Scientist: Dub from Obeah-Myal to Outer Space

For those who never stop complaining that there isn't enough dub in dubstep comes news that Tectonic Recordings are releasing a whole album of remixes by Jamaican dub producer Hopeton Brown, AKA Scientist. 'Scientist Launches Dubstep Into Outer Space' is out next month,and features remixes of tracks by Shackleton, Kode9 and King Midas Sound among others (full track listing at Resident Advisor News).

Scientist first came on to my radar during my Autonomous Astronaut search for interesting space-themed music, in particular his 1981 masterpieces Dub Landing and Scientist Meets the Space Invaders. Brown was only 21 when these came out, having served a teenage apprenticeship at King Tubby's Dromilly Road studio in Kingston. Thirty years later he is still in dispute with record companies about the royalties for these and other early albums (see this interview at United Reggae). With his evident interest in extraterrestial adventures, Scientist can be claimed for the reggae wing of the 'Afrofuturist' current, with their 'projections of Africanized technology, of dreadlocks as antennae, of blackness into space and the future' (Wayne Marshall, Trading in Futures: from Rastas in Space to Dreadlocked Aliens and Back, Woofah #4, 2010).

But Robert Beckford has also linked Scientist to the African-Caribbean past:

'What I find most interesting at this juncture in the development of the genre is that Brown, who made his name at the Randy's studio, used the self-description 'scientist'. Those familiar with Caribbean religious cultures will know that this is a designation for an indigenous healer or Obeah-Myal practitioners... Brown infers that dubbing, in this culture at least, is a holistic enterprise involving mind, body and spirit'.

Beckford sees dub as healing, part of 'the pharmacosm of sound in African cultures', and further that 'dub as an act of deconstruction' involving 'taking out and bringing in' sonic elements draws on 'healing practices in Jamaican folk culture'. He describes 'the Obeah-Myal complex' as an 'African religious survival' practiced by the slaves and their descendants in Jamaica: 'Obeah involved the deployment of malignant spirits on adversaries through a variety of tactics and techniques. To combat Obeah, Myal, the good medicine, was sought. Myal medicine provided protection against the bad spirits and returned the individual and community to equilibrium' (Robert Beckford, Jesus Dub: Theology, Music and Social Change, Routledge, 2006).

A similar point has been made by Lloyd Bradley, who Beckford quotes: 'It's an ancient African medicine that splits the body up into seven centres or 'selves' - sexual, digestive, heart, brain etc. - and by prescribing various herbs and potions would, as practitioners always describe it, 'bring forward or push back' different centres: remixing, as it were, a person's physical or mental state into something very different... In the same way by adjusting the controls at the mixing desk, a tune... can be reinvented' (Lloyd Bradley, Bass Culture: when Reggae was King, Pluto, 2001).

Anyway here's some medicine:

The Nighttime's Mine

All I need in this creation

Is 3 months work, 9 vacation

Tell the boss, any old time

The daytime is his, but the nighttime's mine

Photo: Saturday night juke joint outside of Clarksdale, Mississippi Delta, November 1939 - taken by Marion Post Wolcott; Lyric: Green Corn, from the singing of Pete Seeger at the Newport Folk Festival, 1960s - (not sure of exact date).

54 and Filuzzi

54 by Italian collective author Wu Ming is a novel set in 1954, with a fine plot involving the mafia, secret services, communist ex-partisans in Italy and Yugoslavia, the geopolitics of the post-WW2 period and Cary Grant.

One of the themes of the book is what might be termed 'proletarian dandyism' - working class pride in dressing up and looking sharp as an assertion of human dignity and as a refusal to accept an 'inferior' social status.

Two of the characters - Grant and Tito (leader of Yugoslavia) - are seen to share this perspective, with the Cary Grant character concluding that "he and Tito had a great deal in common. Above all there was his obvious interest in matters of grooming and clothes... And then there was the fact that they had both become famous with a name other than their given name. They had both passed through different identities".

The authors put an explicit defence of dressing-up into the mouth of 'Tito': "the mirror unites the individual with the community, and its admission into proletarian houses has cemented class pride, that sense of decorum thrown back into the bosses' faces, 'We have been naught, we shall be all! We can be, and we are, more stylish than you are!'".

Pierre, another key character, is a communist bar worker who models himself on Cary Grant. He is a local face as a filuzzi dancer in the dancehalls of Bologna, a scene involving competitive displays of dancing prowess to mazurkas and polkas:

'Everyone took to the floor for the mazurka, even the women, who couldn't usually keep up with the giddy rhythms of those dances. Two or three pieces in, the rhythm started to speed up. Nino Bonara's concertina, supported by bass and guitar, sounded as though it was never going to stop. By the sixth item on the programme only the musketeers of the Bar Aurora were left on the floor. Shouts of encouragement rose up from the tables, along with applause for the more complex movements... the four filuzzi followed the music each on his own, the couples parting and reforming each time the tune came round again..."

The couples in filuzzi were usually men dancing with each other. It was specifically a Bologna scene - in fact it still exists there to an extent - and there is very little about it written in English. There is, however, some filuzzi footage on youtube:


Wu Ming are in London this week doing a series of events, I am planning to go along to Cafe Oto in Dalston tomorrow night.

Jubilee - the trumpet shall sound

My recent hypothesis that the vuvuzela is becoming the protest instrument of choice for the emerging movement against austerity has received some independent confirmation. Bat020 spotted one on the demonstration outside the Conservative Party conference in Birmingham last weekend (pictured below):



Meanwhile from Sweden, Birdseed reports that in the anti-racist mobilisations in the lead up to recent elections the vuvuzela has 'been ever present both as assertion and as sonic disturbance (of the extreme right)'.

