At this time of year it is customary to raise a glass to one of Germany's finest music critics: Albrecht (Ali) Höhler (1898-1933).
His exemplary practical critique was directed againt Horst Wessel, a musician, song writer and founder of a Nazi stormtrooper Schalmeienkapelle (shawm band - the shawn being a kind of oboe). Wessel was a leading Nazi party organiser in Berlin. Among other things he organised an attack on the local headquarters of the Communist Party in Friedrichshain, Berlin, during which four workers sustained serious injuries.
In January 1930 Wessel was shot in the head by Ali Höhler, seemingly at the instigation of members of the communist Roter Frontkämpferbund (Red Front Fighters League). Wessel died from his injuries a few weeks later and was buried on 23 February 1930 in a public funeral stage managed by Goebbels. Unfortunately one of his songs survived and became known as the "Horst Wessel Lied" and the official anthem of the Nazi Party.
When the Nazis came to power they killed Höhler and elevated Wessel to the rank of a holy martyr (one magazine wrote: 'How high Horst Wessel towers over that Jesus of Nazareth').
So here's to Ali Höhler - he had some fine tattoos too:
Night stirs the trees With breathings of such music that they sway, Skirts, sleeves, tiaras, in the humming dark, Their highborn heads tossing in disarray.
A floating owl Unreels his silence, winding in and out Of different darknesses. The wind takes up And scatters a sound of water all about.
No moon need slide Into the sky to make that water bright; It ties its swelling self with glassy ropes; It jumps from stones in smithereens of light.
The mosses on the wall Plump their fat cushions up. They smell of wells, Of under bridges and of spoons. They move More quiveringly than the dazed rims of bells.
A broad cloud drops A darker darkness. Turning up his stare, Letting the world pour under him, owl goes off, His small soft foghorn quavering through the air.
I went to Berlin recently for the launch of the new issue (number 11) of Datacide - 'the magazine for noise and politics'.
There were a couple of events. First up was a series of talks at Cagliostro, a bar in Friedrichshain which also houses the Praxis record shop (plenty of breakcore, noise and hard drum and bass vinyl with some radical literature too - funny seeing Aufheben, the German-titled English communist magazine on sale in Germany). Praxis is the label started by Christoph Fringeli who also initiated Datacide. Note the extremely rare Association of Autonomous Astronauts slipmat in the shop:
I gave a talk based on my article in the magazine, Dance Before the Police Come, looking at the different ways the state tries to regulate clubs, raves and parties. I also reflected on the role of sound systems in the recent student demonstrations in the UK.
Nemeton spoke about the Tea Party movement and the radical right in the US, also based around her article in Datacide#11 . She dismissed claims that it simply represents a grass roots popular movement, highlighting the role of Fox media and established right wing politicians in launching and promoting it.
Riccardo Balli missed his flight from Italy but gave a reading of his short fiction piece ' 333 bpm' the next day.
Then on the Friday night there was a launch party at Subversiv, a housing project with a bar and brick basement. Berlin nightlife gets going late, the music started about one and the dancefloor peaked around four. Hard breaks and beats were supplied by DJs from Berlin, Bologna, Los Angeles and Essex including Christoph Fringeli, Balli (Sonic Belligeranza), Kovert, Baseck (Dark Matter), Nemeton (Dark Matter), LT, Cannibal Brother. I missed the last couple as I had to leave to get to the airport. But it was a good party and the notion of praxis as the unity of theory and action was certainly embedded in the event with at least four of the DJs also writing articles for the new Datacide.
[In the basemenet of Subversiv - the red poster sets out the venue's rules: 'Diese Party isteinFreiraum in demSexismus, Transphobe, Homophobe, Mackertum, Antisemitismus and RassismusKEINENPLATZhaben' ( approximately 'this party is a free space in which sexism, transphobia, homophobia, macho behaviour, anti-semitism and racism have no place')]
Subversiv is one of the few squatted projects left in Berlin from the period after the fall of the wall when vacant properties were occupied en masse. Many of these were subsequently licensed in deals with the local government, but as the buildings have been sold off to developers and private landlords most have been evicted.
The day before I arrived another high profile squat was evicted in Friedrichshain, with 25 residents cleared from the Liebig 14 tenement block. The eviction was a big deal, the day was announced in advance and thousands of cops swamped the streets to make sure it went ahead.
