Songs about dancing (6): Out on the Floor

From 1965, this Northern Soul classic by Dobie Gray has been an anthem for many years for some of the most committed dancers ever to have graced a dancefloor. There is something incredibly joyous about this song, to actually be out on the floor while listening/dancing to this record is such a buzz, a perfect beautiful loop - listening to 'on the floor' a joyous song about dancing while dancing joyously on the floor to the song...

'I am on the floor tonight, I feel like singin'/ The beat is running right and guitars are ringin'/ I'm really on tonight and everything swingin' / The room is packed out tight, light at the door/ I Get My Kicks Out On The Floor' (full lyrics at the excellent awopbopaloobopalopbamboom (from where I also sourced the scan of the label).

Hillsborough 1989

Today is the twentieth anniversary of the 1989 Hillsborough disaster, when fans of Liverpool FC were crushed at the Hillsborough football stadium in Sheffield. The fans were caged in by metal fences and as a result were unable to escape on to pitch when the crush developed. 96 people died. The Manic Street Preachers later recorded a song SYMM - South Yorkshire Mass Murderer - perhaps not one of their best efforts musically or lyrically, but expressing the sentiment that the disaster was not an 'Act of God' but was caused by the actions of the police and football authorities. A better song is the Liverpool epic Does this Train Stop on Merseyside by Amsterdam, which refers to the disaster with the lines: 'Yorkshire policemen chat with folded arms, people try and save their fellow fans' (Christy Moore has also recently recorded this song).

The following article was written by Jeremy Seabrook immediately after the disaster. Unfortunately much of it still rings true today, not just for football but in terms of the way the wider 'leisure industry' processes crowds for profit - see for instance deaths from fires in nightclubs.

'We were like animals in a zoo' - Jeremy Seabrook (Guardian, 17 April 1989)

Hillsborough has now become yet another placename to add to those that make up the by-now voluminous gazeteer of wasted human lives. Already there has been talk of "learning the lessons of Hillsborough"; but if the lessons of Bradford, Heysel, Manchester Airport and the Herald of Free Enterprise had been even half absorbed, this most cruel visita­tion might have been avoided.

What all these have in common is that they arose from the processing of people through time or space for the sake of experiences provided by the entertainment, holiday and sports industries; as such, they touch upon one of the central purposes of the economy in its most benign guise - that of leisure society. This, it turns out, is dedicated to the necessity of making as much money out of people as possible, in this instance, by making them pay - some, alas, with their lives ­for the privilege of standing for two hours in what are nothing more than overcrowded cages.

Because these experiences are associated with pleasure, it is easy to disregard the dangers, whether these are the use of unsuitable material in the manufacture of aircraft seats, insecure and overloaded ferry boats, or football grounds that prove to be deathtraps. It is only when things go wrong that some deep insight is granted us into the true value placed on human life by the purveyors of entertainment, escape and fun to the people.

"We were like animals in a zoo," said one man afterwards. It was a zoo in which the watchers were primarily electronic: the cameras of the media, the police videos and computers, represent a vast investment in the paraphernalia of surveil­lance, which could monitor every anguished moment, but do absolutely nothing to help. What a contrast this prodigious outlay of money presents with the absence of life-saving equipment. The doctors present testified that there were no defibrillators, and that the oxygen tents were without oxygen; but the presence of all the media hardware ensured that the spectacle of football was swiftly transformed into a spectacle of a quite different genre.

The carnage – how sad that the hyperbole of football writing becomes hideously appropriate – raises intently political issues. Those who insist upon referring to the incident as though it were an Act of God, a sort of natural tragedy, betray only their interest in concealment. The very public display of their humanitarian concern merely masks its absence in the more fundamental matter of preventing the gratuitous squandering of young lives.

Football is perhaps the only remaining experience in our social life where passion - and partisan passion at that - is engaged. Nothing could be further removed from the other characteristic crowd scenes in our society: the people shuffling through the shopping malls, for instance, are self-policing, introspectively concerned as they are upon the relationship between individual desire, money and the prize to be purchased; remote too from pop concerts, where the shared focus of cathartic emotion is funnelled on to a single person, and its ex­pression is without conflict.

