Ragged Ragtime Girls: Leila Waddell, Aleister Crowley and seven dancing violinists

I have been enjoying Phil Baker's 'City of the Beast: The London of Aleister Crowley' (Strange Attractor, 2022), which traces his life through places associated with him. In doing so he situates Crowley in a specific London bohemian world of cafes, salons, clubs and temples, populated by people often seen only as (mostly temporary) followers of his but who led interesting lives in their own right - and were probably much more pleasant/less abusive people to befriend.

One of the sites Baker mentions is the Tivoli Theatre which stood at 65-70 the Strand in London, a building 'demolished in 1914, replaced by the Tivoli cinema and the site is now a featureless modern office block'.  It was here that in 1913 a musical troupe called The Ragged Ragtime Girls (sometimes spelt Ragged Rag-Time Girls) played for seven weeks, an act consisting of 'seven pretty girls who play the violin and dance at the same time'. I hadn't heard of them previously so set of searching at the British Newspaper Archive and elsewhere to find out more.

A contemporary review describes them as 'a charming septette' sharing a bill with American songwriters Harry Williams and Nat Ayer, composers of 'Oh you beautiful doll' and the dancers Ida Crispi and Fred Farren. On another occasion they shared a bill at the Tivoli with comedian  George Formby sr., father of the later ukelele star (Sporting Life, 19 March 1913).

The connection with Crowley was that among the seven was Leila Waddell, Australian violinist and sometime 'Scarlet Woman' consort of Crowley. If Crowley is to be believed the group was his idea, arising from his suggestion that 'she should combine fiddling with dancing. My idea was, of course, to find a new art form. But of this she was not capable. She failed to understand my idea'. 

He goes on: 'I turned my thoughts to making a popular success for her. We collected six assistant fiddlers, strung together a jumble of jingles and set them to a riot of motion; dressed the septette in coloured rags, called them “The Ragged Ragtime Girls” and took London by storm. It was a sickening business [...] In the early part of 1913, my work had apparently settled down to a regular routine. Everything went very well but nothing startling occurred. On March 3rd, the “Ragged Ragtime Girls” opened at the Old Tivoli. It was an immediate success and relieved my mind of all preoccupations with worldly affairs'. Later that year Crowley was 'free to accompany the “Ragged Ragtime Girls” to Moscow, where they were engaged for the summer, at the Aquarium. They were badly in need of protection. Leila Waddell was the only one with a head on her shoulders. Of the other six, three were dipsomanics, four nymphomaniacs, two hysterically prudish, and all ineradicably convinced that outside England everyone was a robber, ravisher and assassin. They all carried revolvers, which they did not know how to use; though prepared to do so on the first person who spoke to them' (The Confessions of Aleister Crowley).

The group also seem to have played at other London venues including the Tottenham Palace (Stage 10 April 1913) and the East Ham Palace, as well as in Edinburgh, Glasgow and at the Manchester Hippodrome - this time advertised as 'Eight Ragged Rag-Time Girls' (The Era, 17 September 1913).

 Then there were a series of shows in the North East of England including the Sunderland Empire with Tiller girl dancers, Miss Louie Tracey, 'a male impersonator'  and the Great Barnetti who produced 'weird effects of a black magic character';  and the South Shields Empire Place as 'Seven Gipsy Ragged Ragtime Girls dancing fiddlers'. They also gave their services for free as part of a benefit concert for the Royal National Lifeboat Institution at the Empire Theatre, Newcastle (Newcastle Daily Chronicle, 29 May 1913).

 

I can find no reference to them playing after November 1913 but more may turn up. Crowley is sometimes described as their manager and producer but whatever his role they also had professional management.  In an interview with vaudeville producers Ellis Entertainments Ltd, director Anthony Ellis boasted that 'we were responsible for the appearance of the Ragged Rag-time Girls at the Tivol - an act which proved so popular that it is now, after a seven weeks run at the Tivolo, booked for a year ahead in the provinces, including a return visit to London at Christmas time' (The Era, 22 October 1913). 