On Wednesday night (2nd February) a march of a couple of thousand people in the area was stopped by the police short of its destination, and there were clashes followed by cat and mouse chasing through the streets with groups heading off causing mischief. I saw smashed bank windows and lots of graffiti, and apparently windows were broken at the O2 centre (big corporate entertainment centre similar to its London counterpart).
The full contents of Datacide #11 are as follows:
Datacide events - page 3 Political news compiled by Nemeton - page 4-5
Features:
“Hedonism and Revolution: The Barricade and the Dancefloor” by Christoph Fringeli, page 6 “Dope smuggling, LSD manufacture, organized crime & the law in 1960s London” by Stewart Home, page 8 “Shaking the Foundations: Reggae soundsystem meets ‘Big Ben British values’ downtown” by John Eden, page 12 “Tortugan tower blocks? Pirate signals from the margins” by Alexis Wolton, page 16 “Dancing before the police come” by Neil Transpontine, page 21 “From Subculture to Hegemony: Transversal Strategies of the New Right in Neofolk and Industrial” by Christoph Fringeli, page 24 “From Conspiracy Theories to Attempted Assassinations: The American Radical Right and the Rise of the Tea Party Movement” by Nemeton, page 28 “How to start with the subject. Notes on Burroughs and the ‘combination of all forms of struggle’” by R. C., page 37
Fiction “Sonic Fictions” by Riccardo Balli, page 40 “Digital Disease” by Dan Hekate, page 45 “Infra-Noir. 23 Untitled Poems” by Howard Slater, page 46 “Office Work” by Matthew Fuller, page 48
Record Reviews, page 52
“Beat Blasted Planet. An interview with Steve Goodman on ‘Sonic Warfare’” by Matthew Fuller and Steve Goodman, page 58 “Free Parties” by Terra Audio, page 60 “This is the end… the official ending” by GorkiPlubakter, page 61
The Lives and Times of BloorSchleppy (11), page 62 Charts, page 63
Available now for EUR 4.00 incl. postage – order now by sending this amount via paypal to praxis(at)c8.com, or send EUR 10 for 3 issues (note that currently only issues 5, 7 and 10 are still available, but you can also pre-order future issues.) Also from the Praxis Webshop.
The zine is now available in London, currently exclusively at the 56a Info Shop, 56 Crampton Street, SE17.
'These were bright new monied times in which society people were encouraged to enjoy the primitive theatrics of those who appeared to be finally understanding that their principal role was now to entertain. Listen. The wail of a trumpet as it screeches crazily towards heaven and then shudders and breaks and falls back to earth where its lament is replaced by the anxious syncopated tap tap tapping of clumsily shod feet beating out their joyous black misery in a tattoo of sweating servitude. Performative bondage'
Dancing in the Dark (2005) by Caryl Phillips is a fictionalised account of the life of Bert Williams (1874-1922), a Bahamas-born performer who became famous on the American stage in the era when black actors were expected to wear 'blackface' to conform to white audience's expectations.
As such it is a beautifully-written reflection on the role of the black performer in a racist context, whose very achievements come at high personal and collective cost. Williams was in some ways a groundbreaking figure - co-writer of the first black production on Broadway (In Dahomey, 1903); the only black performer in Ziegfeld's follies before the First World War; helping to spread the cakewalk dance craze across the USA and then to England on a visit here; and a singer in the early days of the record industry. But his success was predicated on him continuing to play the stereotypical role of the dim-witted 'darky' and when he attempted to step beyond this the response was hostile. Williams was one of the first black film actors in the now lost Darktown Jubilee (1914), but the sight of a zoot suit wearing black leading man provoked near riots among white audiences.
'Others will come after me to entertain you, and they will happily change their name and put on whatever clownish costume you wish them to wear, and dance, and sing, and perform in a manner that will amuse you, and you will mimic them, and you will make your money, but know that at the darkest point of the night, when no eyes are upon them, these people's souls will be heavy, and eventually some among them will say no, and you will see their sadness, and then you will turn from them and choose somebody else to place in the empty room, or nudge onto your empty stage'
Looking forward to this on Thursday, the launch of an exhibition of photographs by Georgina Cook (Drumz of the South) at the LAVA Gallery 1.11 Kingly Court, Carnaby Street, London, W1B 5PW.
