Dancing Questionnaire (11): Kate Aan De Wiel

Kate Aan De Wiel looks back on dancing all the way from West Ham to Cuba:

1. Can you remember your first experience of dancing?
Tap dancing lessons and an appearance as a Little Dutch Girl at West Ham Town Hall at the age of 3.

2. What’s the most interesting/significant thing that has happened to you while out dancing?
The 'High' of dancing Cuban Rueda da Casino with a bunch of friends in front of a crowd of people.

3. Dancing. The best of times…
In Cuba, in the street with a crowd of Cubans dancing Cuban Salsa

4. You. Dancing. The worst of times…
Realising that at my age, and with my knees, I should really pack up dancing.

5. Can you give a quick tour of the different dancing scenes/times/places you’ve frequented?
Country dances as a child at school.The Twist in the 60s, Mod dances in the 60s, etc etc in the 70s and 80s. Then discovering salsa and Cuba in the late 90s.

6. When and where did you last dance?
2 years ago at a club in Highbury, the Cuban Lounge at the Buffalo Bar on a Monday night - my favourite !

7. You’re on your death bed. What piece of music would make your leap up for one final dance?
El Tragico by NG La Banda .. and bugger the knees !

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

'Men of the Nancy Type': London 1927

"In 1927 the charge of keeping a disorderly house at 25, Fitzroy Square, near Euston Station, was brought after a long period of surveillance by the police . The actual charge was that in the house there were: 'divers, immoral, lewd and evil disposed persons tippling, whoring, using obscene language, indecently exposing their private parts and behaving in a lewd, obscene and disorderly and riotous manner to the manifest corruption of the morals of His Majesty's Liege subjects, the evil example of others in the like case offending and against the Peace of Our Lord the King, His Crown and Dignity'.

Let's take a look at some of these heinous offences as related by police observers. Police Sergeant number 42 reported on January 3rd: "At 11.35. p.m. three men entered the basement door. The door was opened by a man wearing pyjamas... I saw them dance around him in the hall. At 12.20 four men were admitted by the man wearing pyjamas, who kissed one of the men as they entered. At this time the gramophone was playing in the front room, people were jumping and dancing making a very rowdy noise. I could hear the men in the front room singing and talking in effeminate voices. At 3.30. a.m. two men came out of the door. They were very drunk, vomited in the area, struggled up the steps and left."

On another occasion: "I saw a man standing at the door in a dressing gown. He kissed one of the men as they entered, laughed and shut the door. At 12.30. a.m. I saw four men walking in couples approach the house, they were cuddling.. one another as they walked and speaking in low effeminate voices ... They were men of the nancy type. "

….Several of the guests were followed after they left the house, with officers noting that the men cuddled each other whilst waiting for a bus. They were described as being 'powdered and painted'. The policeman who followed them said that they smelt strongly of perfume and guessed that, by their appearance, they were 'West-End poofs or male opportuners.'

Police photograph in the aftermath of the 1927 raid,

showing Robert Britt (second from left)

Because of what they had heard and seen the police considered it their duty to raid the house on the 17th January, 1927. They surprised six people in one of the rooms. Robert Britt, a twenty-six-year­old dancer, was wearing a thin black transparent skirt with gold trimming and a red sash tied around his loins. The ladies shoes he was wearing caused him to appear taller than the other guests. He was naked from the waist up. Other people in the room were either in pyjamas or partly dressed. It seems difficult today to understand what offence they might have committed and even in the twenties a legal dispute ensued as to what exactly a disorderly house was. Several of the defendants were found not guilty but Britt was sentenced to eighteen months hard labour and others up to six months without hard labour".

Source: In Darkest London: antisocial behaviour 1900-1939 - Steve Jones (Wicked Publications, 1994).

India: moral vigilantes attack women

In an incident of moral policing in Karnataka, a group of men in Mangalore attacked a group of women in a pub on Saturday afternoon.The attack was carried out by members of the Sri Ram Sena, who said they had received complaints from the public about the presence of young women. The five or six women in the pub were chased out and hit by the self-appointed moral police....

