We are Luton

The racist idiots of the English Defence League held a demonstration in Luton yesterday, on the day they announced that they were joining up with the British Freedom Party - another extreme right wing outfit led by ex-British National Party activists. 

Around 1,000 people joined the anti-EDL 'We are Luton' demonstration from the town's Wardown Park (I didn't see the EDL, but Luton on Sunday reports that they had a around 500).

The police mounted a huge operation to keep the two demonstrations apart, with metal barriers to prevent the 'We are Luton' march getting into the town centre. There was a brief flurry of action here, where the police deployed their horses to stop an attempted break out of the police cordon:

Good to see Leviticus sound system at the start of 'We are Luton', playing some Bob Marley as usual! Leviticus is a successor to the Exodus Collective who famously put on massive free parties and festivals in Luton and surrounding area in the 1990s and early 2000s:  'The Leviticus (formerly Exodus) Collective are a Luton based Sound System and Social Movement who see ‘Leaving Babylon’ as re-building our community on the principles of oneness, sharing and co-operation, instead of those of greed, competition and hoarding which underpin the ‘Babylon System’. So we re-claim disused lands and properties in our town to create our own tribal dances, free festivals, workplaces and homes...building an alternative ‘way of life’ right here in Luton'. 

Luton is generally portrayed in the media as a town dominated by the racist EDL on the one hand, and hardcore islamists on the other, but obviously most people have no time for either of these tiny factions. Leviticus offer a different vision of  'Revo-luton'. I went to one of their dances last year at the Carnival Arts Centre in Luton, with reggae in one room and drum'n'bass in the other - and a crowd with White UK, African-Caribbean and Asian people partying together. Over the years Exodus/Leviticus have mobilised many more people in Luton than the EDL have ever managed.

See Malatesta and Inayat's Corner for report of EDL antics in Luton yesterday.

How it all began (for me): a School Kid against the Nazis in Luton 1979/80

Blinded by the Light - memories of racism and job cuts in 1980s Luton (including the Luton Youth Movement)

The Luton Riots of 1981 - 'Brixton comes to Bedfordshire'

The Hunger Strike, the Irish War and an English Town

Karma Sutra, Luton anarcho-punk and hunt sabbing

Clubbing in Luton 1984

Dole Days in Luton: unemployed protests, 1985

We are Luton - opposing the English Defence League in 2012

'Angry White People' book review (at Datacide magazine)

1960s Raves

Returning to the historic usages of the term 'rave', here's some examples from the1960s.

At the 'Shoreline Club' in Bognor Regis they were promoting 'All Nite Raves' in 1966. The club described itself as 'The only Beatscene on the South Coast' and had a 'Snuggery open all day free to members' (source: The Untamed)

From Sandown (1964 or '65, presumably on Isle of Wight), 'Rave, big new scene tonight' at 'Sandown Town Hall' (source: The Clique)

1965 'All Nite Rave, Midnight to 6 am' at Club Noreik, Tottenham High Road 

(image from White Fang's Who site):

An advert from 1964 for Leo's Cavern Club at the Olympia Ballroom in Reading. Note that on October 13th they were promoting an 'R & B Rave'.

Source: Anyway, Anyhow, Anywhere: The Complete Chronicle of the Who 1958-1978 by Andrew Neill abd Matthew Kent (The High Numbers mentioned in the advert were The Who in an early incarnation)

Grayson Perry on punk and performance

Grayson Perry's 'Portrait of the Artist as a Young Girl' (2007) is his memoir of the period before he became a successful artist, as related to his friend Wendy Jones.

Perry recalls growing up in 1960s/70s Essex with a taste for dressing up in women's clothes, before moving on to study art in Portsmouth and early 1980s performance art in London. He's a bit older than me, but like me and many others he was first exposed to punk as a paper boy:

'One Sunday morning I was delivering the newspapers when I saw the front cover of a supplement with a photograph of punks at a Sex Pistols concert. I was amazed by it, I though, 'Fucking Hell" This is good!'. I decided there and then I wanted to be a punk rocker'.

He went to see bands like The Vibrators, Boomtown Rats and Crispy Ambulance in Chelmsford, and attended the infamous debacle of the 1977 punk festival at Chelmsford Football Club, headlined by the Damned. The event was a flop with Perry opining that 'the most punk rock thing of the whole day' was when the scaffolder, furious at not being paid, began dismantling the stage while the bands were still playing.


A punk leather jacket included by Perry in his exhibition
last year at Manchester Art Gallery
(photo from http://ohdearthea.tumblr.com/)


After leaving college in 1982 he moved to London where he was part of the post-New Romantic/Blitz kids scene. He lived in the basement of a squat in Crowndale Road next to the Camden Palace, with Marilyn (soon to be a short-lived popstar) living upstairs. Perry 'used to go to the Taboo nightclub in a black suit with skin-tight Lycra trousers and a jacket two sizes too small... I put sunburn-coloured make-up on my face and left white rings round my eyes, like ski goggle marks... And I had a tail. It was a stiff, furry dog's tail'.

