The Age of Insurreckshan - LKJ in NME, 1984

From the NME, 17 March 1984, Neil Spencer interviews Linton Kwesi Johnson. Don’t call him a dub poet…

‘I’m not a dub poet and I don’t want to be classified as one… I’ve always seen myself as a poet full stop. I write mostly in the reggae tradition so my work can be described  as reggae poetry in the same way as jazz poetry, blues poetry.. but dub poetry no. I’m responsible for coining the phrase, as early as 1975 in a pamphlet I wrote called Race and Music but then I was talking about the reggae DJs and describing what they do as poetry, as dub lyricism’

[click images to enlarge]

Extract from interview:

Do you think it's important for black Britons to have a separate identity?

I think they have to forge their own identity from their own reality. The cultural gap between my generation, when we came to this country, and my children and their contemporary white friends, it's negligible.

What are you saying there? There's been no real change between conditions for blacks in Britain between then and now?

Oh, there's been changes, but we've had to fight for them. We've made a lot of progress, tremendous progress I believe, over the last 25 years, and as the events of '81 show clearly, we've moved from the era of the '50s and '60s and early '70s, which was an era of resistance, to an era of insurrection. And that is progress from my point of view.

Progress in what respect?

We're now accepted as being part of the country, even the repatriation lobby has to recognise and live with that. The state and the political parties, those who have power in this country, recognise that we have something to offer, we can swing an election particularly in marginal constituencies.

When Thatcher was running for election in 1978 she made those racist speeches about Britain being swamped by an alien culture; well, as you can see, by the last election they'd changed their tune and were trying to win the black vote.

The riots of '81 seemed almost like fulfilments of prophecies you'd made on the

first two LPs.

Well, not so much prophecies, anyone with any common sense could see it, I wasn't unique in saying those things. There had been a lot of mini-riots throughout the '70s, Basically I think the seeds were sown by the police in the '70s and things came to a head with a new generation of youth.

They were anti-police riots primarily?

Definitely. Anti-police and anti-establishment. All the foreign press reported them as race riots, and some press here too, but you and I and Joe Public know different, because though the young blacks were primarily in the leadership of those insurrections - in Brixton, Toxteth, Manchester whites were a big part of those riots.

I think a lot of the frustrations of the unemployed came out there, and were no means confined to them because a lot of those arrested and charged with looting were workers, people in jobs.

On the LP, on the title track and the tone you adopt is, not exactly rejoicing but…

Celebration! An event to be celebrated! It's an important event in the history of blacks in Britain. It's part of our making history in Britain.

Do you think it changed anything?

Of course it did.

What exactly?

I think it's given the establishment and the police a measure of what blacks can do if pushed too far. It did away with saturation policing. They've eased up a bit, been more careful how they move. Things have generally cooled down. And the project hatchers have got a bit more monev out of it.

A lot of the anger about the New Cross massacre spilled over into the riots. a lot of people can't see that, it was only a month after the day of action that the Brixton riots started.

Ad for LKJ's Making History LP from same issue of paper

See also

LKJ Interview in Socialist Challenge 1982

 

'They call themselves the Gender Benders' (1984)

I saw an online discussion recently about the origins of the term 'gender bender'. Seemingly Jon Savage used it in a 1980 article about David Bowie in The Face, and it seems to have been in use in UK/US in the 1970s if not earlier. But it was with the advent of Boy George and Culture Club that the term became applied in the popular press to a whole fashion scene/subculture. The first example I could find at British Newspaper Archive was from the Sunday Mirror, 22 January 1984, 'Gender Benders' by Linda McKay.

'They are shocking. They are outrageous. They call themselves the Gender Benders, the latest youth cult to follow in the high-heeled footsteps of bizarre pop idols Boy George and Marilyn. These days, far from simply dressing up in the privacy of their own homes, the Gender Benders are coming out of the  wardrobe. They wear their camp clothes in the streets, to the local pub and even shopping in the supermarket… The Sunday Mirror has made an in-depth investigation of the crazy new cult, which will become part of the fashion history of the 80s,

Gender Benders are are easy to spot. These days you can see them on suburban streets from Penzance to Penrith, More and more parents are discovering their children turning to astonishing new fashions that make even Boy George look butch. And It can be a terrible shock to suspect that your son is bisexual or gay. But our research shows that most Gender Benders are anything but gay. In fact, most of their blood is as red as their lipstick. They make-up and dress up entirely out of a sense of fashion. And the girls find it a turn-on and sexually attractive'

Update (27/9/2022):

For a 1970s example of the term see a letter entitled 'gender benders' in Texas Monthly (August 1978), describing a sex reassignment clinic in Houston.  Simon Reynolds (see comment below) has spotted a 1981 book by David Egnar, 'The Gender Benders: a look at the trends distorting the roles of men and women' published by Radio Bible Class, a US Christian publisher - a book bemoaning the undermining of biblical gender norms by feminism and the sexual revolution .

London Anarchist Bookfair

The London Anarchist Bookfair in September 2021 took place in the shadow of Covid. Some of it was held outside in Red Lion Square, while inside Conway Hall everyone was wearing masks.