"About 15 to 20 activists, reportedly belonging to Sri Ram Sena [Hindu nationalist group], barged into the pub late last night and assaulted boys and girls dancing there," said Inspector General of Police (Western Range) A M Prasad. Even the girls were not spared by the agitated activists who chased and thrashed the victims when they tried to flee from the pub on the busy Balmatta Road in the heart of the city, eyewitnesses claimed...

Prasad said the attackers accused the pub owner of allowing the boys and girls to dance and act in an "obscene manner"... "Those people (attackers) simply came in and started beating the girls. It was a bad scene. Our waiters tried to stop them but they did not listen and kept assaulting the girls," pub owner A Krishna said.

(source: NDTV, 25 January 2009)

Headphone Space

Despite expressing scepticism about the sonic limitations of headphone-based Silent Disco, I agree with the sentiments of Future Next Level's Ode to Headphones. He is undoubtedly right that 'Headphone space is quintessential to the appreciation of music' but also correct that it only really works with decent cans. The fact is that despite the ever expanding quantity and accessibility of music, the quality of the listening experience is in some ways in decline. Many of us listen to a lot of music with tiny earbuds, on mono ipod docks, or on the crappy speakers on laptops and phones. When we listen through a decent pair of headphones instead it can be a revelation - there's just so much sound which is just not reproduced properly on any of the above.

I had one such memorable experience of headphone space when I first got the Burial album. I walked from New Cross to Kennington, via Peckham and Camberwell, listening to it on the big conspicuous headphones that I wouldn't normally advise people to wear on the streets of South London. Anyway that just added an appropriate edginess to the mood, mixed in with pleasantly melancholic memories sparked by the locations and the music's invocation of the ghosts of parties past (in my case wandering past places I used to go like the boarded up Imperial Gardens club and Camberwell Squatted Centre, this sense was very tangible). Anyway the point is that it was the headphones that allowed me not to only to hear the music in all its depth, but to immerse myself in the moods it conjured up, changing my relationship to the places I was passing through - music as a soundtrack not a background distraction.

Dancing the Twist, 1963

Old home movies are a fascinating source for how people actually danced in the past. This is a great clip of a New Year's Eve party in 1963 - not even sure where, it looks North American (the clip was posted by Candadian-based Fun with Stuttering)



One of the things that interests me is at what point did it become acceptable for a single woman or man to go out on the dancefloor and dance on their own - without being asked to do so by and with a member of the opposite sex first (chiefly by a man asking a woman)? Before the Second World War, social dancing in Europe and America seems to have been very much 'couple dancing'. Perhaps jitterbugging/jiving was a transitional point - while the dancing was still couple based it did not require the constant physical contact between dancers. I have found references to women dancing on their own, or with each other, in London during the war.

In this 1963 film, there are couples dancing but also people dancing on their own, or rather dancing as part of a group without being attached to a member of the oppiste sex. There is a woman on the edge of the group doing the Twist in her own space, and two women doing the Twist opposite each other. So perhaps the Twist was a step towards the modern dancefloor, where by the disco period couple dancing was confined largely to the slow dance at the end.

Pop Feminist tells me she's doing some research on the Twist, look forward to seeing what she comes up with.

The Sound of Silence

'Imagine walking into a party where everybody is wearing wireless headphones and is singing and dancing to an inaudible beat. This was the vision of the founders and creators of the Silent Disco' (more here)

Hmmm... it's one thing people dancing with headphones at a flashmob style event, but I am deeply sceptical about silent club nights , with people paying good money to wear headphones (the above quote is from an article about a Silent Disco night in Bath next month) - even if they are listening to a mix broadcast to them by the DJ rather than to their own individual soundtrack.

The problem is that even if people are dancing in synchrony to the same music (see Global Raver's criticism of iPod raves), the common soundtrack is only part of the collective experience of dancing - even in the loudest club there is generally the possibility of some kind of conversation, something that is presumably not possible while listening to music on headphones.

In addition what goes in through the ears is only part of how we sense music. Dance music in particular entails feeling the bass in different parts of our bodies. I really noticed the absence of this last year when I saw Kode 9 DJing in what is usually an indie pub in New Cross (Amersham Arms) - playing through a bass-lite sound system set up for bands, it felt like a key part of the music was missing. With headphones even more of the music must be missing - you just cannot generate the same bass sensation through the ears alone.