The opening on Thursday, 17th February runs from 6- 9.30pm with music from Martelo and Skipple. The exhibition is open daily from 17th- 23rd February, 11am-7pm, Sunday: 12pm-6pm.
Georgina is second to none in evoking the sense of being out dancing through photography, as well as documenting nightlife (and much else) in London and elsewhere. See her History is Made at Night Dancing Questionnaire here.
A while ago, I did a post on songs about people being killed by the police (Blair Peach, Liddle Towers etc.) At tonight's Radio 2 Folk Awards, the best song award was given to another: Chris Wood's 'Hollow Point' is about the killing of Jean Charles de Menezes by police at Stockwell underground station in 2005.
The unfolding revolution in Egypt has seen an explosion of new forms of social life and mutual aid as people organise to live as the regime totters. The collective occupation of urban space in Tahrir Square and elsewhere; the establishing of autonomous field hospitals to treat the injured; the formation of street committees to maintain security and hygiene; all this alongside the attacks on the institutions of the state (police stations, prisons, ruling party HQs). According to one eye wtiness account:
'Though the regime continues to struggle, practically little government exists. All ministries and government offices have been closed, and almost all police headquarters were burned down on January 28... During the ensuing week and a half, millions converged on the streets almost everywhere in Egypt, and one could empirically see how noble ethics—community and solidarity, care for others, respect for the dignity of all, feeling of personal responsibility for everyone - emerge precisely out of the disappearance of government' (The Egyptian Revolution: First Impressions from the Field - Mohammed A. Bamyeh).
Naturally music and dancing has been part of this explosion: 'Between protesters roaming around shouting sarcastic anti-government slogans into handheld microphones, others attracting the crowd with original poetry, and young bands playing music, the sit-in in Tahrir Square has turned into a street festival' (The Politics of Persistence at almasryalyoum.com).
A number of commentators have mentioned the popularity in the protests of the songs of Ahmad Fu’ad Nigm and the late al-Shaykh Imam. There's an excellent article at Jadaliyya on Singing for the Revolution, which includes the lyrics to their very apt song I Am The People. In this article, SinanAntoon offers a critique of the notion that events in Egypt can be understood as inspired by 'Western' ideas and technologies:
'Yes, new technologies and social media definitely played a role and provided a new space and mode, but this discourse eliminates and erases the real agents of these revolutions: the women and men who are making history before our eyes. Members of our species have done that before, you know... As if the inhabitants of the region didn’t have a long history of struggles and revolts against all kinds of oppressors, indigenous, but mostly foreign colonizers (white men, by the way). As if liberationist inspiration has only one boring trajectory always emanating from the west and then heading east. As if the uprising in Iran wasn’t an inspiration as well. But why do I even have to expect the citizens of the civilized world to know about the strikes, riots, uprisings, intifadas and protests of previous decades. As if there wasn’t a proud and potent revolutionary tradition and a collective memory crowded with symbols, martyrs, moments, poems, and songs about freedom and justice. One of the rallying chants in Tunisia was a line from the Tunisian poet Abu ‘l-Qasimal-Shabbi (1909-1934) “ If, one day, the people want life, fate must yield"...'
Here's some singing on Friday's Day of Departure demonstration in Cairo with a guitarist leading a chorus (rough translation: 'Down Down Hosni Mubarak, Down Down Hosni Mubarak ... The people want to dismantle the regime .... He is to go, we are not going ... He is to go, we won't leave ... We all, one hand, ask one thing, leave leave'
One final thought...
Why do people keep going on about the 'Arab revolution' and the 'Arab Street' as if people there are fundamentally different from the rest of the world? Even in the Middle East, the notion of the 'Arab revolution' excludes millions of people who don't define themselves as Arabs - most people who live in Iran and Israel for starters.
What's going on in Egypt and Tunisia is linked to movements against austerity, unemployment and rising prices across the globe. I know Trafalgar Square isn't Tahrir Square, but there are even parallels with the recent demonstrations in the UK - see for instance the prominent role of school students in the Tunisian events as in London (and in France and Greece in the last couple of years). Of course, in Egypt and Tunisia they have been confronting repressive dictatorships as well as economic misery, but here too there are parallels with other parts of the world - Chinese bureaucrats must be shaking in their boots as well as Egyptian, Syrian and Iranian ones. The scenes in Tahrir Square resemble nothing so much as Tiananmen Square in the days before the suppression of protests in Beijing in 1989 - hopefully this time with a happier ending.