All of this put me in mind of Peter Linebaugh's classic article 'Jubilating; or, how the Atlantic working class used the Biblical Jubilee against capitalism, with some success' first published in the journal Midnight Notes in 1990. In this text, Linebaugh looks at how the Biblical notion of Jubilee as the periodic cancellation of debt and slavery has inspired radical movements through the ages. And he notes how this is heralded by the sounding of a trumpet:

'Jubilee. Etymologically, jubilee comes from yobel, a Hebrew word meaning 'ram's horn'. Ever since, it's been associated with music, a horn, a cornet, a trumpet, and later with singing. The cornet descends from the shepherd's cornu; the trumpet and bugle from the Roman soldier's buccina; these horns are instruments of gathering and militance. In the West Indies and the South Sea Islands the spiral conch emits a very large sound. It was used by the Tritons of ancient mythology, and by the Haitian slaves on 21 August 1791 as a call to the war of liberation in the first successful slave revolt of modern history. The first thing about the jubilee, then, is that it is heard'.

Linebaugh quote from the Bible:

'You shall send the ram's horn around. You shall send it through all your land to sound a blast, and so you shall hallow the fiftieth year and proclaim liberation in the land for all its inhabitants' (Leviticus 25:9-10)

... and from the Jubilee Hymn written in 1782 by English radical Thomas Spence:

'Hark! how the trumpet's sound
Proclaim the land around The Jubilee...
Now hath the oppressor ceas'd
And all the world releas'd from misery!'

On the subject of radical Biblical references, good to see that in my old town of Luton, some people from the former Exodus Collective (famed 1990s drum'n'bass free party sound system) are still going strong, putting on regular parties as the Leviticus Collective.

Lowlands: music at the Turner Prize

The Turner Prize 2010 exhibition is now open at Tate Britain, with at least three of the four short-listed artists having strong musical connections.

Painter Dexter Dalwood was once the bassist in first wave Bristol punk band The Cortinas. I have a copy of their 1977 single Fascist Dictator/Television Families which I will have to get out if he wins.

The Otolith Group is a partnership between Anjalika Sagar and Kodwo Eshun. The latter is well known for his music writing, notably the seminal afro-futurist thoughtist classic, More Brilliant than the Sun. The former sings on some of their film soundtracks.

I don't know whether Angela de la Cruz has a secret past as a member of an anarcho-punk band or zine editor, so can't comment on any musical connections with her work.

But the final room in the exhibition is a musical work by Susan Philipsz. She was shortlisted on the basis of her piece Lowlands which involved recordings of her singing a Scottish folk song being played under three bridges across the River Clyde in Glasgow. Transposing this into the much smaller scale of a single room in a gallery is quite a challenge, but actually adds something to it.

As with many old folk songs, there are several versions of Lowland's Away in circulation. Philipsz has recorded three different versions of the song which play simultaneously from a triangle of speakers in the gallery. The effect is slightly disorienting as the three voices are singing in chorus but not always the same lyrics. Presumably in the original piece it was not possible to hear the three voices together in the same way, or to mix between them by shifting your attention or location in relation to the speakers.

The acoustics of the gallery are of course different from outdoors with the sound waves from the three speakers creating a sonic space that does feel almost tangible, as when for instance a long sustained note carves the air.

It's undeniably lovely, but I guess there will be the predictable 'is it art?' response. It is true that in some ways it is not so different from the unaccompanied warblings of an accomplished folk singer - her style is similar to the recording of the song by Anne Briggs. But there is no doubt that she has created a specific experience quite distinct from what is commonly heard and felt in a folk club or a concert setting.

The song itself is a mournful lament for a lost lover, drowned and returned as a ghost. When I am in the Tate galleries I often think of its own ghosts, of the prisoners who suffered there when the Millbank Penitentiary stood on the site and the patients in the hospital next door replaced by the later Tate extension. Hearing this song there put me in mind of an inmate in exile from the Scotland of lowlands, highlands and islands, wistfully singing to themselves in their cell 'My love is drowned in the misty lowlands...'

Here's another three versions of the song, you could even create your own version of the Turner piece by playing them all at the same time!:

Anne Briggs:



Kate McGarrigle and Rufus Wainwright:



The Corries:

Alien Underground

Over at Datacide, Christoph has been publishing texts from Alien Underground, a great zine published in South London in 1994/95 offerin 'techno theory for juvenile delinquents'. Two issues were published before the project morphed into Datacide, still going strong albeit with a somewhat irregular publishing schedule.

Highlights include interviews with Digital Hardcore Recordings, Mille Plateaux and Sadie Plant (by Matt Fuller), Flint Michigan on the Critical Arts Ensemble, and an article on the anti-rave Criminal Justice Bill.

Reading these made me nostalgic for that scene, encompassing Dead by Dawn in Brixton, squat parties, the Association of Autonomous Astronauts, anti-CJB demonstrations and all round techno-optimism - with a combination of Deleuze & Guattari and very fast and loud beats seeming to offer a new radical line of flight from capitalism. In those days I seriously thought I would never listen to a guitar again! Well maybe it wasn't sufficient basis on its own for a 21st century radical movement, but it certainly created some interesting situations and opened up new possibilities, some of which are still being played out (in all senses of the phrase).

There's a couple of old pieces from me: a report of a London History Workshop meeting on jazz culture: 'The powers restricting “raves” in the Criminal Justice Act are not the first authoritarian response to a dance-based culture. The association of popular dancing with sex, intoxication, and black people has made it an object of moralist suspicion at various times in history. It was the jazz dance craze which swept across much of the west that was the source of both pleasure and panic in the 1920s'; and a review of the book Microphone Fiends: '"Underground” nights in expensive clubs and “underground” compilations on major record labels might be bullshit, but loads of people taking over empty buildings and creating free or very cheap space for parties on their own terms is a real alternative to the commodity culture industry. And when sound systems become the focus for a serious showdown with the cops in central London, as happened on October 9th [anti-CJB demonstration], it is clear we are no longer just talking about empty gestures of fake rebellion'.