Of course I've nothing against the Silent Disco people, I'm sure it's fun as a novelty. My real concern is that it might pave the way for the future with 'noise pollution' being used as an excuse to require clubs to replace speakers with headphones. That really would be the end.

Boy George

I won't be joining the tabloids in gloating over the fate of Boy George, jailed last week for 15 months for 'handcuffing a male escort to a wall and beating him with a chain'. I don't want to defend his actions - he seems to have got stuck in druggy paranoia, with bad consequences both for himself and others - but I hope he gets out soon and doesn't get too hard a time inside.

I am sure he can handle himself though - not just through his legendary bitchy wit (as highlighted in his entertaining autobiographies Take it Like a Man and Straight) but through his physical presence. As I recalled in a previous post, I remember seeing him at Turnmills in the mid-1990s standing head and shoulders above most of the crowd and built like a working class Irish South London geezer - which is actually part of what he is.

I was never a great fan of Culture Club's music, but I did appreciate the global gender confusion they caused. I actually liked Boy George's DJing though - people were snotty about him not being able to mix, but he wasn't just a celebrity putting on obvious tunes. He put out some great dance tracks on his More Protein label, including Lippy Lou's wonderful lesbian white ragga pop house anthems Freaks and Liberation.

Anyway I am sure we haven't heard the last of Mr George O'Dowd.

We dead lie unburied

War in Gaza, and (less publicised) war in Sri Lanka, war in the Democratic Republic of Congo, not to mention Afghanistan and Iraq. It's too soon to say whether and how these tragedies will be commemorated in song, but some of the earliest known ballads deal with the misery and suffering of war, offering a kind of counter-narrative to the patriotic sagas of kings and generals.

These examples are from the Han Dynasty period (202 BCE - 220 CE). Remarkably, the government of the time established a Bureau of Music (the Yueh-fu) which collected popular ballads and song. As a result lyrics from this time have survived for over 2000 years.

We fought South of the City Wall

We fought south of the city wall.
We died north of the ramparts.
In the wilderness we dead lie unburied, fodder for crows.
Tell the crows for us:
'We've always been brave men!
In the wilderness we dead clearly lie unburied,
So how can our rotting flesh flee from you?'
Waters deep, rushing, rushing,
Reeds and rushes, darkening, darkening.
Heroic horsemen fought and died fighting,
Flagging horses whinnied in panic.
Raftered houses we built,
And south, alas! and north;
If grain and millet aren't reaped, what will you eat, Lord?
We longed to be loyal vassals, but how can that be?
I remember you, good vassals,
Good vassals I truly remember:
In the dawn you went out to glory, At nightfall you did not return.

At Fifteen I Joined the Army

At fifteen I joined the army,
At eighty I first came home.
On the road I met a villager,
'At my home what kin are there?'
'Look over there- that's your home!'
Pine, cypress, burial mounds piled, piled high,
Hares going in through dog-holes,
Pheasants flying in through rafter tops;
The inner garden grown wild with corn,
Over the well wild mallow growing.
I pound grain to serve for a meal,
I pick mallow to serve for broth.
Once broth and meal are cooked
I'm at a loss to know whom to feed,
I leave by the gates, look east.
Tears fall and soak my clothes.

Source: Popular Songs and Ballads of Han China, Anne Birrell (University of Hawaii Press, 1988)

Sudan: arrests for 'indecent dressing'

'Police yesterday arrested a number of youths in a raid at Bor Freedom Square where thousands of youth gather to perform their normal Sunday traditional dances and wrestling. The youths were detained over indecent dressing styles. The incident happened shortly after the youths have already started their activities (wrestling and dancing) at different points of the overcrowded Freedom Square. The police arrived in large numbers and started amassing young men and ladies accused of dressing indecently in public places. The captives were assembled at the police headquarters and later released after having been warned not to ever attempt to dress like that other time' (more at Jonglei State News, 19 January 2009)

Wonder what the offending clothes were?

Bubblepunk

Simon Reynolds kicked off a week of posts about The Sweet with the provocative question 'was there in fact a better British hard rock vocalist of the 1970s than Brian Connolly of The Sweet?'. Of course die-hard 1970s rockists would have been horrified at the very suggestion of admitting The Sweet to the hard rock canon - a glam pop band who didn't even write their biggest hits.