The Memorial to the Murdered Jews of Europe in Berlin works on two levels -above ground the 'Field of Stelae' conveys a sense of scale, like a vast expanse of anonymous tombs.
In the exhibition below ground the focus is on named individuals. A small sample of life stories from the Shoah puts it on a human scale - real people shown going about their lives before they were cut short - musicians whose music was silenced, murdered dancers, lovers, mothers, sisters.
Alice Dreifuss (born 1910) in a Fasching (carnival costume) in Altdorf in 1927; she was murdered in January 1943 in Auschwitz-Birkenau
'Belgrade, 1924: members of the Demajo, Arueti and Elkalay families at a picnic. A friend of the Demajo family hid the photos in a box dug in the ground in Belgrade. Rafael Pijada saved the rest of the photos under Bulgarian occupation in Macedonia'. Chaim Demajo, the accordionist on the left, was shot in October 1941 near Belgrade.
Langston Hughes was born on this day (1 February) in 1902. Here's his great poem Dream Variations (1926):
To fling my arms wide In some place of the sun, To whirl and to dance Till the white day is done. Then rest at cool evening Beneath a tall tree While night comes on gently, Dark like me- That is my dream!
To fling my arms wide In the face of the sun, Dance! Whirl! Whirl! Till the quick day is done. Rest at pale evening... A tall, slim tree... Night coming tenderly Black like me.
Going to be in Berlin next week to do a talk as part of the launch of the new edition of Datacide magazine (number 11), in which I have an article. The next night there's a launch party. Details follow:
Thursday, 3rd February 2011 - TALKS & DISCUSSION Cagliostro, Lenbachstr. 10, (Ostkreuz), from 17h
“333 bpm” - a sonic-fiction by Riccardo Balli Iconographic references by: Caina Every style in electronic music inspires a certain social behaviour, well more, it actually structures the listener’s brainframe. Do you want to know how? And, above all, do you want to smash this social brainframe down by hyper-mixing genres? Some tips on how to do this can maybe come from this fiction, a sonic one, of course!
Dance before the police come - talk by Neil Transpontine What’s going on when police raid parties? Neil Transpontine explores the different ways laws on sex, drugs, noise, property and subversion are used to constrain dancing in the UK and across the world.
Friday 4th February 2011, Datacide Release Party at Subversiv, Brunnenstrasse 7, U8 with DJs including Nemeton (Darkmatter Sound System), DJ Balli, Kovert (Critical Noise), Christoph Fringeli (Praxis), LT (Cagliostro), Baseck (Darkmatter).
Enjoyed Black Swan, a whole movie about dancing - what's not to like? If you've been living in a cave for the last month you might need to be told that it stars Natalie Portman as a ballet dancer struggling with her dark side as she prepares for the dual role of white swan/black swan in Swan Lake. Cue sex, drugs, blood and madness. All this and great eye make up!
It also has one of the best club scenes I've seen in a movie for a while, conveying a sense of messy, druggy dissociative intimacy on a dancefloor. It was apparently filmed in the Forum in Manhattan with soundtrack courtesy of The Chemical Brothers.
Weirder than anything in the film is the usual drivel on crazed conspiracy sites where David Icke acolytes ponder how the movie fits in to the supposed global/zionist/illuminati/Hollywood mind control plot. Apparently the movie teaches us to embrace our evil natures and commit ritual sacrifice. I don't dip into this stuff very often, and am not going to link to it, but needless to say much is made of the fact that Natalie Portman is.... shock horror... Jewish. There's a lenghthy obsessive post out there with the hilarious (but they're not joking) title Natalie Portman, Kabbalistic Kitten.
'Officers moved in on an area of forestland at Two Mile Bottom, Thetford, at around 11am on Saturday morning. At the height of the event there were believed to have been up to 150 people attending. A boarded up holiday house had been broken into and used by the organisers.
Officers had been closely monitoring the situation since midnight and were actively turning away people attempting to attend. No complaints were made in relation to noise nuisance. The nearest property was around half a mile away... Sound equipment was seized and six arrests were made for offences including theft, burglary, being unfit to drive, criminal damage and organising an unlicensed music event. All of those arrested were taken to Bethel St Police Station'.
'Three people were arrested when a New Year's Eve rave party at an industrial estate in Bristol turned to violence. The event, promoted on the social media site Facebook, was being held at South Liberty Lane.