Yup, I've been repeating myself for at least 15 years, but hey, once you've got your schtick why change it?

Friday Night on the London Beach

Cold, dark and wet in the drizzle, down by the river Thames on Friday night looking for a party. Boom boom boom - the sound of gabber in the distance, head towards it and find the sound system? No, a false trail, it's just engine noise from a passing boat.

Adjourn to the pub and try again, head through alleyways and past building sites and you're there. The cold and darkness partially dispelled by a fire on the beach, a barbecue pit dug into the sand, yes real sand in South London. You've seen pictures from the 1930s, deckchairs and sunbathing on the Thames - how many Londoners ever get down to their beaches today? But tonight some of us are, even in the absence of sun.

Old boats on the shore, relics of the almost vanished working river of docks and ferrymen. City lights across the water, banks and offices of the 'new' London. This too shall pass.

Small sound system, techno, Jill Scott, Ray Charles. Nice music but it's not really a night for dancing, more for huddling around the fire, drinking, chatting, eating - deep fried tempura freshly cooked in barbecue-heated oil. Who knew?

Full moon on one side, the river on the other, tidally creeping up the beach. It will disperse the party before the authorities will, in any case I doubt if anybody's complained. Remarkably in the early 21st century city there are still isolated spaces away from sleeping residents. Maybe for not much longer as every brownfield old industrial site is earmarked for development. Then again maybe recession will create new zones of dereliction for squatters and party goers to recycle...

Firefighters & the vuvuzela

A couple of weeks ago (16 September) I wandered down to the Waterloo headquarters of the London Fire Brigade, where hundreds of firefighters were staging a protest outside a meeting of the London Fire and Emergency Planning Authority (LFEPA). They were demonstrating against management proposals to impose new shift patterns - with the threat of mass sackings if they don't comply.

One thing I noticed was a new instrument of protest - the vuvuzela. The plastic trumpet beloved of South African football fans has now circulated around the world following the exposure given to it in this summer's world cup.

I saw a few firefighters blowing vuvuzelas to cheer speakers:

Seemingly back in June, firefighters staged a specific vuvuzela protest outside a similar management meeting:

So as cuts and austerity take effect, is the vuvuzela going to be the sonic weapon of choice for the strikers and demonstrators of 2010-11?

Electric Eden

Rob Young’s Electric Eden: Unearthing Britain’s Visionary Music is an ambitious, accomplished and entertaining survey of 100 years of music-making and its associated literature and counter-cultures. Its focus is on the pastoral dream of evergreen Albion, with its core the story of folk music since Cecil Sharp began collecting rural song at the turn of the 20th century. Folk’s various revivals and re-inventions are encompassed, from the use of folk themes in English classical music (e.g. Ralph Vaughan Williams and Peter Warlock), through the proletarian focus of Ewan McColl and A.L. Lloyd and on to folk rock and beyond.

Young is less interested though in ‘folk’ as a specific musical genre, than in the vision he sees underlying it - the use of music as a form of ‘imaginative time travel’ to the ‘succession of golden ages’ (both semi-historical and entirely fictional), found in British culture – Merrie England, Albion, Middle Earth, Avalon, Narnia. As he states in the introduction ‘The ‘Visionary Music’ involved in this book’s title refers to any music that contributes to this sensation of travel between time zones, of retreat to a secret garden, in order to draw strength and inspiration for facing the future’.

This is not a characteristic solely of what is normally defined as ‘folk music’ and he includes within it dreamy English psychedelia, and the work of later visionary musical outsiders such as Kate Bush and Julian Cope.

The stories of Cecil Sharp and Ewen McColl have already been well documented, for me the most interesting parts of the book deal with the subsequent trajectories of late 1960s/1970s folk rock and ‘acid folk’, with their infusions of both Early Music and futuristic psychedelia. As well as covering the obvious reference points (Fairport Convention, Pentangle, Incredible String Band, Nick Drake), Young gives space to many less well known artists such as Bill Fay, Comus and Mr Fox.

After languishing in relative obscurity for many years, some of these have only recently secured the listeners denied them at the time. In another form of time travel, it’s almost as if some of the albums recorded in the late 1960s/70s were set down as ‘time capsules’, to be unheard in their present but acting as a gift to the future that would appreciate them. The paradigmatic examples are of course Nick Drake, who only achieved posthumous fame when his fruit was in the ground, and Vashti Bunyan, whose Just Another Diamond Day sold only a few hundred copies in 1970s and who has only really gained widespread recognition in the last five years or so. I saw her give one of her first major performances at the Folk Britannia 'Daughters of Albion' event at the Barbican in London in 2006, alongside Eliza Carthy, Norma Waterson, Kathryn Williams, Sheila Chandra and Lou Rhodes.

Places and Spaces

Young is very good on place – both the specific landscapes that influenced particular musicans, and the spaces where music was performed. In relation to the former he mentions for instance Maiden Castle in Dorset, inspiration for John Ireland’s Mai-Dun (as well as incidentally the novel Maiden Castle by John Cowper Powys, an author with a similar take on the visionary landscape).
In relation to the latter, he mentions clubs such as Ewen McColl’s Ballads and Blues club/Hootennanay upstairs in the Princess Louise pub in Holborn (founded in 1957) and its later evolution into The Singers Club at the Pindar of Wakefield on Grays Inn Road. In Soho, Russell Quaye’s Skiffle Cellar at 49 Greek Street (1958-60), was replaced at the same address in 1965 by ‘the poky palace of Les Cousins, where the folk monarchy held court, audiences of no more than 150 were routinely treated to mystically revelatory performances. The club never got around to applying for a liquor licence, so patrons consumed tea and sandwiches in a haze of hash smoke, straining to hear the soloists over percussive effects from the cash register’. Denizens included Bert Jansch, Davy Graham, Simon & Garfunkel, John Martyn, Martin Carthy and Roy Harper.