But anybody listening to tracks like Ballroom Blitz or Teenage Rampage now would surely have to agree with joint songwriter Nicky Chinn that 'the records sound quite raw and punky... this was pop that had an edge: there were hard guitars, there were crashing drums'. Not only that but the songs were short, punchy and relatively fast compared with some of the ponderous 'real' heavy metal of the time - what Barney Hoskyns has called 'The beefed-up, turbo-charged 'Chinnichap' sound - bubblepunk'.

The band even had a proto-punk attitude several years before The Sex Pistols, as Chinn recalled: 'We were doing "Ballroom Blitz" on Top of the Pops, and all day Steve [bassist Steve Priest] had been acting a bit strangely. After the opening bars of the song, he turns round with his back to the camera, and on the back of his leather jacket were the words FUCK YOU'. Unsurprizingly, this was never broadcast by the BBC.

Even their gender bending is often derided, because unlike Bowie they didn't learn it from Lindsay Kemp. They are sometimes bracketed with Slade as 'brickies in eyeliner' (to use Siouxsie Sioux's memorable phase). But for a generation of pre-pubescent children like me watching in awe on Top of the Pops it probably had a bigger impact than Bowie, if only because they were so ubiquitous. As glam blogger the Stardust Kid puts it: 'In most respects glam rock is totally fake, but to young kids like me it was real and alive. It may have been 'Brickies in eyeliner' but to the kids it was 'stardust for the dudes''.

I'm not sure I would go as far as Barney Hoskyns in suggesting that The Sweet influenced black American style from George Clinton to Prince, but who know maybe he's right that 'Space-age glam also played a large part in the look of P-Funk. George Clinton was funk's own Roy Wood, while Bootsy Collins - the rhinestone-encrusted overlord of space bass - was the Sweet's Steve Priest on Pimpmobile overdrive'.

But I do agree with Todd Haynes (director of glam celebration Velvet Goldmine) that glam was 'the result of a unique blending of underground American rock with a distinctly English brand of camp theatricality and gender-bending. And for a brief time pop culture would proclaim that identities and sexualities were not stable things but quivery and costumed, and rock and roll would paint its face and turn the mirror around, inverting in the process everything in sight'.

From Youtube - The Sweet on Top of the Pops in 1973 performing Blockbuster - all silver platform shoes and gold catsuits. The band were sometimes accused on stealing this riff from David Bowie's Jean Genie - in fact both of them probably took it from The Yardbirds 'I'm a Man', itself a cover of Bo Diddley - orginality is often over-rated!

Most quotes from Glam!: Bowie, Bolan and The Glitter Rock Revolution - Barney Hoskyns (London: Faber: 1998). Brian Connolly (top) and Steve Priest (bottom) on the cover of German teen magazine Bravo, 1973 (sourced from Cover Browser)

Radio Days

I've been spending a lot of time this weekend hanging round in a car. What has made it all bearable is the radio. Despite having weeks worth of music on my pc, and more music at my disposal than I will ever have time to listen to, radio still offers something else - the unknown and unexpected. Of course this is not true of most stations, but in London at least the airwaves are still crowded with pirates and sometimes community stations with short term broadcasting licences.


So on Force FM (106.5) I listened to DJs Ade and Frisk discussing the relative merits of nu garage, Bumpy 4/4, old skool garage, Bassline and UK funky. They were definitely most in favour of the first two, but the whole thing reminded me of the role of pirates as hothouses for the proliferation of micro-genres and mutations of the 'nuum. More importantly the music was good, Todd Edwards 'When angels sing' a standout track. On Rinse FM there was the inevitable God Made me Phunky, a UK funky take on an old house track that was itself inspired by a 1975 Headhunters track - from the first wave of funk... making me think about the shifting fortunes of the term funk in music - something that for a long time has conjured up a sense of retro-fixated scenes like acid jazz but now reclaimed for the latest twist in urban music... And so on.