Police said at its peak, more than 1,000 illegal ravers attended, breaking into commercial premises, occupying buildings, setting fires and throwing bottles at officers. The arrests were made for public order offences and damage. A spokesman for Avon and Somerset Police said officers were working under "sometimes exceptionally violent and difficult circumstances to bring the situation under control". Police broke up the party at about 1100 GMT on Saturday'.
'Cavers who saw in the new year at a former underground quarry near Bath have criticised police for labelling them "illegal ravers." Wiltshire Police had issued a warning about trespassing on land after they heard about a planned underground gathering at the Brown's Folly mine complex at Monkton Farleigh.
But people who attended the event said the New Year's Eve incident had been exaggerated by the police and that they were not causing any harm to anyone. One of the organisers, who did not wish to be named, said they had come up with the idea around two weeks before and had been careful not to cause any trouble.
He said: "People sat around on stone seats, built from large square stones laying around, with some background music with a couple of beers, "bring a bottle" kind of nature, and chatted about the year's adventures. Some left before midnight, some slept underground and went the next morning. All the rubbish was removed."
He added that for decades people had been visiting these types of sites without any trouble. Another caver, who also did not want to be named, said it was sad that the police had been so quick to assume the group were troublemakers. Late last week police warned the public that anyone entering the site would be treated as trespassers and would be committing offences under the Licensing Act 2003'.
'Police raided Platinum Disco in Durbar Marg in the wee hours of Saturday and arrested 51 persons for allegedly violating the government rule that prohibits public gathering after midnight. The local administration citing security reasons has barred discotheques, restaurants, pubs and bars from dispensing business after midnight.
SP Pradhyumna Kumar Karki, acting Chief of Kathmandu police informed that 51 persons, including Platinum Disco staff, were arrested as they were found operating the business till 12:55 am... The police released 45 disco-goers this morning on condition that they would not indulge in illegal activities in future. However, the disco promoters and staffers have been taken into custody at Metropolitan Police Range, Hanumandhoka, for further investigation'
We reported last year on the police operation to close the UK Teknival at Dale Aerodrome in Pemrokeshire (Wales).
The court case arising from this ended in November 2010, with ten people pleading guilty to charges of holding an event without a suitable licence. They were given Community Service Orders, with nine sentenced to carry out 100 unpaid work and the other 160 hours. Charges were dropped against six other people who pleaded not guilty.
The charges were brought under Section 136 of the Licensing Act 2003, which deals with 'Unauthorised licensable activities'. The full text of the law is:
(1)A person commits an offence if— (a)he carries on or attempts to carry on a licensable activity on or from any premises otherwise than under and in accordance with an authorisation, or (b)he knowingly allows a licensable activity to be so carried on.
(2)Where the licensable activity in question is the provision of regulated entertainment, a person does not commit an offence under this section if his only involvement in the provision of the entertainment is that he— (a)performs in a play, (b)participates as a sportsman in an indoor sporting event, (c)boxes or wrestles in a boxing or wrestling entertainment, (d)performs live music, (e)plays recorded music, (f)performs dance, or (g)does something coming within paragraph 2(1)(h) of Schedule 1 (entertainment similar to music, dance, etc.).
(3)Subsection (2) is to be construed in accordance with Part 3 of Schedule 1.
(4)A person guilty of an offence under this section is liable on summary conviction to imprisonment for a term not exceeding six months or to a fine not exceeding £20,000, or to both.
(5)In this Part “authorisation” means— (a)a premises licence, (b)a club premises certificate, or (c)a temporary event notice in respect of which the conditions of section 98(2) to (4) are satisfied.
What this effectively means is that if you put on an event for which a licence is required, but you don't have a licence, you can be prosecuted. But note that people can't be prosecuted just for taking part (e.g. playing music or DJing). This would normally be used against a place like a pub or a private home that was putting on events. I think it would be difficult to apply to an event in a field or even a squat that didn't belong to the party organisers, as it's not their premises so they can't be held to have 'allowed' it to continue. The police/prosecution would also have to prove who was organising it rather than just taking part in 'the provision of the entertainment'.
Have there been any other successful prosecutions under this Act in relation to raves/free parties?