But football continues to reach something which neither of these possesses - the pas­sion of locality, and of places once associated with something more than football teams. That Liverpool should have been connected twice with such un­bearable events is perhaps not entirely by chance. For the great maritime city, with its decayed function rooted in an archaic Imperial and industrial past, sport now has to bear a freight of symbolism that it can scarcely contain.

The energies of partisan, mainly working-class male crowds remain, as they always have been, the object of great anxiety and suspicion to their betters. These energies are perceived as perhaps the last vestiges of the turbulence of the mob - unruly, defiant and unpredictable - in a society where all other public passions have been tamed.

The forces released by football provide a glimpse of collective power that has been successfully neutralised in the rich Western societies; a suggestion that such passion could possibly be harnessed to social and political endeavour rather than sublimated in sporting conflicts.

Apart from the sight of the inert young bodies stretched out in the sunlight, perhaps the most chilling images were those of the anguished faces pressed against wire fences. They looked as if they had been taken from the iconography of repression of authoritarian states, and they evoke something quite other than the idea of sport. They bore the tormented expression of those in prison camps; indeed, many spoke of "the terracing that had become a prison", the inevitability of disaster within those reinforced enclosures, where the grisly facts of the quantity of pressure they. were calculated to withstand was conveyed with scientific precision.

We can only guess at what unwanted and redundant human powers are being con­trolled in the use of all this apparatus of containment; what frustrated visions and cancelled dreams are being policed, what doomed alternative use of these energies is being fenced in, sifted through the mechanistic click of the turnstiles. What an irony is the Government's obsession with identity cards in this context, when it is precisely a sense of identity that so many are trying to reclaim in these conflicts between geographic entities that have become, physically, interchangeable. For what now differentiates Sheffield from Nottingham, Manchester from Liverpool, Bradford from Leeds, with their homogeneous housing estates, the sameness of their shopping centres, the identical service sector economy?

There remains also an old class prejudice in the treatment of those who must be systemati­cally humiliated in the pursuit of their afternoon's pleasure. "We are treated like animals," some said afterwards; and in their words is an echo of how Government ministers had described them at the time of earlier disasters. The very idea of "fans" is a humbling social role, a diminishing and partial account of human beings.

Indeed, there could be no greater gulf than that created by the exaggerated adulation that the stars and heroes receive - the inflated transfer fees, the publicity, the column inches and admiring TV interviews - and the abasement and inferiorising of the fans, punters or consumers. The players are mythicised, whisked upwards into an empyrean of fame and celebrity, in which everything they do or say is reported, no matter how trivial; in the process they become remote from their votaries and followers, who are kept in their place as effectively as they once might have been through the mysteries of breeding or station. Part of the process of erecting the infamous steel barriers is connected with enforcing this separation: the pitch is inviolate, the fans must remain content with the wall poster, the autograph, the fantasy.

Already, the aftermath of these tragic disasters has taken on the aspect of a known ritual: the Prime Minister arrives, prayers are offered up, shrines are set up at the scene of the accident, and a fund is opened. It means that these inadmissable horrors have become part and parcel of our social life; they have become familiar. Once again, the real lessons are likely to be that the public enquiry will be a vast exercise in concealment of the true relationship of these unnecessary tragedies to the necessities of what are no longer amiable Saturday afternoon pastimes but are part of a remorseless machine for making money; how fitting that the advertising hoardings had to serve in place of absent stretchers.

More: see the Hillsborough Justice Campaign; there's also a couple of good articles by Merrick at Head Heritage, one summarising the Hillsborough events and the other comparing the policing of football fans with the recent G20 protests.

Blue Murder

Following the death last week of Ian Tomlinson after being assaulted by police at the London G20 demonstration, I guess I'm not the only person whose mind wandered to the Angelic Upstarts classic 'The Murder of Liddle Towers' (1979). The answer, for those who don't know the song, is 'Police Killed Liddle Towers'.

Liddle Towers was a 39 year old electrician and amateur boxer from Gateshead who was arrested outside the Key Club in Birtley (Northumberland) in January 1976. He told people that the police 'gave us a bloody good kicking outside the Key Club, but that was nowt to what I got when I got inside'. A few weeks after being released from custody he died of his injuries. An inquest into his death recorded the notorious verdict of 'Justifiable Homicide'.