Radio has always been important to me. When I was at primary school we used to gather round a small transistor in the lunch break and listen to the chart rundown, in the days of T.Rex and The Sweet. As a teenager I genuinely listened under the covers to the John Peel show, my mind being blown by punk - I can vividly remember hearing Stiff Little Fingers 'Suspect Device' for the first time in my bed. Years later I first heard jungle on a summers day in Brockwell Park (Brixton), lying on the grass and twiddling the dial.

Today all kinds of music are more easily accessible than ever, but there are also mechanisms to keep the unexpected at bay, like lastfm and Itunes Genius- 'if you like this here some more of the same'. Most radio stations, from Kiss to Xfm, are programmed on the same basis of giving their 'core demographic' what they expect to hear. But on the edges of the dial there are still surprizes to be found.

Pseudo flashmob at Liverpool Street Station

Earlier this week there was an apparent flashmob at Liverpool Street - several hundred people dancing in the railway station. But it wasn't a unlicensed gathering for the pleasure of dancing in public - it was in fact arranged by mobile phone company T-mobile to film an advert.

I must admit I tend to see flashmobs as a kind of free party-lite version of Reclaim the Streets. There's something rather apologetic about turning up somewhere, having a quick bop in near silence and then disappearing after half an hour. On the day in 1996 when Reclaim the Streets met up at Liverpool Street, thousands of us closed down the M41 Motorway for the afternoon, with big sound systems. We certainly didn't get a positive write up in the Daily Mail.

Still I guess the flashmob still offers the transgressive thrill of temporarily transforming a transport hub or a shopping centre into a party zone in the company of strangers. Liverpool Street station has seen some genuine flashmobs. There was last year's Tube Party as well as the event when hundreds of people wore Rick Astley masks and sung Never Gonna Give You Up (1980s pop hit - probably unknown to anybody reading this outside of the UK). In October 2006, there was a Mobile Clubbing flashmob, with a crowd dancing to their ipods.

But a choreographed telephone advert is a fake copy of something that has already been diluted.

There was a genuine flashmob today though at Heathrow airport, protesting against plans for a third runway. It doesn't seem to have involved much dancing, other than a large conga dance procession.

Astoria closes

I've mentioned before that the Astoria in London was threatened with closure, but now it has actually happened. This week's Demolition Ball was the final gig. Earlier in the week 'Alan McGee, founder of Creation Records, said the Astoria, which opened as a cinema in 1927 and became a concert venue in 1976, had "a lot of soul and character". He added: "In Paris or Mexico places like this don't get knocked down, they get revamped. It's criminal they're knocking down these iconic buildings." For years it hosted the G.A.Y. club - with its guest appearances from Kylie Minogue and other gay pop faves, as well as gigs by the likes of Nirvana, Belle & Sebastian, Augustus Pablo (first London gig), Madonna, Blur and Richey Edwards in his final appearance with the Manic Street Preachers in 1994. It was also a ballroom during and after the Second World War.

The 2000-capacity Astoria is being bulldozed as part of a railway scheme, along with two neighbouring spaces which will also disappear - the 1000-capacity Astoria2 club (formerly LA2) and the Metro , a cellar club where mod/soul/indie night Blow Up has been running since 1993.

Lots more Astoria memories here

Benjamin Péret: songs of the eternal rebels

Benjamin Péret (1899-1959) was active in the Surrealist movement from its formation until his death. Among other things he edited at one stage the journal 'La Révolution surréaliste'.

His most substantial prose work is the surrealist novel 'Mort aux Vaches et au champ d'honneur' - literally 'Death to the Cows and to the Field of Honour' but sometimes translated as Death to the Pigs (since Vaches was used as slang for cops).

To give one example of its striking imagery, it features a section where the sobs of cinema goers form a sea of tears that floods the world:

'Suddenly the sun yawned like a dog waking up, and breath reeking of garlic polluted the atmosphere. A kazoo came and fell in to the heap of barbed wire the broom-seller was tangled in. He grabbed it and blew into it. A long whine and several tears emerged, which burst and expelled lumps of foam all around, which floated on the sea of tears. Delighted, the broom­seller continued to blow into the kazoo, continuing to to produce teary fireworks which burst into foam and settled all about him... When the sea of tears was covered over with a thick rug of foam, circumstances changed rapidly for the broom-seller, who had the unfortunate notion of lying down on it. Barely had he stretched out when the kazoo's whimpering became extraordinarily loud. They were no longer whimpers but veritable roars which destroyed his eardrums and slowly dug a tunnel through his head'

Like other Surrealists, Péret used automatic writing as a technique to discover the marvelous in everyday life: 'The marvelous, I say again, is all around, at every time and in every age. It is, or should be, life itself, as long as that life is not made deliberately sordid as this society does so cleverly with its schools, religion, law courts, wars, occupations and liberations, concentration camps and horrible material and mental poverty'.