It should also be remembered that Waddell was an accomplished professional musician - for instance she as described as 'The Queen of Australian Violinists'  while playing at West's Picture Palace, Shaftesbury Hall, Bournemouth (Bournemouth Daily Echo, 4 July 1910). Neither was she a passive muse for Crowley's spiritual work, among other things she played a key role in the Rites of Eleusis performed at Westminster's Caxton Hall in 1910, another site mentioned in Baker's book.

The Ragged Ragtime Girls

Leila Waddell in the Rites of Eleusis

'Riot in Whitehall': London Miners Strike Demo 1985

In February 1985 the miners strike in Britain was in its last few weeks. A highly organised state sponsored strike breaking operation was having an effect, and more than 150 miners had been jailed for their activities during the strike. 

It's surprizing that nearly a year after the strike started there had not been a major demonstration in London in support of the miners (other than a lobby of parliament in June 1984), but one was called by the South East region of the Trades Union Congress, along with the Liaison Committee for the Defence of the Trade Unions, on Sunday February 24th 1985. 

Notice of demo in Socialist Worker

As usual estimates of the crowd varied - the organisers said more than 50,000, the police only 15,000 which was a ludicrously low number. The demo went from Hyde Park to Trafalgar Square, and scuffles broke out as the police arrested a couple of miners in Whitehall and a section of the crowd refused to move on demanding their release. A cordon of police blocked the top of Whitehall to try and stop people from the main body of the demo in Trafalgar Square joining this, before mounted police charged in to clear the area.

If it was a riot it was a fairly one sided one. Some missiles were thrown at police but mostly ineffectual  sticks, plastic bottles and empty cans which were no match for charging horses and swinging batons. My main memory is of panic and chaos as horses charged and police on foot piled into the crowd to try and make arrests. Some people were crushed and I remember demonstrators climbing on to police lorries loaded with metal crowd control barriers and pushing the barriers into the street to try and block the police advance. More than 100 people were arrested.

The photos I took on the day aren't great but hopefully they do convey some of that chaos. 

Police in Hyde Park at start of demo

Red and black flags on demo

Crowd and police outside Whitehall Theatre of War (this was an exhibition of WW2 memorabilia)

Here comes the police horses...

A demonstrator is comforted after police charge 

Demonstrator makes ironic nazi salute at police as horses move into crowd

'Riot in Whitehall' - Black Flag, 18 March 1985

'On February 24th a huge march of 80,000 miners and their supporters was held in London, in a festive atmosphere. The feeling of solidarity was destroyed when plain clothes police and uniformed police arrested 2 Notts miners as their part of the March neared the Theatre of War in Whitehall. Police and miners were quick to respond, with skirmishes breaking out as police snatch squads went for people only to have them snatched back by the crowd, as sticks and bottles rained down on the police lines which had halted the demo.

TV cameramen were pushed aside as they zoomed in for sensation, as a steward with a loudhailer told everyone to go to Trafalgar Square. Abused, and asked whose side he was on, he accused "outside agitators" of causing trouble which he later changed to "anarchists" and "students".

Meanwhile the march was staying put, determined not to move until the Notts miners were released. The police withdrew, while a large crowd gathered outside 10 Downing Street (chants of "Maggie, we want you...DEAD! echoed and bands played the catchy tune 'Here We Go, Here We Go!) and people milled around in Whitehall which was clear of traffic.

Then in a new tactic and with new cops the police moved in again about 100 strong making arrests only to find themselves surrounded and given a good kicking. A Superintendant's hat was thrown up in the air, to cheers. During the pushing and shoving, an elderly man was seen hitting the backs of cops legs with his walking stick! A cry of 'Horses' went up, and the helmets of the mounted police could be seen over the heads of the police lines.