'come friends don a mask and let's make anarchy' - guess many anarchists aren't shy about wearing masks but at a time of covid hoaxer conspiracy theories it was good to see a clear commitment to wearing Covid masks at this event.

A banner in Red Lion Square remembers Anna Campbell and Josh Schoolar, two people from Britian who fought with Kurdish rebels

The 2022 Bookfair takes place on Saturday 17th September 2022 at Bishopsgate Institute with satellite events at nearby venues

 

Monica Sjöö - art of anarcho-feminism, the Goddess and the peace movement

'Monica Sjöö: The time is NOW and it is overdue!' at the Beaconsfield Gallery, London SE11 brings together a large collection of paintings by the Swedish anarcho/ecofeminist artist and activist Monica Sjöö (1938-2005). Some of this work would be familiar in pagan scenes - for instance her paintings have been part of the Goddess Temple in Glastonbury for many years - but less so in the gallery art world which is rushing now to catch up with previously marginalised women artists.

Many of her works feature powerful Goddess figures, standing stones as well as more personal imagery relating to the tragic early deaths of two of her sons. Sjöö was a deeply political figure, going back to her involvement in the anti-Vietnam war movement in the 1960s. An article by Rupert White in the excellent Legion Projects zine 'Monica Sjöö; artist, activist, writer, mother, warrior' notes that in the 1960s 'she became affiliated with Anarchist and Situationist groups' including befriending King Mob in London who 'gave her some contacts in the States, such that in August [1968] 'she was able to travel to New York and stay with pioneering Eco-anarchist Murray Bookchin. Whilst she was there she also met up with Black Mask'.

Becoming more involved in the feminist spirituality movement, Sjöö was very critical of what she termed 'The Patriarchal Occult Thinking of the New Age' which in its focus on the light and spirit she saw as disavowing the dark (including the dark skin), the body (especially the woman's body) and the Earth. She wrote that the 'most frightening aspect of the New Age is its adoption, and perpetration, of a mishmash of reactionary, patriarchal occult traditions and thinking of both East and West, all of which have in common a hatred of the Earth, authoritarianism, racism and misogyny' (Return of the Dark/Light Mother or New Age Armageddon?: Towards a Feminist Vision of the Future, 1999).

She was also critical of Goddess worship separate from political action. In her book with Barbara Mor, 'The Great Cosmic Mother', they argued: 'Nor does the Goddess "live" solely in elite separatist retreats, dancing naked in the piney woods under a white and well-fed moon. The Goddess at this moment is starving to death in refugee camps, with a skeletal child clutched to her dry nipples. The Goddess at this moment is undergoing routine strip-and-squat search inside an American prison. The Goddess is on welfare, raising her children in a ghetto next to a freeway interchange that fills their blood cells and neurons with lead. The Goddess is an eight- year-old girl being used for the special sexual thrills of visiting businessmen in a Brazilian brothel. The Goddess is patrolling with a rifle slung over her shoulder, trying to save a revolution in Nicaragua' (interestingly this is very similar to language of Christian liberation theology).

Women reclaim Salisbury Plain

She became very involved in the 1980s women's peace movement, and in her book 'Return of the Dark/Light Mother' she gives an account of a remarkable 1985 action 'Women reclaim Salisbury Plain' which saw women walking from Avebury to Stonehenge across the military land used for tank exercises:

 'This extremely powerful and empowering pilgrimage was magical and a highly political direct action which as far as I am concerned is a truly spiritual-political women's way... We joined a group of punk women from Greenham sitting within the stones [at Avebury]. Police were also gathering by now, and when we were sitting later at the foot of Silbury having our lunch they approached us and warned us not to entertain any ideas of camping for the night anywhere in the vicinity. We all knew, however that we would sleep on Silbury and by late afternoon we gathered up there.

This was the night of Beltane and we were here to celebrate the Mother. We made a Beltane-fire carefully so as not to damage the mound and then gathered to discuss a possible ritual. By now, we had been joined by the American wise woman/witch, Starhawk' [who] 'suggested that we cast a circle, call in the elements, ground ourselves and dance the spiral dance. We danced and drummed and chanted'

At the end of the procession on 4th May they 'cut holes through the fences and snaked our way into the stones across the field, all the while singing Return to the Mother while police and tourists looked sheepishly on. Our number had by now increased since many women had come from London, Bristol and other nearby places to join us just for the weekend. Once within Stonehenge, we gave the ancient stone-beings loving care and energies and danced for hours amongst them; we meditated, sang, lit candles and dreamed. 

Many pagans and people of the Craft have a love for the land and a reverence for the Earth, but many too do not realise that this is not enough and that one must also take political direct action against those that ill-treat and exploit Her. It was this understanding that fired the women on our walk'.

From the Flames: radical feminism with spirit' (Winter 1998/99). Cover design by Monica

  Sjöö. The contents inside included her poem 'Are there Great Female Beings out there waiting for us to be free?'.  Sjöö certainly thought so and believed she was in some kind of communication with them across time and space.

The exhibition at Beaconsfield gallery, 11 June to 10 September 2022

 

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)