His experiences in the French army in the First World War made him a pronounced anti-militarist, as well as being vehemently anti-clerical - Mortes Aux Vaches includes images of 'A general trampled by reindeer' and dogs sniffing dead priests. The photograph here was originally published in La Révolution surréaliste (1926) with the caption 'Our colleague Benjamin Péret in the act of insulting a priest'.

Péret was one of the first of the Surrealists to break with Stalinism. In the early 1930s, living in Brazil (with his wife, the singer Elsie Houston) he joined the trotskyist Communist League. In the Spanish Civil War, he worked first with the independent socialist POUM and then an anarchist militia fighting on the Aragon front. Later he was part of a group called the Union Ouvriere Internationale which broke with the trotskyist movement over the latter's defence of the Soviet Union as a degenerate workers state (see this biography of Ngo Van Xuhat for more about this)

In a 1949 poem, A Lifetime, Péret looked back on his long association with Andre Breton and wrote of:

'the songs in raised fists of the eternal rebels thirsting for ever new wind
for whom freedom lives as an avalanche ravaging the vipers' nests of heaven and earth
the ones who shout their lungs out as they bury Pompeiis
Drop everything'.

Main source: Benjamin Péret, Death to the Pigs and Other Writings, translated by Rachel Stella and others (London: Atlas Press, 1988). The best source online is L'Association des amis de Benjamin Péret (in French)

What is it?

It was my birthday recently. Some friends who know my penchant for small stringed instruments - I play mandolin and ukulele and also have a baglama - brought me back this instrument from Morocco:

It's shaped like a camel-skin covered frying pan, with a tubular neck. It has three strings and makes a bass sound with a satisfying rattle. Can anyone tell me any more about it - what it is, how it's played, what kind of music it's associated with? I've come across a mention of a North African instument called a guenbri which kind of fits this description. I know there's a few musicologists reading this blog - can you help?

Woofah Issue Three

Woofah issue three has been out for a month now, but it's taken me a while to get round to reviewing it. If you haven’t seen previous issues, it’s a lovingly produced glossy A5 zine, aiming to cover reggae, grime and dubstep. As well as taking seriously musics that are under-represented in print (in my view), the contributors also have a strong sense of the way music emerges from connections between people in specific places and scenes, from their life journeys through these times and spaces, and from the sonic dialogue that is opened up when sounds created in a particular zone are transplanted somewhere else.

In the latter respect, I was fascinated to read the interview with The Bomb Squad (legendary producers of Public Enemy, among others). In the latest twist in the Black Atlantic dialogue, these African Americans have been seriously checking out dubstep made by people in England many of whom in turn would have grown under the influence of their groundbreaking hip hip productions. It’s all about the bass – ‘It’s dark, it’s heavy. At the same time its rebellious’ (Hank Shocklee).

Elsewhere an article on the history of UK Dub follows a route from Jah Shaka’s Dub Club at the Rocket on London’s Holloway Road through to Aba Shanti’s University of Dub at Brixton Recreation Centre, while Soulja of FWD recalls London and Essex hardcore and garage nights at places like Telepathy in Stratford, the Berwick Manor Club and Grays (Grays Inn Road) on her journey through to becoming dubstep promoter and working with Rinse FM – nearly 14 years on air as a London pirate despite crackdowns including an ASBO that banned one of the people involved from going above the 3rd floor of any building!

You can get it here. and you really should.