Then a crushing line of police moved forward, in a pincer style strategy to break up the crowd, forcing people into side streets off Whitehall. Children who were placed in safety on ledges, behind

fences, were dragged out by the cops, some people were viciously beaten as they were chased, jumped on and dragged to vans and into Whitehall buildings. One woman lost consciousness as her head was bashed on the pavement by the five cops arresting her. Stacks of crowd barriers were thrown off nearby trucks.

About 30 mounted police cleared Whitehall crushing people against railings and then charging into groups of marchers without warning. Some people arrested were taken into the Horseguards area, and beaten up. There was a shortage of missiles to throw at the police at one stage a pile of Socialist Workers (the papers not the individual Trots) got thrown at a police line, and someone said "best use for them yet!!"

While being arrested a man got his leg trapped under a parked car - the police yanked him so violently that his leg broke. He is still in hospital. Ministry of Defence windows were smashed, and a police motorbike overturned, as crowds withdrew to Embankment, police in pursuit trying to give the impression that everything was under control.

There were 121 arrests, in all, including some DAM [Direct Action Movement] members. Many people had to have hospital treatment, and 13 people were held overnight. Police were also hospitalised. The general feeling was of amazement that a day for celebration of solidarity had been turned around so viciously by the police. And, on the other side, the police had learnt that these marchers weren't going to take attacks on them lying down'.

'Gay in thick of Whitehall battle' - Capital Gay, 1 March 1985

'The day began peacefully in Hyde Park, and there was loud applause for the Lesbian and Gay Support the Miners banner as it left the park. But while the march was still filing into Trafalgar Square police blocked off both ends of Whitehall and arrested two miners. Soon afterwards all other exits from Whitehall were sealed off. Detachments of mounted police in riot gear formed in Parliament Square and Horse Guards and charged into the crowded street. The large and conspicuous lesbian and gay contingent found itself in the centre of the charge and found it impossible to make their escape from the horses surrounding them. Observers told Capital Gay "The police drew night sticks and struck out indiscriminately at the marchers"' (Capital Gay, 1 March 1985)

'Pit Violence Comes to Whitehall' - Daily Mail, 25 February 1985

'Pit strike demonstrators battled with police in Whitehall yesterday. In scenes reminiscent of picket line violence, a surging mob hurled stones, chunks of wood and plastic beer bottles at officers. Close to the Houses of Parliament, mounted police rode in to disperse the crowd...

The first fighting started outside Whitehall's Theatre of War with the black and red flag of the International Anarchists Movement at the thick of it. As Mr Arthur Scargill, miners' union president, Mr Anthony Wedgwood Benn and others spoke to the massed crowd in Trafalgar Square, skirmishes started again. 

[...] Among other groups which took part in the march were the Communist Party, the Socialist Workers Party and some lesser-known pressure groups such as the Orient Supporters Against Pit Closures, London Gays for the Miners and the the Iranians Popular Organisations for the Miners'.

'100 held as police tackle miners' - Guardian, 25 February 198

'One group of demonstrators, including women and children, were pressed against railings as police horses moved in on both sides of them. Children were lifted over railings to comparative safety but some fell under the police horses'.  The picture shows demonstrators climbing on to a statue of Charles I.

Update - some additional photos from the day provided by downlander

(thanks to LGSMPride who posted the Capital Gay clipping recently)

See previously on the 1984/5 miners strike:

'Sound of police truncheon against body': David Peace's miners strike soundscape

Miners demo in Mansfield 1984

Miners demo in Durham 1984

Miners support in Kent

The 'Here we go' chant

What did you do in the strike - my mix of music from the miners strike

 

Discothèque dancing - 'you don't need a band' (1964)

'you Frug, Surf and Watusi and you don't need a band - Discotheque Dancing.  As of last night, the smart dances to do were the Frug, Wash Wash, Surf, Hitchhiker and Watusi. But so rapidly are dances invented and discarded nowadays that they may be outmoded tonight - along with the Saint, in which dancers wave hands as if they were marching in. It is being danced below in a new kind of nightclub called a discotheque - this one is New Jimmy's in Paris but they are popping up everywhere in Europe and the US. At a discotheque recorded music is played' (Life magazine, 22 May 1964). 