The Upstarts sang: 'Why did he die, or did they lie? I think he's dead, so a doctor said / He was beaten black, He was beaten blue / But don't be alarmed, it was the right thing to do / The police have the power, Police have the right / To kill a man to take away his life / Drunk and disorderly was his crime / I think at worst he should be doing time / But he's dead / He was drunk and disorderly and now he's dead' .

Sex Pistols producer Dave Goodman released a record called 'Justifiable Homicide' on the same subject in 1978, apparently with Paul Cook and Steve Jones from the Pistols playing on the track.

The Tom Robinson Band dedicated their 1979 album, TRB Two to Mrs. Mary Towers, the mother of Liddle Towers. The song Blue Murder on this album goes: 'Well they kicked him far and they kicked him wide / He was kicked outdoors, he was kicked inside / Kicked in the front and the back and the side / It really was a hell of a fight... / He screamed blue murder in the cell that night / But he must have been wrong cos they all deny it / Gateshead station - police and quiet/ Liddley-die... / Lie lie lie diddley lie /Die die die Liddley die'.

The Death Song for Alfred Linnell 1887

Liddle Towers was not the first or the last person to die at the hands of the police to be commemorated in this way. Way back in 1887, Alfred Linnell was killed in clashes with police during the Bloody Sunday demonstration n London's Trafalgar Square (pictured below). William Morris helped carry his coffin, and wrote the Death Song to raise money for Linnell's family: 'What cometh here from west to east awending? / And who are these, the marchers stern and slow? / We bear the message that the rich are sending / Aback to those who bade them wake and know / Not one, not one, nor thousands must they slay, / But one and all if they would dusk the day'.

Kevin Gately 1974

In 1974 Kevin Gately, a young student, was killed in Red Lion Square, London, during an anti-National Front demonstration. Gately is mentioned in a song called Spirit of Cable Street by People's Liberation Music, featuring Cornelius Cardew and recorded in 1976: 'Now at Red Lion Square the people fought with bare hands / Like their parents did down at Cable Street / Keep alive the fighting spirit of Kevin Gately / Brave anti-fascist fighter. / Unite in the spirit of Cable Street'.

Blair Peach 1979

30 years ago this month, on 23 April 1979, socialist teacher Blair Peach died at the hands of the police Special Patrol Group during anti-National Front protests in Southall, West London. Linton Kwesi Johnson recorded a track 'Reggae fi Peach' on his 1980 album Bass Culture (there is a dub version of this track on the album LKJ in Dub; Basque band Negu Gorriak have also recorded a version as Reggae Peachentzat).


The lyrics include the lines 'Everywhere you go it's deh talk of the day /Everywhere you go, you hear people say / ... ah deh S.P.G. dem a MURDER-AH, MURDER-AH / we can't let dem get, no furder-ah / because dem kill Blair Peach, deh teacha dem kill Blair Peach dem dogs 'n bleeders / Blair Peach was an ordinary man / Blair Peach him took a simple stand / 'gainst deh fascists and dem wicked plan / so they beat him till him life was gone'.

There is also a 1979 song by Mike Carver called Murder of Blair Peach, while the track Justice by The Pop Group mentions both Peach and Gately: 'Who killed Blair Peach? / Political prisoners caught at Southall / And tried by kangaroo courts / A man had to have his balls removed/ After being kicked by the S.P.G. / It doesn't look like justice to me... / Who guards the guards / Who polices the police / What happened at Red Lion Square / Who killed Kevin Gately'.

Colin Roach 1983

Colin Roach died from gunshot wounds at Stoke Newington Police Station in 1983, with many people reluctant to believe the police version that he had shot himself. Benjamin Zephaniah wrote a poem which starts ' Who killed Colin Roach? A lot of people want to know /Who killed Colin Roach? dem better tell de people now, /what we seek is the truth, youth must now defend de youth /Who killed Colin Roach? tell de people now'.

Sinéad O'Connor's Black Boys on Mopeds also refers to the death (without naming Roach) - the sleeve of her album 'I do not want what I can't have' includes a picture of Colin and thanks to to the Roach family. The song includes the line: 'England's not the mythical land of Madame George and roses. It's the home of police who kill Black boys on mopeds'.

