of melisma - the concentration of several notes into one syllable - by soul performers. The effect of this technique is often to give the impression that the singer is none too sure that the words exist which could adequately convey the power of what he is feeling. When Jackie Wilson packs more than twenty notes into the word "for" in his version "Danny Boy", the literal meaning of the song is virtually superseded' (Ian Hoare, Mighty mights spade and whitey: soul lyrics and black-white crosscurrents, in The Soul Book, edited by Ian Hoare, London: 1975)

Check out the closing bars of this song for the example given - 20 notes for the word 'for':

Birmingham 6

Twenty years ago today - Thursday 14 March 1991 - I was standing in a crowd outside the Old Bailey in London waiting for the release of the Birmingham 6. It was very moving to see the six finally released from prison after 16 years, three months and 21 days in prison for crimes they hadn't committed, but also sad to see these grey haired men who had spent so much of their lives behind bars.

'The news took a minute or two to reach the street - but when it did there was an explosion of noise that sent the pigeons fluttering away in a panic. Some 500 campaigners and friends were wild with joy; there was dancing in the street. They quickly pushed police barriers aside to swarm the Old Bailey's entrance, hugging any relative of the Six they could spot' (Independent, 15 March 1991).

Their's was just one of a number of high profile 'miscarriage of justice' cases from that era in which Irish (Birmingham 6, Guildford 4, Maguire 7) and black people (Tottenham 3) were framed by police and courts. Sure those were different times - with the Irish conflict leading to terrible events on all sides, not least the IRA bombings of the Mulberry Bush and Tavern in the Town pubs in Birmingham in November 1974, in which 21 people died (for which the B6 were wrongly convicted). But in the last couple of years we have seen a man killed by the police and nobody charged (Ian Tomlinson on the G20 protests) and today comes news that 'The policing watchdog is investigating claims that officers colluded in the false arrest of a protester during last year's student demonstrations in London. The Independent Police Complaints Commission confirmed today that it is looking into the circumstances in which a man, who has not been named, suffered a facial injury and was arrested last December'. So keep on your guard.

The Pogues famously released a song Streets of Sorrow/Birmingham 6 that was banned from the airwaves in 1988 under the Conservative government's recently introduced Broadcasting Ban. Home secretary Douglas Hurd used powers under the BBC's Licence and Agreement and the 1981 Broadcasting Act which governs ITV companies, to forbid TV and radio from carrying interviews or direct statements from the IRA, Sinn Féin, and those who 'support or invite support for these organisations'. The Pogues were judged to fall into the latter category and the 'Independent Broadcasting Authority' ruled that the song alleged that "convicted terrorists are not guilty, the Irish people were put at a disadvantage in the courts of the United Kingdom and that it may have invited support for a terrorist organisation such as the IRA".



There were six men in Birmingham
In Guildford there's four
That were picked up and tortured
And framed by the law
And the filth got promotion
But they're still doing time
For being Irish in the wrong place
And at the wrong time
In Ireland they'll put you away in the Maze
In England they'll keep you for seven long days
God help you if ever you're caught on these shores
The coppers need someone
And they walk through that door

You'll be counting years
First five, then ten
Growing old in a lonely hell
Round the yard and the stinking cell
From wall to wall, and back again

A curse on the judges, the coppers and screws
Who tortured the innocent, wrongly accused
For the price of promotion
And justice to sell
May the judged by their judges when they rot down in hell

May the whores of the empire lie awake in their beds
And sweat as they count out the sins on their heads
While over in Ireland eight more men lie dead
Kicked down and shot in the back of the head

(the final two lines refer to the Loughall ambush of 1987 in which seven IRA members and a civilian were executed by the SAS)

Gaddafi Occupations 1986 and 2011

Great to hear tonight of the occupation of the mansion in Hampstead, north London, belonging to Saif Gaddafi - son of the hopefully soon to be late Colonel. 'Topple the Tyrants' have squatted the place and put up banners including one with a picture of Gaddafi saying 'Out of London, Out of Libya'.

Put me in mind of an earlier occupation, the squatting of the abandoned Libyan People's Bureau(an Embassy building), initiated by people around anarcho-punk prankster band God Told Me To Do It in 1986. There's a nice account of the squatting of the place - and expropriation of its contents - by Anna Marrian at Animal Farm:

'We secure the door and explore the building, staying away from the windows. It’s four floors of 30-foot ceilings, ballroom sized rooms with plush carpeting and heavy velvet curtains, mahogany desks, button-backed leather sofas and office equipment stacked up in the end of each room. A shroud of dust everywhere... I get everyone from the St. John’s Street squat and drive back to the Libyan People’s Bureau intact. It’s dark and the side street is deserted. Andy and the others disappear inside and reappear thirty minutes later carrying one of the green leather sofas out the back door. This is followed by several photocopiers, curtains, fax machines, telex machines, leather executive office chairs, handfuls of books written in Arabic. The van is stuffed to the ceiling'.

Also came across this account: 'It had been vacant after someone inside the embassy fired on a group of demonstrators and killed a policewoman. After that, the whole staff refused to cooperate in any investigation and returned to Libya, leaving the building vacant. Enter squatters. I went to one of their parties. I remember one skinhead girl trying to balance as many copies as possible of Quadaffi's Little Green Book on her head'.

Of course in those days, Libya was a pariah state following the shooting dead of PC Yvonne Fletcher in 1984, as Embassy staff opened fire on anti-Gaddafi demonstrators in London. Since then, without any change in regime, Gaddafi has acquired quite a fan club - shaking hands with Tony Blair and his son Saif feted at the London School of Economics and by the British Royal Family. Everybody from Anthony Giddens (social democratic theorist of the Third Way), the National Front (current BNP leader Nick Griffin travelled to Tripoli in 1986), the Workers Revolutionary Party and the Nation of Islam have sung his praises. Was there ever a dictator with such a disparate group of supporters from far right to far left via every shade of mainstream governmental opinion?

No part of the political spectrum seems to have been immune from this nonsense. In the early 1990s I took part in the International Infoshop gathering in London, bringing together people involved in radical social centres and book shops from across Europe. The event was hosted by two London infoshops, the 56a Infoshop at Elephant and Castle (which still exists) and the 121 Centre in Brixton's Railton Road (which was evicited in 1999).

Those of us at the London end were mostly from a broadly anarchist background of hostility to all states. We seemed to have plenty in common with the comrades from Germany and Scandinavia with their focus on housing struggles (squatting), militant anti-fascism and autonomous movements. However when it came to talking about stuff outside of Europe it was a different story. We were horrified when the proposal was put forward that we should take part in an 'anti-imperialist solidarity camp' in Libya to show our support for the Gadaffi regime's stand against the US and Europe!

Amongst parts of the 'anti-impi' autonomist left this kind of support for all kinds of dubious regimes and stalinist 'liberation movement' rackets was commonplace - seemingly in Europe, autonomy and new forms of emancipatory politics was on the agenda, the rest of the world could make do with personality cults and militarist dictatorships.