The full article includes photos of people dancing in Paris, London and Los Angeles.

Defend the Atlanta Forest

'Defend the Atlanta Forest' is a movement opposing the destruction of woodland in Atlanta to build a police training facility that would include a mock city (perhaps similar to the Metropolitan Police's riot training 'town' in Kent). The campaign has included protest camps  tree dwelling and lots of music and creativity, including a music festival there last month.

Some nice lines in this flyer distributed there:

 'This is not a Music Festival... Because we are not here as consumers or as mere spectators. This is not another photo-op, another 'networking opportunity'. We are here because our need for a free forest, culture, and existence can't be crushed by the police, nor can it be sold back to us as an image in an uninspired Hollywood rip-off. 

In a cave called Divje Babe, located in present-day Slovenia, archeologists have recently discovered a 60,000 year old flute. The human need for music has been with us since the very beginning. We

are here to affirm that this deep and timeless desire, which has survived an Ice Age, the rise of empires and states, the advent of borders; slavery, war, famine and Holocausts, is an important part of the current struggle...

Our communities will not be held together by their ability to kill and maim enemies or heretics. They will be held together by music, and the ability to generate common luxuries. So let's not say 'Oh they don't really care about the struggle, they are only here for the party' or, 'this is not about music and festivals and all of this crap, this is about serious politics and organising." Instead let's say the truth:

this is only a glimpse of what we could give one another if we manage to outlive the oil-based economics of the current world system. The emancipation of the senses, the free development of the imagination and the passions: this is precisely what we are fighting for'

(images from Defend the Atlanta Forest twitter feed)

Disco Chart 1980

UK Disco Chart, Record Business, 25 February 1980. Interesting to see BPM displayed, 'Spacer' by Sheila & B Devotion one of the fastest at 135 BPM  - the French singer produced on this one by Nile Rogers and Bernard Edwards (Chic).

 

Wildcat benefit at AMP, Covent Garden (1974) - with Charlie Gillett and members of Henry Cow

I am always interested in the social/cultural/musical life of radical scenes, here's a report of a London benefit night for the mid 1970s anarchist/libertarian left paper 'Wildcat' (no direct connection to 1980s ultra-left paper I believe). This report is from issue no.2 of the paper, October 1974. Sounds like an interesting line up including music from Lindsay Cooper and Fred Frith from Henry Cow with flautist Clive Bell, and DJing from Charlie Gillett and 'Pete's disco'. All this plus a performance from General Will, a radical theatre company that started out in Bradford and whose members included Brian Hibbard, later lead singer with the Flying Pickets.

The event took place at the Art Meeting Place, which I believe to have been at 48 Earlham Street, Covent Garden. It opened in 1974 and Cosey Fanni Tutti and Genesis P. Orridge were involved with it - indeed they first used the name Throbbing Gristle there. Cosey describes it in her book 'Art Sex Music' (2017):

'The shift in direction to COUM being mainly me and Gen also coincided with my leaving full-time work and connecting with other artists at the Art Meeting Place... AMP, as it was known, was set up by John Sharkey (along with others) in one of the buildings left vacant from the relocation of the Covent Garden fruit, veg and flower market. Other buildings had also been opportunistically acquired by activists for use as community centres and alternative arts spaces. AMP was a kind of Arts Lab that provided free facilities for artists across the spectrum - musicians, poets, film-makers - and was run by the artists themselves, with open meetings every week, exhibitions and performances. Me and Gen became regulars there, using their resources and trying out ideas in the available spaces-  as did Anish Kapoor, Carolee Schneemann, John Latham, David Medalla, David Toop and Susan Hiller among others.

Participating in the meetings was always interesting, watching people getting antsy with each other over art or politics, or art being a political act, feminism and Marxism. Some people had great ideas and ideals to uphold but there were time-wasters whose posturing made me angry and I got the sense that they didn't fully appreciate what an amazing thing AMP was'.