The Light Behind the Curtains

The break of dawn is not always the end of the party, but it is usually the beginning of the end. If nothing else, the first rays of daylight are a warning that the spell is breaking and that the special quality of night as a period outside of the normal rules of daytime (work, school etc.) is fleeting. In the 1920s, Herman Hesse described a moment at a party when 'a feeling that it was morning fell upon us all. We saw the ashen light behind the curtains. It warned us of pleasure’s approaching end and gave us symptoms of the weariness to come'. For him this was a signal for a last joyful burst of energy 'we flung ourselves desperately into the dance once more'.

A more doleful image of a party's end occurs in great Sicilian novel The Leapoard by Tomasi di Lampedusa (1958):

'The ball went on for a long time still, until six in the morning; all were exhausted and wishing they had been in bed for at least three hours; but to leave early was like proclaiming the party a failure and offending the host and hostess who had taken such a lot of trouble, poor dears. The ladies' faces were livid, their dresses crushed, their breaths heavy. "Maria! How tired I am! Maria! How sleepy!" Above their disordered cravats the faces of the men were yellow and lined, their mouths stained with bitter saliva. Their visits to a disordered little room near the band alcove became more frequent; in it were disposed a row of twenty vast vats; by that time nearly all were brimful, some spilling over. Sensing that the dance was nearing its end, the sleepy servants were no longer changing the candles in chandeliers, and the short stubs diffused a different, smoky, ill-omened light. In the empty supper room were only dirty plates, glasses with dregs of wine which the servants, glancing around, would hurriedly drain; through the cracks in the shutters filtered a plebeian light of dawn. The party was crumbling away…'

This pessimistic perspective is in keeping with the theme of the novel. Its main character, Fabrizio, Prince of Salina, is dying and reflecting melancholically on the fading away not only of his own life but of a way of life as the Sicilian aristocracy decays in the face of Italian unification - the party is over in every respect. For him 'The crowd of dancers... seem unreal, made of the raw material of lapsed memories, more labile even than that of disturbing dreams'. A young couple dancing may be 'sweet and touching' but they too are mortal and doomed: 'his gloved right hand on her waist, their outspread arms interlaced, their eyes gazing into each other's. The black of his tail-coat, the pink of her interweaving dress, looked like some unusual jewel. They were the most moving sight there, two young people in love dancing together, blind to each other's defects, deaf to the warnings of fate, deluding themselves that the whole course of their lives would be as smooth as the ballroom floor, unknowing actors set to play the parts of Juliet and Romeo by a director who had concealed the fact that tomb and poison were already in the script'.

Still the end of the night doesn't have to signal despair. In Camera Obscura's great party song Let Me Go Home (a favourite floorfiller at How Does it Feel?), 'Daylight appears through the curtains and nobody cares, Supremes in our dreams, Do we quit bein' obscene on the stairs?'. Anyway, sometimes the end of the party holds out the promise of something more: 'Well the room goes boom to the sound of temptations and more, Twisting and turning that girl's looking good on the floor, Well the four walls they collide, Until the blue-eyed girl decides to let me go home'.

Image: from Visconti's 1963 film of The Leopard

Songs about Dancing (5): Sophisticated Boom Boom

I was walkin' down the street,

And it was gettin' mighty late.

Well, the truth of the matter is,

This poor girl had been abandoned by her date.

When, from out of nowhere,

Came this music loud and clear.

Let me see, from over there?

(No, from over there.)

Over there? (Yeah.)

Well, I open up the door,

And much to my surprise,

The girls were wearin' formals,

And the boys were wearin' ties.

And I feel that I should mention,

That the band was at attention.

They just stood there, oh, so neat,

While they played their swingin' beat.

So I grabbed this little boy,

Who came struttin' 'cross the room,

And I say, "What's that?" And he say,

Sophisticated boom, boom.

It's been long overdue, Sophisticated boom, boom.

We been need'in' somethin' new, Sophisticated boom, boom.

Now stand up straight and tall, Like your back's against the wall.

Take two steps forward (Boom, boom.) (Boom-boom, boom-boom)

And shake your hips. (Boom, boom)...

Sophisticated Boom Boom by The Shangri-Las was originally a b-side to Long Live Our Love in 1966. It was written by George "Shadow" Morton. The song title was also used as the name for a cool Scottish girl band in the early 1980s and for Dead or Alive's first album in 1984. The Shangri-Las were from Queens (NYC) - perhaps the song describes going through a time tunnel in 1966 and coming across a Vampire Weekend gig in Brooklyn in 2007.