Outside of London in the 1960s, ‘Hertfordshire was already one of the most influential hotbeds of the new folk movement outside of Soho… Herts heads keen for a lungful of marijuana and subterranean entertainment would gather at the Cock in St Albans… Down the road from The Cock brooded the Peahen, where a more traditional, MacColl-style folk-revival club was held’. In nearby Hemel Hempstead, singer Mick Softley ran the Spinning Wheel, while at the Dolphin Coffee Bar, Pete Frame opened Luton Folk Club in 1965.

There's also a good chapter on free festivals, 'Paradise Enclosed', as 'a serious attempt to stake out and remake Utopia in an English field. The temporary tented villages of Britain's outdoor festivals represented a practical attempt to live out the dream of Albion' two hundred years after the Inclosures Act of 1761 and the enclosure of common land.

Some criticisms

In a work of this scale and scope there are bound to be some factual errors of geography (Luton is in Bedfordshire not Hertfordshire) and history (Aleister Crowley was not the founder, or even a founder, of the Golden Dawn). But these are minor quibbles.

There are though a few problems with the framework Young uses for all this rich material. The chief one is its use of the term ‘Britain’s visionary music’ when it is clear that what he is describing is primarily an English phenomenon. Of course there has been plenty of folk music from other parts of the British Isles, but Young barely mentions it. In any event, it has often had a different aesthetic, concerned precisely to differentiate itself from Englishness and commemorating historical conflicts with the 'English' state from Bannockburn to the clearances (in the case of Scottish music).

Although Ireland is clearly not part of Britain, its influence on English folk is also largely unacknowledged here. Did the raucous Dubliners influence those who wanted to take folk in a more rocky direction? Did Irish rebel song envy inspire English political song (Dominic Behan was a key figure in the Singers Club)? Wasn't Thin Lizzy's Whiskey in the Jar one of the biggest folk rock hits? This is left unexplored, and arguably the greatest London folk band of all time - The Pogues - don't even get mentioned.

Young is a better musicologist than a folklorist, and while he is clearly aware that claims of an unbroken folk music tradition stretching back into the mists of time are highly questionable, he seems to want to hold on to some notion of 'pagan survivals' in folk. Despite citing Ronald Hutton in the footnotes, he disregards Hutton's findings that we know very little about the pre-Christian beliefs of the British Isles. Instead he repeats the whole Golden Bough/Wasteland mythology of ritual sacrifice as it if were fact: ‘The gods controlling these cycles needed to be appeased with sacrifices. At first, the leader of the pack, the king himself, was slaughtered before his vital energies began to die off, and a new healthy replacement was appointed in his place’.

Finally, Young does not really explore the potential dark side of all this dabbling with blood and soil. He may be right that many of those working within the folk idiom ‘have been radical spirits, aligned with the political left or just fundamentally unconventional and progressive in outlook’ – something that applies not just to the post-1950s Communist Party revivalists but to earlier pioneers such as Holst and Vaughan Williams who, as Young mentions, hung out with William Morris’s socialist circle in Hammersmith. But it is also true that this look backwards to a pre-capitalist idyll can be profoundly reactionary, and potentially very right wing. In a brief survey of current trends, Young mentions the post-industrial 'neo-folk' scene, but does not refer to the controversies over some of the neo-fascist elements involved (see the new Who Makes the Nazis? blog for more on that).

Now I've read the book (all 664 pages), I will no doubt be spending the rest of the year tracking down some of the music in it that I haven't heard yet.

(see also review at Transpontine of some of the South East London connections)

Club security - let a thousand warehouse parties bloom

As discussed here earlier this year, Shoreditch-based club Plastic People was threatened with losing its license, prompting a wave of consternation and protest. The club did re-open, and its famed dubstep/grime night FWD>> has restarted.

Now however some punters are complaining that it has lost its relaxed vibe as the club has been forced to impose tighter security in order to keep the police and Hackney Council happy - and therefore allow the club to remain open. Complaints have included heavy searches on the way into the club, scanning of IDs, and a security guard with a torch patrolling the dancefloor for drugs. Dan Hancox has written at his blog:

'Since it re-opened - and London's forward-thinking dance fans breathed a huge sigh of relief - there have been some good nights there, and FWD>> has returned to its spiritual home on Curtain Road. They seemed to forget to re-install the ventilation at first, making it a de facto bikram rave, but that's tolerable, for the unmatchable joys of that system, that room, that ambience. What isn't, is the conditions imposed on the license-holders in terms of security and crowd-control. Queuing for 15 minutes just to get outside for a breath of fresh(-ish) air or a cigarette is not the one. Nor are police hovering outside in a massive van every night, interrogating the crowd. Nor is airport-style security for the only fucking club in Shoreditch that NEVER HAS ANY TROUBLE'.

There's also discussion on this at Dissensus.

Frankly some of the complaints seem a bit naive. To paraphrase: 'I turned up at a venue with drugs in my pocket, knowing that it's under intense police scrutiny for alleged drug taking, and would you believe it I got banned?'.

But there is a serious point - as well as clubs losing their licenses altogether, clubs can be ruined by the authorities imposing such punitive conditions on them that the pleasure in going there is not worth the hassle of getting in.

I guess like many people I sometimes entertain the fantasy of winning the lottery and opening up a free space with parties and interesting social gatherings (naturally in this fantasy me and my mates do most of the DJing). But seriously, supposing it came true and you had no commercial/financial pressures, even then would you actually be allowed to keep such a place open without being forced to have a heavily policed regime and having to jump through a thousand hoops? It seems to me that whatever the intentions of club owners/promoters it is becoming increasingly difficult to put on nights without these restrictions, just as it seems virtually impossible to get permission to put on any kind of festival without a big fence around it. This obviously applies particularly in gentrifying areas like Shoreditch where clubs and bars have done their job in making the area safe/attractive to the middle classes, and are now being squeezed out as the same middle classes move into the area permanently and want it to quieten down a bit.