Flyer for 'Tracking' - performance and films by American artist Carolee Schneemann at the Artists Meeting Place in June 1974.

Miners Strike Memories: Durham Miners Rally 1984

Technically there was no Durham Miners Gala in 1984 - instead on the day the Gala would normally take place there was a miners strike rally in the city. Many of the Gala elements were still present on Saturday July 14th 1984 - a parade through the town with banners from miners' union branches, marching brass bands and speeches at the Durham racecourse, with not a little drinking. The mood was angry, determined and at this point still hopeful just a few months into the strike.

This report is from the north east of England paper 'The Sunday Sun' (15 July 1984):

'Durham looked like a city under siege yesterday as town centre pubs stayed closed and shops shuttered. But the mass invasion of miners from all over the country to take part in the biggest protest  march in the pit dispute turned out to be fairly peaceful affair. Police kept a low profile and, despite  some rowdy behaviour by a young element, there were only three arrests for disorderly conduct and obstruction.

About 10,000 people took part In a march through the  city that replaced the traditional gala celebrations, cancelled by Durham Miners' Association in a cost-cutting move because of the dispute.

Banners were paraded by contingents from every  British coalfield, but pride of place at the head of the parade - led by Bearpark and Esh Colliery Band - was the Bearpark banner. The pit, the smallest in the Durham coalfield, closed for good in the early days of the strike because reserves were exhausted. Another banner that passed by to loud cheers was that of Cortonwood Lodge-  the pit whose threatened closure sparked off the strike.

Trouble flared briefly in Durham's market square when about 50 youths clashed with police after the rally. Bottles and beer cans were thrown and three arrests were made as extra police arrived  on the scene.

There was an amazing scene when a bronzed teenage girl ran across the square with the back of her black-and-white frock torn  away exposing her bare bottom. She was last seen running along the riverside'.

I don't remember the latter episode, which seems an odd thing to report in the paper. But I was there, drinking cider and gravitating towards the 'rowdy young element' scuffling with police as was my wont at the time. I recorded in my diary: 'We sat in the market square there were about 50 people there, mainly young miners. We sang anti-police songs, eventually the cops lost their sense of humour and moved in to arrest somebody. A fight ensued'. Apart from that my main memory is of the rally at the end. Peter Heathfield and Arthur Scargill from National Union of Mineworkers spoke, but when Labour Party leader Neil Kinnock came to the platform a lot of miners turned their back on him and headed out of the park rather than listen to him, disgusted by what they saw as the Labour leadership's half hearted support for the strike.

'A priest and some punks in debate after the speeches at the rally'

Following report is from The Miner (July 1984), the NUM's newspaper: 'Tens of thousands turned up to register a single, cast iron Geordie pledge on what is traditionally the Labour movements proudest day: The North East of England is rock solid and would only be content with a 101 per cent miners' victory in defence of jobs and communities'.

There's some very evocative uncut film footage from the day at the Yorkshire Film Archive  reminding me of some of the visual elements of the strike, not just banners but hats covered in badges and the ubiquitous yellow 'coal not dole stickers'. The sounds of the strike too, colliery brass bands and people chanting 'Maggie Maggie Maggie, Out Out Out!' and singing 'we shall not be moved'.

From the film: 'Whittle Miners Wives Support Group - Coal Not Dole'. Whittle Colliery in County Durham closed in 1987.

[post last updated 10/8/2022 with addition of report from 'The Miner']

See previously:

'Sound of police truncheon against body': David Peace's miners strike soundscape

Miners demo in Mansfield 1984

Miners support in Kent

The 'Here we go' chant

What did you do in the strike - my mix of music from the strike

Farewell Mark Astronaut

photo from Astronauts on facebook

Sad to hear of the death this week of Mark Astronaut (Mark Wilkins). I saw his band The Astronauts a number of times in the mid-1980s playing at anarcho-punk gigs, I believe for the first time at the Blockers Arms in Luton in February 1985 which I noted in my diary: 'really good, songs a bit like the early Bowie meets The Mob with a sense of humour, e.g. 'this one's about urban disintegration - it's also about darts'.  Also remember a gig in Mark's home town of Welwyn Garden City, again with Karma and Hertford indie-poppers The McTells and at various squat gigs in London. 