Queer Albert Hall

'Queer urban culture was the site of diverse intersecting modes of queerness and "normality," coalescing around their desires for homosex, sociability, and intimacy. These antagonisms crystallized in two prominent annual events: the Chelsea Arts Ball and Lady Malcolm's Servants' Ball -both held at the Royal Albert Hall.

1926 Chelsea Arts Ball (from Getty Images)

The former, in particular, was a centerpiece in the metropolitan social calendar, a New Year's Eve costume ball that attracted massive media attention and crowds of up to 7,000 socialites, artists, and ordinary Londoners in elaborate fancy dress. These "true pageants" were, observed Kenneth Hare in 1926, notable for their "variety, inventiveness, vivacity and colour." For many men, becoming part of this carnival gener­ated a palpable sense of release. Hundreds of working-class queans flocked to both balls, discarding the masks they wore in everyday life, wearing drag, dressing outrageously, and socializing unashamedly while never appearing to be anything out of the ordinary. In so doing, they were further protected by the Albert Hall's unique legal status: it was outside the Met's operational sphere. For once, temporarily and locally, men could fully escape police sur­veillance.

A 50-feet high mermaid designed by Ronald Searle for the 1954 Chelsea Arts Ball
(from Perpetua - Ronald Searle tribute blog)

The results were spectacular. In 1934, one observer described "groups of men dressed in coloured silk blouses and tight-hipped trousers ... lips ... rouged and faces painted. By their attitude and general behaviour they were obviously male prostitutes."...

1947 Chelsea Arts Ball, taken by Tony Linck, sourced from the Life Archive

From the early 1930s the organizers of both events were increasingly exercised by these "disgraceful scenes," and a nagging sense that men's behavior was somehow out of control. In 1936, Lady Malcolm herself wrote cryptically - apparently in some desperation-to the Times: 'Each year I notice at the ball a growing number of people, who, to be frank, are not of the class for whom the ball is designed. It is what it is called- a servants' ball, and I am jealous that it shall go on deserving that name."Both balls employed private stewards to maintain "order" and exclude "undesirables." From 1933, having failed to secure a police presence, Malcolm employed two ex-CID officers to remove any identifiable "sexual perverts." From 1935 tickets were sold with the proviso that "NO MAN IMPERSONATING A WOMAN AND NO PERSON UNSUITABLY ATTIRED WILL BE ADMITTED". On entry, men's costumes had to be approved by a "Board of Scrutineers." Whatever they tried, however, the organizers could neither keep the "Degenerate Boys" out nor adequately contain their visibility; indeed, they often struggled even to identify them amidst the fancy dressed crowds. In 1938, an observer thus described the "extraordinary number of undesirable men at this Ball who were unmis­takably of the Homo-Sexual and male prostitute types." Well into the 1950s, the balls remained, in Stephen's words, "a great Mecca for the gay world."

Working-class men reappropriated two high-profile public events, creat­ing a space at the center of metropolitan culture in which they could be together and socialize free of the constraints that braced everyday queer lives.'

1947 Chelsea Arts Ball, taken by Tony Linck, sourced from the Life Archive

Quote: Queer London: Perils and Pleasures in the Sexual Metropolis, 1918-1957 - Matt Houlbrook (University of Chicago Press, 2005) - I couldn't find any specifically drag photos, but these images certainly show that this was some party.

George Brecht

George Brecht (1926-2008), Fluxus artist, died last month.

His many sound pieces included 'Drip Music' (1959): 'For single or multiple performance. A source of dripping water and an empty vessel are arranged so that the water falls into the vessel' and 'Comb Music' (1959): 'For a single or multiple performance. A comb is held by its spine in one hand, either free or resting on an object. The thumb or a finger on the other hand is held with its tip against the end prong of a comb, with the edge of the nail overlapping the end of a prong. The finger is slowly and uniformly moved so that the prong is inevitably released, and the nail engages the next prong. This action is repeated until each prong has been used'.



Photo is of him performing 'Solo for Violin' (1964) at 359 Canal Street, New York City during Flux Fest at Fluxhall - a piece for which the score reads simply 'polishing'.