Still with recession and cuts, there is an increasing number of empty buildings in London. If licensed clubs are finding harder to survive, there's always the unlicensed option - let a thousand warehouse and railway arch parties bloom!

See also Drinking, Dancing and Fingerprinting

The Cider Tax

A British government in debt following an expensive war seeks to make people pay through unpopular policies - sounds familiar? This instance was in the 18th century in the aftermath of the Seven Years War, and was also a moment in the long history of the state attempting to regulate the production, distribution and consumption of alcohol.

In 1763 the Earl of Bute's government decided to impose a tax of four shillings a hogshead on cider. Since large numbers of farmers and others in the South West produced their own cider, excise officers were empowered to gain access to farms and cottages in order to collect the tax.

'The tax prompted demonstrations, mournful processions, "gatherings intent on violence" and the harrassment of excisemen. The new Bishop of Exeter found that "the people in Devonshire acted childishly and unhandsomely" towards him because "he had the misfortune to vote for the [cider tax] bill". In Exeter 1765, "the mob hissed and insulted him and one fellow had assurance to throw an apple at his head". Sir John Phillips, baronet and MP for Pembrokeshire, did not get off so lightly. A newspaper reported in 1763 that "a riotous mob did grossly affront him" while he was travelling through Monmouth. The citizens pulled him from his carriage, and after discussing whether to hang him for voting for the cider tax, decided to "extremely ill-treat him instead. They made him go down on his knees and beg their pardon'.

The government backed down in 1766. 'The West Country celebrated in 1766 with public tea parties, ox roasts, balls, bell ringing, and the decoration of orchards with gilded apples and laurels. The Gloucester Journal reported "There is nothing heard in our streets, but 'the day of the oppressor is over, the calamity of the cyder drinker is put away; the deadly excise man shall appear no more in our quarters'"

(Source of quotes: The Great Scrumpy Crisis of 1763, Independent 16 February 1992)

The night Steve Biko died I cried and I cried

Stephen Biko, anti-Apartheid activist and founder of the Black Consciousness Movement, died at the hands of the South African police on this day (12th September) 1977. His life and death has been commemorated in many songs - here's a short playlist (for a fuller list, see the Biko wikipedia entry).

Robert Wyatt - Biko,

his take on the best known song, written by Peter Gabriel and recorded by many:





Port Elizabeth weather fine
It was business as usual
In police room 619
Oh Biko, Biko, because Biko
Oh Biko, Biko, because Biko
Yihla Moja, Yihla Moja
-The man is dead

When I try to sleep at night
I can only dream in red
The outside world is black and white
With only one colour dead
Oh Biko, Biko, because Biko
Oh Biko, Biko, because Biko
Yihla Moja, Yihla Moja
-The man is dead

You can blow out a candle
But you can't blow out a fire
Once the flames begin to catch
The wind will blow it higher
Oh Biko, Biko, because Biko
Yihla Moja, Yihla Moja
-The man is dead

And the eyes of the world are
watching now
watching now.


Tapper Zukie - Tribute to Steve Biko:





Beenie Man - Steve Biko:




Steel Pulse - Biko's Kindred Lament ('The night Steve Biko died I cried and I cried'):





Sweet Honey in the Rock - Biko:





Tribe Called Quest - Biko (Stir it Up) - 1993. Not all about Biko, but obviously name checked in title, chorus and the line 'I'm radical with this like the man this song is after':






Dead Prez - I'm an African (mentions Biko):






As mentioned at previous post, today is also the anniversary of the arrest in 1973 of singer Victor Jara in Chile (followed by his murder in custody a few days later). The two deaths are commemorated together in the song 'Chile Your Waters run red through Soweto' recorded by Sweet Honey in the Rock, Billy Bragg and others: 'The hand that cut short the song of Victor Jara, Put young Stephen Biko in a dusty hill grave'

Victor Jara: my guitar is not for the rich

On this day (12 September) in 1973, the Chilean folk singer Victor Jara was arrested by the military and taken to the Chile Stadium. The day before, a right wing military coup had deposed Salvador Allende's Popular Unity government.

Jara was one of thousands of leftists rounded up, tortured and killed in the aftermath of the US-backed coup. He was apparently shot dead in the stadium - where over the years he had sung many times - on the 15 September.

One of the last songs he wrote was Manifiesto. As his widow Joan Jara recalled in her book 'Victor: an unfinished song':

'during those weeks Victor was composing one which he felt that he had to write before it was too late, to express his reason for singing. He was quiet as he worked on it, introverted and withdrawn. I could hear him singing gently in the workshop as I worked in the house. Then he came to call me to ask me to listen to it. Although it was a very beautiful song, my heart contracted as he sang it to me. I knew that
Victor was writing his testament.

I don't sing for love of singing,
or because I have a good voice.
I sing because my guitar
has both feeling and reason.
It has a heart of earth
and the wings of a dove,
it is like holy water,
blessing joy and grief.
My song has found a purpose
as Violeta would say.
Hardworking guitar,
with a smell of spring.

My guitar is not for the rich no,
nothing like that.
My song is of the ladder
we are building to reach the stars.
For a song has meaning
when it beats in the veins
of a man who will die singing,
truthfully singing his song.