The Astronauts kept at it with various line ups from the later 1970s through to this year, to those in the know Mark was one of the great lost songwriters but they were perhaps too unique to fit in with any particular scene.  On the anarcho-punk scene for instance their folky melodies were a bit of an anomaly, though All the Madmen records did release their great 'It's All Done by Mirrors' album in 1983. 

image from discogs

Like many bands in that period they played various benefit gigs including one  with the Redskins for striking miners at  Welwyn's Woodhall Community Centre in 1984. Earlier in 1979, under the name Restricted Hours, they had contributed to a Stevenage Rock Against Racism EP

image from Discogs

Last year in November I went to one of my first post-Covid gigs at the New Cross Inn in SE London, to see another set of anarcho-punk survivors Zounds supported by Hagar the Womb. I saw a long haired figure with a covid mask on and immediately recognised Mark Astronaut who I hadn't seen for 30 years. He joined Zounds on stage for a guest vocal on You Can't Cheat Karma, and I chatted to him briefly afterwards before he headed off to get his train back to Welwyn. He told me that the Astronauts had some gigs coming up and that a book about him was coming out soon - I haven't got round to getting a copy yet of Survivors - 45 years of the Astronauts, but by all accounts its a great history not just of the band but of the punk/alternative scenes around his part of the world. 

Mark Astronaut with Zounds at New Cross Inn in November 2021

I went to see The Astronauts at Club 85 in Hitchin only a few weeks ago, playing with Blyth Power and Pog. They were great, nobody knew then that would be one of his last gigs. So long and thank you Peter Pan of the suburbs.

The Astronauts at Club 85 in Hitchin in May 2022

 

See also

https://thehippiesnowwearblack.org.uk/2022/07/11/mark-wilkins-founder-member-and-frontman-of-the-astronauts-dies/

London Makhnovist Centre squat in Fleet Street

A group of Ukrainian anarchist squatters have occupied their second building in London. The London Makhnovists Centre at 187 Fleet Street opened on 18th June 2022 with a fundraiser gig for victims of the war in Ukraine.

In a statement at their website the group say 'Make Solidarity Louder than Bombs. We occupy this property in protest against the war in Ukraine and those who profit from it.... We're going to gather around art, culture and dancing as a way to direct funding to refugee aid at the Ukrainian border'

Banners outside read 'Power breeds parasites, long live anarchy!' and #fucktorygarchs

In March the same group took over a London mansion  in Belgrave Square belonging to Russian billionaire Oleg Deripaska, and were evicted by riot police.

[Top four photos taken by me, Tuesday 28 June 2022, statement and bottom two photos from London Makhnovists website]

Glastonbury CND Festival 1982

During the 1980s - starting in fact with the 1981 festival - Glastonbury was explicitly a festival for the Campaign for Nuclear Disarmament. Festival founder Michael Eavis was active in CND at this time, a movement in resurgence as a result of rising Cold War tensions. As he explained “1981 was the year I decided to join up with the CND (Campaign for Nuclear Disarmament). I’d already been involved with them locally after somebody had found a secret bunker in the Mendip Hills which was guarded by soldiers with guns. Everyone was very worried about that; it was all top secret, but we wanted to know what was going on in our area, so we formed a local CND group in Shepton. Emily (Michael’s daughter) being born in 1979 also had a lot to do with me getting involved with the CND. I felt a great need to protect her, because she was so tiny. She really made me think, ‘I’m not going to let her get blown up by a cruise missile!’

The 1982 festival line up included Van Morrison, Jackson Browne, U2, Steel Pulse, Aswad and Judy Tzuke. The festival site was buzzed for a while by a hostile plane from the Tory-front organisation the Coalition for Peace through Security. Tories have never really got Glastonbury have they? Remember in 2015 when David Cameron said that he liked watching Glastonbury at TV at home 'in front of a warm fire' (in June!).