Party on Beef Millionaire's Estate

'more than 1,000 revellers turned up at an illegal rave on beef baron Lord Vestey's £15m estate, police said today. Ravers descended on secluded beauty spot Chedworth Woods, near Compton Abdale, Gloucestershire, in the early hours of Sunday morning.Gloucestershire Police entered the site, on the Stowell Park Estate, seized sound equipment and made six arrests. Officers arrived at 3am with riot shields, dog handlers, tactics officers and video cameramen, and put up road blocks at the site... The 6,000-acre Stowell Park Estate is owned by Lord Sam Vestey, chairman of the Vestey Group. The group consists of meat exporter Angliss International and several cattle ranching interests in Brazil and Venezuela'. (Northampton Chronicle, 8 April 2009).


This is kind of 'spatial poaching' isn't it? Instead of sneaking on to the estates of wealthy landowners to poach deer, people temporarily appropriate space for a party. Those who know the history of Reclaim the Streets will appreciate the irony of the location for this particular party.

Drugs Raid at the Peace Cafe 1962

Stewart Home continues his exploration of the undocumented corners of the 1960s London beatnik scene with a post on West London face, Phil Green. Stewart mentions an interesting sounding place in Chelsea:

'On 12 March 1962 The Times carried the headline ‘Drug Charges After Raid On Café’ above an article that mentioned Green among others, then on 26 March 1962 the same paper followed this up with ‘C.N.D. Supporters Given Drugs’, concluding on 26 April with a news story entirely devoted to Phil Green entitled ‘Youth’s Beard A Part Of Façade’. Philip John Green then aged twenty was one of ten men and women arrested for their involvement with a ‘drug ring’ centred on The Peace Café in Fulham Road, Chelsea. At the time Green worked at this establishment as a chef. He pleaded guilty to possession of Indian hemp and twenty grains of opium, as well as ‘hubble bubble pipes’ used for opium smoking'.

The Peace Cafe was described in court as a supposed 'local headquarters of the Campaign for Nuclear Disarmament' that was actually a place where drugs were 'administered to young people who were supporters of that campaign and congregated there' (Times 26.3.1962). The Magistrate referred to it as 'an absolute den of iniquity and debauchery' when sentencing the manager, Kenneth Browning to 2 month's imprisonment 'for permitting the cafe to be used for smoking opium'. Browning told the court that he had been a supporter of the Committee of 100, the direct action wing of the peace movement (Times, 4 April 1962).

I haven't found out anything more about this place, except that a Peace Cafe was opened in the 1960s in Fulham by Rachel Pinney, a member of the Direct Action Committee against Nuclear War. I assume this was the same cafe, one of those places where currents from the beatnik, drugs and radical political scenes intersected several years before the 'counter culture' became a media phenomenon.

If you know any more about the Peace Cafe, or any other interesting clubs, bars and coffee houses from that time please leave a comment.

(see also The Gyre and Gimble)

Oism

I enjoyed Jim Shaw's The Whole: a study in Oist Movement exhibition at the Simon Lee gallery in London. The underlying premise of the work was Shaw's self-created doctrine of Oism, a fictional new age religion with dancing rituals: 'Initiated in the late 1990s, it is a fictional religion complete with a pantheon of characters and rituals. Oism is inspired by Mormonism and the Christian Science movement and was allegedly formed in mid 19th Century America by Annie O'Wooten. There is the central idea that time moves backwards and the belief in the supremacy of a female deity, which is often symbolised by the letter “O”'.



The centrepiece of the exhibition was a film where 'the artist orchestrates a symphony of gestures to create a dream like sequence. Here Shaw merges the extravagancy of Busby Berkeley’s films with the esoteric dances instigated by spiritual leaders such as G.I Gurdjieff'. It was a perfect recreation of how you might imagine such a film from the mid-1970s, a group of women in diaphanous tabards floating around a Banyan tree and lying on the floor doing dance moves as if from a synchronised swimming routine (or indeed a Berkeley movie). The styling was uncanny, with the women dancers embodying a very specific period model of beauty -not just in terms of the haircuts (think Joanna Lumley's Purdey cut) but in terms of being older than the current media/marketing ideal.