A campaign is growing against 'anti-rave' legislation being proposed in the California State Assembly by Assemblywoman Fiona Ma. AB 74, also known as the Anti-Raves Act of 2011, is worded as follows:
'SECTION 1. This act shall be known and may be cited as the Anti-Raves Act of 2011.
SEC. 2. Section 421 is added to the Penal Code, to read: 421. (a) Any person who conducts a public event at night that includes prerecorded music and lasts more than three and one-half hours is guilty of a misdemeanor punishable by a fine of ten thousand dollars ($10,000) or twice the actual or estimated gross receipts for the event, whichever is greater. (b) Subdivision (a) shall not apply to a public event on private property if the entity that conducts the public event has a business license to operate a bar, club, theater, entertainment venue, or other similar business, or to conduct sporting events, and conducting the public event is consistent with the business license. (c) For purposes of this section, "night" means that period between sunset and sunrise'.
In effect the law, if passed, would prohibit raves on public property and prevent raves on private property unless a business owner has a license to host such an event. Ma claims that 'Raves foster an environment that threatens the health and safety of our youth... The introduction of AB 74 is the first step toward eliminating these dangerous events'.
The bill follows the death in June of 2010 of a 15-year-old girl died at a rave at the publically owned Los Angeles Coliseum, and of two people in May 2010 at the state-owned Cow Palace in Daly City. But as opponents have pointed out, the bill actually makes no reference to drugs and in any case drug dealing is already covered by existing laws. By targeting 'pre-recorded' music, the bill is explicitly singling out electronic dance music, with Ma stating: "The bill is not intended to impact traditional music concerts and sporting events. AB 74 is about cracking down on raves that harbor drug use and lead to teenage deaths."
Here's a short film of people staging a Right to Dance protest rally in Los Angeles in 1997 during a previous campaign against state harrassment of parties:
Obviously there are similarities here too with the British Criminal Justice and Public Order Act 1994 which notoriously legislated against unlicensed raves playing music 'predominantly characterised by the emission of a succession of repetitive beats'.
Bobby Farrell of Boney M died yesterday at the age of 61. Born Alfonso Farrell in Aruba, off the north coast of Venezuela, he left home at the age of 15 to become a sailor. He lived in Norway and the Netherlands and then Germany where he worked as a DJ before he was recruited by German singer/songwriter Frank Farian for Boney M. Farian now says that he actually sang on most of Boney M's songs, and that Farrell just mimed to them on stage. But clearly Farrell was the male face of Boney M, and they wouldn't have been Boney M without him.
In 1978, Boney M released a bona fide Disconaut classic, Night Flight to Venus:
Geraldine Hoff Doyle (pictured) died in Lansing, Michigan on December 26th at the age of 86. Nearly 70 years ago she was working as a 17 year old in a metal pressing plant during World War Two. A photograph taken of her was used by the artist J. Howard Miller as the basis for an American war effort poster issued in 1942 by the Westinghouse Company’s War Production Coordinating Committee.
The We Can Do It poster subsequently became associated with Rosie the Riveter, the fictional character representing WW2 women factory workers in the US. It has also become a feminist icon, widely recycled in popular culture (see some examples at Jezebel).
Interestingly, the history of the image isn't as straightforward as it seems. For a start, Doyle only worked in the factory for a couple of weeks. And the poster itself had a very limited local distribution during the war - seemingly hardly anyone saw it. It wasn't until the 1970s and 80s that the poster was rediscovered and became an icon of 'Rosie the Riveter'. Doyle herself was seemingly unaware of the poster's existence until then (see excellent post at Pop History Dig). But none of that detracts from its enduring power. In recent years for instance, Christina Aguilera (Candyman), Pink (Raise your glass) and Beyonce (Why don't you love me?)have all recycled versions of this image:
Rosie the Riveter was originally named in a 1942 song, with various versions recorded including this one by the Four Vagabonds:
From International Times no.14, 2 June 1967, an advert for Happening 44, a psychedelic club at 44 Gerrard Street in Soho, where basement clubs of one kind or another had been held since the 1930s.
An invitation to:
'Tune in, Drop in, Come to Life, Love, Be-in with The Colour of Sound, The Sounds of Colour, Rave Groups, Exotic Entertainment, Movies, Strobe, Discs, Groovy Food, Fantastic Decorations, The Astounding Slides of Ron Henderson and the Fiveacre Light Show'
All night on Thursdays and Saturdays from 10:30 pm.