This report by Ross Bradshaw from Peace News, 9 July 1982, covers all the perennial delights and contradictions -  mud, commerce vs. mutual aid, worries about the crowd being too old

PEACE N' DRUGS 'N' ROCK 'N' ROLL

Fifty thousand people came, and £50,000 was raised for CND at the Glastonbury festival. What else can you say really... good time was had by all-wish you were there.

I was a bit nervous since it was 10 years since I last went to a rock festival, but the swamp-like consistency of the festival site helped strip away those inhibitions. You've just got to smile at strangers when every wellington-boot step is making a "gloop-gloop" sound in the mud.

Most of the crowd were 30ish; presumably the draw of Van Morrison, Jackson Browne and (the expected surprise appearance of) Roy Harper brought in the "ageing hippies against the bomb". Or maybe that's the normal festival crew.

Anyway, good music. But is it politics? Well squirming in the mud, then baking in the sun and the early morning queue for water does seem a long way from the CND committee meeting. And the sweet smell of marijuana smoke may not be as revolutionary as perhaps we first thought. Maybe we shouldn't really be shouting "More, more!" at the distant superstars on stage for them to come back for their planned encore. And in the market place the capitalists (albeit hip capitalists) were doing brisker business than the, stalls of Peace News, Freedom, and the alternative

bookshops.

But wait... the children's world with giant wooden ships, a castle, clowns, puppets, theatre and care-point all free.

And more theatre and free cinema for adults. And no police. Fifty thousand people and no police - or anyone else for that matter - to tell us what to do. Did standards fall, did a little bit of western-civilisation-as-we-know-it crumble?Thankfully, yes. Mutual aid, as it always does when people are left to themselves, put in an appearance. Food was  shared, people entertained themselves, lost children were found, stuck vans were pushed out of the mud and when it  as all over people gave each other lifts home. Order but no laws. No chaos, just some anarchy. Glastonbury is  D's biggest fundraiser, the Kremlin gold evidently having trouble getting through customs. Fortunately the Festival  people avoided the trap of feeding politics at their captive audience all the time. There were a few speakers (none of whom I heard), a CND tent (which was well supported), a few workshops and a variety of anti-nuclear films  including The War Game for those activists who can't go a weekend without seeing it. In general the politics/music  balance was fine.

Finally just a few words about the opposition. Presumably unable to find enough people to give out leaflets, the  Coalition for Peace through Security treated us to an air show. A plane trailing an anti-CND banner buzzed the site for an hour or two, rather like a nasty wasp that won't go away. I did hear the rumour that they were to be prosecuted for dangerous low flying, but it can't be true since these chaps woudn't break the law. Wonder what they'll do next year.

(old copy of Peace News found in the excellent 56a InfoShop archive) 

This is part of an ongoing series on the 1980s peace movement. See also:

Marching against megadeath - June 22 1980 in London

The first march against nuclear missiles at Greenham Common,  September 1980

CND Reborn - the Protest and Survive demonstration in London, October 1980

Glastonbury CND Festival 1982

'Women Choose, Don't Argue!' - punks protest against anti-abortion bill 1979

In 1979, Conservative MP John Corrie introduced a private member's bill aiming to restrict abortion rights. In the climate of New Right ascendancy marked in Britain by the election of Margaret Thatcher in that year there were real fears that this would become law and a campaign was launched against the Corrie Bill.  The biggest event was a massive demonstration in London in October 1979 called by the Trades Union Congress and the National Abortion Campaign. In the event Corrie did not succeed in getting his bill through parliament and the 1967 Abortion Act remained intact.

Here's extracts from a couple of reports of the demo highlighting the role of (post) punk bands. 