California: raves not 'consistent with the values of our community'

The chief of police in Redlands, California has denounced raves being held at Pharaoh's Lost Kingdom, a defunct amusement park. Police Chief Jim Bueermann said: 'I wish they would stop holding these things... I do not believe a rave is consistent with the values of our community. I do not believe that raves are good for young people'.

Police have been busy at the 'Get Lucky' parties at Pharaoh's, arresting 25 people on Feb. 28 and 41 people on March 14th. There's hundreds of photos of the latter party at the amazing Tigger Loves You rave photo site, and it looks like a lot of people think it's very good for them indeed.

Tina Modotti

Tina Modotti (1896-1942) is best known as photographer, but her's was one of those lives that joined the dots between different radical and cultural scenes in the first half of the twentieth century. She was born in Udine, Italy, where her father was a militant worker and member of a banned socialist group. Tina had to drop out of school and earn a living as a silk worker in a sweatshop where 'the silk reelers were sometimes allowed to sing as they toiled. At first pianissimo and barely audible over the whirring of machinery, the juvenile voices would soar into the popular 'They call me Mimi' from La Boheme or 'ves doi voi che son dos stelis', a Friulian love song they had all been humming since childhood'.


In 1913, aged 16, she moved to San Francisco where she became an actress. She had a starring role in a Hollywood silent movie, The Tiger's Coat (1920), playing a Mexican servant who ended up heading a dance troupe.

After a period in Los Angeles bohemian circles she ended up in Mexico City in the aftermath of the revolution, living with the photographer Edward Weston, befriending Diego Riviera (who she modelled for while he worked on some of his murals), Frida Kahlo and B.Traven, and throwing herself into radical politics, including the unsuccessful campaign against the execution of the Italian anarchists Sacco and Vanzetti in the USA in 1927. Another of her lovers, the Cuban revolutionary Julio Antionio Mella was shot dead as the two of them walked together. In this period she was increasingly developing her practice as a photographer, with her work appearing in international radical publications such as El Machete, Arbeiter-Illustrierte-Zeitung (AIZ), and New Masses.

She joined the Communist Party, and like many radicals of her generation was compromised by her links to Stalinist terror, particularly during the Spanish Revolution/Civil War where she worked alongside her lover Vittorio Vidali, a notorious henchman implicated in the death of many Poumistas, trotskyists and anarchists (including Alberto Besouchet, the first Brazilian to join the International Brigades, who disappeared after being denounced for Trotskyist sympathies - the evidence against him including an association with the Brazilian singer Elsie Houston, ex-wife of the surrealist Benjamin Peret who we have mentioned here before).

Leaving aside this terrible episode (in which the extent of her complicity is a bone of contention), I think we can still appreciate her photography and wonder what it would have been like to have gone to one of her legendary parties. Just after the First World War she lived with her lover Ricardo Gomez Robelo in LA:

'The most enduring memories of 313 South Lake Street are of boisterous parties in the studio, mobilizing Los Angeles's small bohemia, a provincial avant-garde striving for effect. "Intense, dreamy and vibrant", in Robelo's recollection, evenings throbbed "with the magic of art and congenial, exquisite friends and Saki!" Photographer Edward Weston noted of his fellow revelers: They were "well-read, worldly wise, clever in conversation,-could garnish with a smattering of French: they were parlor radicals. could sing IWW songs, quote Emma Goldman on freelove: they drank. smoked, had affairs .... "

The screen door slapping open and shut, Tina greeted her guests wearing something flowing and distinctive, her tie-dyed tunic perhaps, over a long skirt. She adored silk stockings and stacked jangling bracelets on her arm. Her eyes were rimmed in black, mouth painted into a ripe cherry, hands smoothed with her favorite honey-and-almond cream... As the evening heated up, the gregarious, streetwise Wobbly Roy Rosen might set the room on a roar with tales of the scoundrels he confronted as a "tough, tough baby" bill collector. Rosen hailed from New York, but many guests were refugees from San Francisco art circles: the painter Clarence Hinkle and his wife, Mabel, and the curly-haired Mexican Francisco Cornejo, who had created costumes and decor for Xochiquetzal, the "Toltec ballet" staged by the Denishawn modern dance troupe. An unruly sexual charge swept around the room, sending tall, tousled ex-barmaid Dorothea Childs reeling into somebody's arms as the lecherous and amusing old satyr Sadakichi Hartmann pranced from one woman to another. Jazz or Japanese music spinning on the Victrola, the studio dis:olved into a smoky, incense-fragrant maelstrom dotted with pools of colored lights from Tina's homemade Japanese lanterns. The crowd wrangled oveer aesthetics, got drunk on bootleg sake, and sucked on cigarette holders as they quoted Nietzsche and Wilde. Eyelids drooping, Robelo recited Swinburne while couples drifted out to the porch in a fever of kissing and groping.