My song is not for fleeting praise
nor to gain foreign fame,
it is for this narrow country
to the very depths of the earth.
There, where everything comes to rest
and where everything begins,
song which has been brave song
will be forever new.
('Manifesto')

Sid Rawle: death of a free festival veteran

Sid Rawle, a key figure in the free festival movement in the UK, died last month aged 64. His activism encompassed the Hyde Park Diggers in the late 1960s, the People’s Free Festival in Windsor Great Park (1972-4), the Stonehenge Free Festival (1976-84), the Peace Convoy and the Rainbow Village camp outside the planned cruise missiles base at RAF Molesworth (1984-5).

There's a very informative post by Andy Worthington at his site about Sid's life and times. As Andy says:

'Sid played a major part in the British counter-culture from the 1960s until his death, although he is, of course, best known for his involvement in the free festival movement, first at Windsor, from 1972 to 1974, and then at Stonehenge, until the violent suppression of the festival in 1985. The author and activist Jeremy Sandford (who died in 2003) described him as “the squatter to end them all, having squatted flats, houses, commons, forests, a village, boats, an island, an army camp, Windsor Great Park".'

Read Andy's full post, RIP Sid Rawle, Land Reformer, Free Festival Pioneer, Stonehenge Stalwart. See also Ian Bone, Turn Left at the Bridge. Not an uncontroversial figure, he was identified by the media as a leader of the hippies and his role in attempting to mediate with the authorities earned him criticism from some quarters - stilll, nobody can say he didn't try and make the world a more interesting place.

Summer Free Parties

Summer's almost gone, so guess the free party people will be moving back indoors soon. Here's news of a few outdoor gatherings last month:

Police close down illegal raves in Suffolk (BBC, 22 August 2010)

'Two illegal raves in Suffolk have been closed down and sound equipment seized by police.
Police said about 100 people waiting near Corton beach complied when they were asked to leave on Saturday night. Two generators were seized.

Officers were then alerted to loud music in a field in Culford, near Bury St Edmunds, in the early hours. People at the rave were compliant with police and the site was cleared and cleaned by 1100 BST, police said'.

Up to 1,000 attend illegal rave in Wiltshire forest (BBC, 29 August 2010)

'Between 500 and 1,000 people are estimated to have attended an illegal rave overnight in Wiltshire. Police are working to disperse the last of the party-goers from Savernake Forest, in Stitchcombe, near Marlborough. Officers said they received a tip-off about the rave on Saturday night, but did not know the location at that time.

Dozens of cars were abandoned on roads leading to the village and the noise could be heard from several miles away. Wiltshire Police said they had received two complaints, but there were no reports of any damage. Karen Gardner, who lives in the area, said she was first woken up by the noise at 0400 BST.

"You almost feel this thudding," she said. "I was a bit concerned what might be going on in the little wood behind us, but couldn't establish where it was coming from. If it was coming from Savernake Forest there are quite a lot of woods to go through so goodness knows how loud it was over there."

A rave attended by 800 people was also held in the forest in 2003 and a similar event was thwarted by police in 2005'.

Police vow to come down hard on ravers using Trent Park (North London Today, 25 August 2010)

'Police are to start patrolling Trent Park after hundreds of youths gathered for a series of illegal all-night raves. For the past month, ravers have managed to avoid arrest on the picturesque park off Cockfosters Road, Cockfosters, by feeding false leads to police. Police officers have warned the organisers not to hold any more raves, but so far no arrests have been made and parks police have now been called in to patrol the park and prevent ravers from getting in on Friday and Saturday nights.

In order to avoid being hunted down, savvy rave-goers steer clear of posting information about the raves on the internet – even castigating fellow ravers for posting party pictures after the event. News of the events is being spread through text messages instead. The Trent Park decision follows news that officers across the country are being called in to shut down raves held in fields and parks.

Cabinet member for the environment Chris Bond said: “Zero tolerance will be shown to anyone setting up illegal parties in Trent Park. Any ravers who fail to leave will be arrested on the spot and the organisers may well lose their equipment. We are not prepared to allow our residents’ quality of life to be spoilt by a small band of mindless, selfish idiots. Trent Park is one of the most beautiful parks in London. We won’t stand by and watch it being abused.”

A police spokeswoman said: “We rely on intelligence to find out when these raves are taking place but they do not always happen at the times and locations we have been given. We’ve initiated two operations in recent weeks and will continue to monitor and react to intelligence. While no arrests have yet been made, we do have powers under the Criminal Justice And Public Order Act to seize equipment being used and also prevent people from attending. We can arrest those who refuse to leave when requested by police to do so, but we have not had to resort to these powers so far....'

The Night Shadows

Chapter 3 of Charles Dickens's A Tale of Two Cities (1859) is entitled 'The Night Shadows' and opens with reflections on night, sleep and its secrets:

'A wonderful fact to reflect upon, that every human creature is constituted to be that profound secret and mystery to every other. A solemn consideration, when I enter a great city by night, that every one of those darkly clustered houses encloses its own secret; that every room in every one of them encloses its own secret; that every beating heart in the hundreds of thousands of breasts there, is, in some of its imaginings, a secret to the heart nearest it! Something of the awfulness, even of Death itself, is referable to this. No more can I turn the leaves of this dear book that I loved, and vainly hope in time to read it all. No more can I look into the depths of this unfathomable water, wherein, as momentary lights glanced into it, I have had glimpses of buried treasure and other things submerged. It was appointed that the book should shut with a a spring, for ever and for ever, when I had read but a page. It was appointed that the water should be locked in an eternal frost, when the light was playing on its surface, and I stood in ignorance on the shore. My friend is dead, my neighbour is dead, my love, the darling of my soul, is dead; it is the inexorable consolidation and perpetuation of the secret that was always in that individuality, and which I shall carry in mine to my life's end. In any of the burial-places of this city through which I pass, is there a sleeper more inscrutable than its busy inhabitants are, in their innermost personality, to me, or than I am to them?