Lucy Toothpaste:

Get up, eat my porridge, put on my feminist radical chic (or do I mean my radical feminist chic?), anyway, put on my loud yellow coat, fluorescent socks, sensible shoes etc. etc., select a thoughtful cluster of badges for the occasion and set off. Climb on the bus, discover that all the other passengers are wearing those hideous pink 'March for Abortion Rights October 28' badges too. Meet more of the same at Finsbury Park tube.

It looks like everybody in London is going on this march; it makes you feel you actually belong to a community for once. At Marble Arch they've got about twelve extra ticket collectors to cope with the throng. It's striking that despite the defensive nature of the campaign – instead of being any nearer to extending access to abortion, here we go again, trying to hold on by the skin of our teeth to the meagre provisions of the '67 Act – despite this, the atmosphere is so festive.

It's cold but the sun is streaming down, and I'm not the only one in party clothes. Demonstrations have never been the same since the anti-nazi carnivals. Old and young, gay and straight, and trade unionists and all their friends and relations have poured in on coaches from all over the country

Punks hover round the Rock Against Racism truck which is jerking along to the rhythms of the Gang of Four, Mekons and Delta Five (yelping songs like 'Can I interfere in your crisis? No mind your own business!'). Me and my friends finally leave the Park (after about a two hour wait, and we're nowhere near the end of the march) with the feminist all-stars on the Rock Against Sexism lorry. We dance all the way from Park Lane to Trafalgar Square, and all join in singing (except that my voice has mysteriously done a bunk and I can only mime) Lottie & Ada's ditty to the tune of 'I've got a brand new pair of roller skates':

'I've got a brand new Private Member's Bill

Guess what it's going to be

I'm going to make sure lots of women

Remember John Corrie'

By the time we reach Trafalgar Square it's too full to hold any more people, and as it's turned very grey and cold we're glad of an excuse to slope off to the cafe for tea...

Over 50,000 people marched against the Corrie Bill, differing as our political affiliations may be, but all agreeing that it threatens us with substantial risk of serious injury. The bill restricts the time limit and approved grounds for abortion, and decimates the abortion charities, with the aim of reducing legal abortion by two-thirds.

Some see it mainly as a class issue, because even when abortions are illegal, richer women have usually managed to get them done without too much trouble, and it's working-class women who are forced into the danger and humiliation of the backstreets.

Some see it as fundamentally a women's issue, part of the international fight for control over our fertility: If we get pregnant, it's women who have to bear the consequences, so it must be our decision whether to have an abortion or not, rather than that of doctors, priests or MPs. We are demanding not only free access to abortion, but also really safe and effective contraception, and an end to forced sterilization and experimentation on black and brown people in the name of population control.

Some see it above all as part of the fight to determine our sexuality. Thousands of lesbians and gay men were on the march, not just in solidarity, but to point out that an attack on abortion rights is an attack on everybody's right to enjoy sex for its own sake, without guilt and without fear, whether or not we intend to have children.

By the time you read this, some version of Corrie's bill will probably have passed into law . But we won't stop fighting until we get Complete Control'.

Kate Webb:

'In the new climate of this past year, one of rock's most concrete political achievements for women has been the contribution made to the Anti-Corrie Bill Campaign. Temporary Hoarding described the demo on 28 October last year as 'The most vociferous, musical and non-boring demo in the history of the world'

Hundreds of mad joggers dancing along side the Rock Against Sexism truck while hurtled down Park Lane, carrying assorted members of Delta 5, Mekons and Gang of Four blasting out assorted variations of their songs, all under the wonderful Day-Glo banner which proclaimed WOMEN CHOOSE DON'T ARGUE!

It was all too much for the inhabitants of the Playboy Club. They called in the cops to come and line up outside for fear of being attacked by this wild bunch of pogoing punks, expectant mums and mad musicians. And they might well have been, if we hadn't been too busy enjoying ourselves. It was an occasion when one of those boring old 'Against Them' demos turned into a celebration of what we are. Our Bodies and Our Culture and Our Music'.

[from The Book of the Year', edited by David Widgery (Ink Links, 1980)

The Wellcome collection has an online archive of material from the anti-Corrie campaign