Among the Richeys' guests was Ramiel McGehee, a baby-faced man with one glass eye and a pinched, disapproving mouth. Once a dancer who had toured Asia and was obsessed with Eastern mysticism, Ramiel metamorphosed into an undulating contortionist at the first sound of a sitar or daibyoshi'.

Living in Mexico City with Edward Weston, Modetti was once again at the centre of bohemian social life:

'New Year's Eve found the kitchen at 12 Lucerna in an uproar as Lupe Marin whipped up a spread of firecracker Mexican dishes, for which she had shopped, thus enabling a couple unable to scrape up January rent to throw a lavish party. Guests fox-trotted their way into 1924, pausing to quaff rum punch and smack their lips over the delicacies. So successful was the tertulia that Tina and Edward made it a weekly event, to be underwritten by passing the hat. "Because of grave conditions resulting from the revolution," the pair chortled, they kindled up the fabled Saturday nights, turning the Modotti-Weston household into the most dazzling light on the vanguard social circuit.

Virtually every well-known writer and artist in Mexico participated. Mexican-born, Texas-educated journalist Anita Brenner described how 'workers in paints drank tea and played the phonograph with union and non-union technical labour-scribes, musicians, architects, doctors, archaeologists, cabinet-ministers, generals, stenographers, deputies, and occasional sombreroed peasants."

....Invariably hungry, they dug into Tina's spaghetti with butter and cheese Anita's version of chongo, a traditional syrupy curd, which she served with cinnamon toast and tea, and a delicious curry and sweet rice prepared by an Indian revolutionist named Gupta. After dinner, the men heaped Colts on a table as tangos and the wicked Cuban rumba scratched their way our of the phonograph. On one memorable occasion, a guest stumbled upon her lover entwined with another woman and holloed him from room to room, popping at his feet with a small pistol. On another, Tina and Edward exchanged clothes, mimicking each other so convincingly that revelers were perplexed until Edward kicked up his pink-gartered legs and vamped outrageously. Edward loved to prance, but Tina, clumsy and uncomfortable on the dance floor, caught her breath on the parties' less frenetic edges, where talk gravitated to revolutionary art and politics'.

Quotes from Patricia Albers, Shadows, Fire, Snow – The Life of Tina Modotti, Clarkson Potter, 1999. See also this post at Museworthy.

More Silent Raves

Earlier this month, police staged an operation to prevent a silent rave at Glasgow's central station. Elsewhere people did manage to put on similar events - 100 people danced at Chorlton Green (Manchester), apparently to celebrate somebody's birthday. In Milton Keynes, up to 400 people partied in the main shopping centre (see below):



Not so silent in Milton Keynes was a party in a Church Hall. The 18 year old organiser received a police caution for fraud after booking the hall for a family '50th birthday party' and then inviting hundreds of people via Facebook who apparently left the 'area strewn with broken glass, cans, beer bottles and glow sticks'.

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

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

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

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

Map of the Kent coalfield (from Pitt)

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

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

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

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

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

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

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

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

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

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

Dick Gaughan

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

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

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

You can listen to the song here.

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

Sapeurs of Bakongo

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


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





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

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

Flash Mob Simulacrum Continued

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

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

Moving Gallery - The Mysterium

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

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

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

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


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

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

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

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

Miners Strike (1): Here We Go

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

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

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

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

Here We Go

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

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


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

Dancing and Xhosa Resistance

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

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

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

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

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

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

Musical Psych Ops in Kent

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

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

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

[full story in today's Guardian]

Artists and Borders

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

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

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

No One is Illegal

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

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

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

Dancing Questionnaire (14): Paul from Twickenham

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

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

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

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

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

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

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

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

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

Anti-music Islamists Destroy Shrine

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

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

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

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

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

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

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

Agit Disco

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

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

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

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

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