Picture credits: Sleeping Beauty by Edward Burne-Jones (top); photo titled 'Sleeping Dancer' sourced from here. Unfortunately I don't know anything more about the photographer, who seems to be called Matilde, but check out the site for some good pictures.

Paris by Night - Brassaï (1933)

In 1933, the photographer Brassaï (real name Gyula Halász, 1899–1984) published Paris de Nuit (Paris by Night), a remarkable photographic record of his wanderings through the night time city in the company of, among others, Henry Miller, Raymond Queneau and Jacques Prevert. The book was reprinted with the photographer's commentary in 1976, in which he sets out his perspective on the nocturnal underground of the city:

'Just as night birds and nocturnal animals bring a forest to life when its daytime fauna fall silent and go to ground, so night in a large city brings out of its den an entire population that lives its life completely under cover of darkness. Some once-familiar figures in the army of night workers have disappeared…

The real night people, however, live at night not out of necessity, but because they want to. They belong to the world of pleasure, of love, vice, crime, drugs. A secret, suspicious world, closed to the uninitiated. Go at random into one of those seemingly ordinary bars in Montmartre, or into a dive in the Goutte d’Or neighbourhood. Nothing to show they are owned by clans of pimps, that they are often the scenes of bloody reckonings. Conversation ceases. The owner looks you over with a friendly glance. The clientele sizes you up: this intruder, this newcomer – is he an informer, a stool pigeon? Has he come in to blow the gig, to squeal? You may not be served, you may even be asked to leave, especially if you try to take pictures…

And yet, drawn by the beauty of evil, the magic of the lower depths, having taken pictures for my ‘voyage to the end of the night’ from the outside, I wanted to know what went on inside, behind the walls, behind the facades , in the wings: bars, dives, night clubs, one-night hotels, bordellos, opium dens. I was eager to penetrate the other world, this fringe world, the secret, sinister world of mobsters, outcasts, toughs, pimps, whores, addicts, inverts. Rightly or wrongly, I felt at the time that this underground world represented Paris at its least cosmopolitan, at its most alive, its most authentic, that in these colourful faces of its underworld there had been preserved, from age to age, almost without alteration, the folklore of its most remote past’

The book includes photos and descriptions of people socialising and dancing in bars, shows and lesbian and gay clubs - I will feature some more of this later.

These photos were taken at La Bastoche, a bar in Rue de Lappe, in 1932. Gotta love those kiss curls.

I believe the book is still in print, at least it's available from all the usual book sites. If you are interested in nightlife, dancing, photography, social history and alternative cultures you should take a look - and let's face it if you are looking at this site you must be interested in at least a couple of these...

Grassroots: another festival bites the dust

As this story from Schnews makes clear, it is becoming increasingly difficult to get permission to put on any kind of festival in the UK other than a fenced-off, high security corporate leisure event. The latest casualty is the Grassroots festival planned in Cambridgeshire. Meanwhile those who try and put on unofficial festivals are subject to the full weight of the law. The “Rave 6”, charged under section 136 following the police attack on this year’s UK Teknival (see previous report), has now become the “Rave 10” after four more people were charged.

'Yet another independent festival has been cancelled after a concerted campaign by bureaucrats, nimbys and police. The Grassroots Feastival was a small volunteer-run event due to take place in Cambridgeshire in early September. Organisers had lined up three days of revelry, from poetry to Drum ‘n’ Bass and culminating in a communal banquet replete with juggling waiters.

The Festival faced determined opposition from the very start. According to one of the organisers, Mooney, when the application process began in January the council made it clear they would do all they could to stop the festival taking place. Martin Ford from the Police licensing board went one step further and told organisers, “I’d rather put pins in my eyes than have this festival in my county.” Mooney said, “They didn’t want it to happen so they played their games. They couldn’t use legislation so instead they used dirty tactics.” The now familiar modus operandi involved heaping ludicrous demand after ludicrous demand on organisers and stalling for time to the point that the festival risked financial ruin if they pressed ahead.

After the initial consultation, organisers met monthly with the local authorities and there were six revisions of the festival’s management plan in total. Each time they were presented with ever more unreasonable conditions, ranging from heras-fencing the A11 in case of invasion by wandering partygoers who had strayed three miles over fence and field, to installing security watchtowers (with or without machine gun nests) to ensure the unruly throng of 2000 didn’t erupt in spontaneous revolution.

Each time, organisers either met the conditions or managed to argue their case that what they were being asked was beyond the realms of sanity or reason. However the killer blow came with the final application for a licence. When handing in the application, local authorities clearly told organisers that they only needed to submit one paper copy and that the pack of other relevant licensing bodies, such as traffic management and the fire brigade, would be happy with an emailed copy. At the eleventh hour of the last day they had to submit the application, organisers were then told that the licence would be refused unless all the bodies had paper copies. With no time left to do this, organisers would have had to resubmit and wouldn’t have received a decision until just days before the festival. If the licence had been refused at that point it would have spelled financial disaster for all involved and so organisers were left with no choice but to cancel.
A despondent Mooney told SchNEWS, “In some countries people welcome celebrations.” After the attacks on Strawberry Fair (see SchNEWS 715), the Big Green Gathering (SchNEWS 685), UK Teknival (SchNEWS 727) and Thimbleberry (SchNEWS 707) amongst others, it is becoming increasingly clear the UK isn’t one of them'.

'The Rhythmic or Throbbing Crowd' (Canetti)

From the chapter on Rhythm in Elias Canetti's Masse und Macht (1960), translated as 'Crowds and Power':

'Rhythm is originally the rhythm of the feet. Every human being walks, and, since he walks on two legs with which he strikes the ground in turn and since he only moves if he continues to do this, whether intentionally or not, a rhythmic sound ensues. The two feet never strike the ground with exactly the same force. The difference between them can be larger or smaller according to individual constitution or mood. It is also possible to walk faster or slower, to run, to stand still suddenly, or to jump.

Man has always listened to the footsteps of other men; he has certainly paid more attention to them than to his own. Animals too have their familiar gait; their rhythms are often richer and more audible than those of men; hoofed animals flee in herds, like regiments of drummers. The knowledge of the animals by which he was surrounded, which threatened him and which he hunted, was man’s oldest knowledge. He learnt to know animals by the rhythm of their movement. The earliest writing he learnt to read was that of their tracks; it was a kind of rhythmic notation imprinted on the soft ground and, as he read it, he connected it with the sound of its formation.

Many of these footprints were in large numbers close together and, just by looking quietly at them, men, who themselves originally lived in small hordes, were made aware of the contrast between their own numbers and the enormous numbers of some animal herds. They were always hungry and on the watch for game; and the more there was of it, the better for them. But they also wanted to be more themselves. Man’s feeling for his own increase was always strong and is certainly not to be understood only as his urge for self-propagation. Men wanted to be more, then and there; the large numbers of the herd which they hunted blended in their feelings with their own numbers which they wished to be large, and they expressed this in a specific state of communal excitement which I shall call the rhythmic or throbbing crowd.

The means of achieving this state was first of all the rhythm of their feet, repeating and multiplied, steps added to steps in quick succession conjure up a larger number of men than there are. The men do not move away but, dancing, remain on the same spot. The sound of their steps does not die away, for these are continually repeated; there is a long stretch of time during which they continue to sound loud and alive. What they lack in numbers the dancers make up in intensity; if they stamp harder, it sounds as if there were more of them. As long as they go on dancing, they exert an attraction on all in their neighbourhood. Everyone within hearing joins them and remains with them. The natural thing would be for new people to go on joining them for ever, but soon there are none left and the dancers have to conjure up increase out of their own limited numbers. They move as though there were more and more of them. Their excitement grows and reaches frenzy.

How do they compensate for the increase in numbers which they cannot have? First, it is important that they should all do the same thing. They all stamp the ground and they all do it in the same way; they all swing their arms to and fro and shake their heads. The equivalence of the dancers becomes, and ramifies as, the equivalence of their limbs. Every part of a man which can move gains a life of its own and acts as if independent, but the movements are all parallel, the limbs appearing superimposed on each other, They are close together, one often resting on another, and thus density is added to their state of equivalence. Density and equality become one and the same. In the end, there appears to be a single creature dancing, a creature with fifty heads and a hundred legs and arms, all performing in exactly the same way and with the same purpose.

When their excitement is at its height, these people really feel as one, and nothing but physical exhaustion can stop them... Thanks to the dominance of rhythm, all throbbing crowds have something similar in their appearance'.

We can only assume that when Canetti talks of 'man' he means 'woman' too! Photos: top, a dance at the University of Sydney; bottom, dancers at Poe Park in the Bronx, New York, September 4 1938.

More creeping prohibition?

Worrying story from Northamptonshire Evening Telegraph (3 August 2010) about drugs and alcohol testing in pubs and clubs:

'Revellers including teenagers were tested for drugs and alcohol as part of a police crackdown on pubs and clubs. Police have been "stamping down hard" on the abuse of alcohol and alcohol legislation with a force-wide operation since March, including breathalysing more than 90 youngsters attending an under-18s disco in Kettering. The breathalyser test carried out in May was not compulsory and several youngsters chose not to undergo the test – but they were not allowed admission to the venue. Of the 96 youngsters who agreed to take the test, 14 tested positive for alcohol and were spoken to and offered advice by officers. Sgt Ian Fletcher, of Northamptonshire Police, said: "Some of the kids ran off rather than be breathalysed but our attendance sent out a strong message."

... Officers also drug-tested more than 120 people in town centre pubs and clubs in one night. Of the 126 people officers checked, people in nine premises tested positive for class A drugs'.

I'm not sure what powers, if any, the police have to do this. I believe it is voluntary to undertake them, but then again I can't believe that anybody would freely consent to being tested if they knew they'd taken something they shouldn't have. No doubt the police involved fudge the legal niceties.

Meanwhile, Lewisham Council in South London is proposing to trial 'a borough-wide Designated Public Place Order (or Drinking Control Zone)' which 'will give police discretionary powers to stop people and confiscate, demand and dispose of any alcohol within the boundaries of Lewisham borough'. Failure to comply with a request from the Police to hand over alcohol would result in arrest and/or a fine of up to £500. As I argued over at Transpontine:

'There are some broader issues at stake here. The first is the use of arbitrary police powers. The historical relationship between police, courts and the individual in the UK requires the police to present evidence of wrong doing to a court, with the person accused having the right to defend themselves before a judgement is made on their guilt and a sentence passed. With the DPPO, the police officer is judge, jury and 'executioner' - they can impose a punishment on the spot, such as pouring away somebody's drink, with the person affected having no right to question their authority or decision before 'sentence' is implemented. Worse, under the Police and Criminal Justice Act 2001 (which gave Council's powers to introduce DPPOs), these arbitrary powers can be extended to other 'authorised officers' such as park wardens.

The second wider issue is the creeping hyper-regulation of public space. The nature of public spaces is that people engage in lots of different behaviours and activities, some of which other people may find irritating, annoying or even mildly offensive. As long as people aren't actually harming others, they should be left to get on it. Just because some people disapprove of others' actions is no reason to ban them. Just because a few people engaging in an activity do cause harm to others is no reason to band everybody from that activity. In this case the 'drunk and disorderly' behaviour of a few people, already covered by existing laws, is being used as the basis to affect everybody's right to drink in public. It may not be a total booze ban, but it does mean that drinking in public is only permitted if the police choose to allow it'.

The Manifesto Club have lots of information about Designated Public Order Orders and their implementation elsewhere, as well as some good arguments against them.