He also got involved with the Neo-Naturists, a performance art troupe who performed naked with paint on their bodies. They played at places like Notre Dame Church Hall (Leicester Square), Heaven, the Camden Palace. the Fridge (Brixton) and an anarchist centre:

'we were booked to do a Neo-Naturist performance in Brixton at the Spanish Anarchists Association, which was similar to a working men's club, an extremely anachronistic place that had become somehow hop because of punk's associations with anarchy. As it was May Fiona though we should do a Communist, May Day-themed cabaret. Cerith [Wyn Evans], Fiona, Jen, Angela and I all had identical Communist uniforms body painted on to us with khaki paint and we decorated oursevles with big red five-pointed stars... There were around a hundred anarchists in the audience as well as some punks and they all hated it, not one of them clapped, the room was dead quiet'.

I think Perry may have got two different places mixed up here - the 121 centre in Brixton opened in 1981, but the Spanish anarchists' place was Centro Iberico (421 Harrow Road), a squatted school where various punk gigs and other events took place (incidentally producer William Orbit started out with a studio here). The Neo-Naturists site mentions them playing a 1982 May Day event at 'Spanish anarchist centre, Harrow Road' so assume this was what Perry remembered (maybe he went to 121 another time).


Photo from the Kill Your Pet Puppy archive



Festivals Britannia

Finally got round to watching 'Festivals Britannia' a documentary about the history of the British festival scene first broadcast on BBC4 in late 2010. For anyone familiar with this history there were no great revelations as it trod the familiar path from the Isle of Wight 1969 to Glastonbury to Windsor to Stonehenge to Castlemorton 1992.

What lifted it was the film footage of these events and an excellent range of interviewees including many of the key figures in the different phase of the 20th century counter culture. Jazz ravers Acker Bilk and Kenny Ball recalled the 1950s jazz festivals, the later remembering 'you couldn't have a rave up in a dancefall. You had to walk across a floor and ask a girl to have a waltz or something, but if you were in a field you felt free'.

The Beaulieu jazz festival in Hampshire started out in 1956. In 1960, simmering tensions between modern and trad jazz fans sparked off the so-called Battle of Beaulieu with fans impatient to hear some Acker demolishing a BBC TV tower. A contemporary newspaper reported: 'Jazz succumbs to the Hooligans'.  In the same period the annual Aldermaston 'Ban the Bomb' marches became what free festival veteran Sid Rawle termed 'a festival on the march'.

The late 1960s free concerts in London's Hyde Park were described by Roy Harper as the high point of the hippie moment, a time when 'everything seemed to be bright and in the process of awakening' (Roy Harper).  On the Isle of Wight, the 1970 paying festival famously ended up with those outside storming the fence so that it was opened up for free on the final day. Festival organisers and Mick Farren who was on the fence storming side were interviewed, but the best quote was amongst a selection seemingly from a series of Isle of Wight residents engraged by the 'invasion' of the area by 600,000 mostly young people:  'If you have a festival with all the stops pulled out, kids running around naked, fucking in the bushes, and doing every damn thing that they feel inclined to do I don't know that's particularly good for the body politic' (all delivered in an impeccable upper class accent - I assume this was never broadcast at the time)

Windsor 1974 - 'Hippie PC Flees Pop Fury'
(from the excellent UK Rock Festivals site)

In the early 1970s the first Glastonbury festivals were followed by the emergence of the free festival circuit, most notably the Windor Free Festival. Closed down in a major police operation in 1974, the next year the Government offered a disused air force base at Watchfield in Oxfordshire as an alternative - but a state-sponsored 'free' festival with police on site was not quite the same. Among those recalling this period on the film were Nik Turner and Stacia from Hawkwind and Penny Rimbaud from Crass.

The free festival scene was dealt a severe blow with the mid-1980s crackdown on the Stonehenge Festival and the Convoy - everybody should have to watch the bullying gratuitous violence of the police in the so-called Battle of the Beanfield to understand the state of virtual social war in the mid-1980s, with the Government giving its forces free reign to bash miners, travellers and other 'enemies within' with impunity (sometimes feels like we are heading into a similar period).

The outlaw tribes, disenchanted and disenfranchised needed to find other places to gather, and Glastonbury had relaunched in the 1980s as paying festival raising money for the Campaign for Nuclear Disarmament. Farmer and festival organiser Michael Eavis reflected that 'we were just anti-Tory really, we were on a crusade to take on Maggie and to fight the oppression and it was very effective'. Through much of the 1980s it wasn't that hard to sneak into the festival for free, but increasing pressure from the Council and the police required stronger fences and more security.

By the early 1990s the survivors of the free festival scene were joining up with the new sound system culture, as described by Mark Harrison from Spiral Tribe and Rick Down (Digs) from DIY Sound System. The huge 1992 Castlemorton free party/festival prompted the Government to introduce the Criminal Justice Act to clamp down on 'raves'.



The programme ends with the increasing dominance and prevalence of commercial festivals in the noughties. But there is some evidence that this boom has peaked, with the Guardian asking recently 'Have we fallen out of love with the great British music festival?'. I don't think the desire to gather under the skies with thousands of like-minded music lovers has changed, but more and more of us can't really afford to spend the cost of a holiday on a weekend, especially if that weekend has to be spent in a highly corporate fenced-off enclosure.

Hackney Homeless Festival 1994

In the early/mid 1990s there were some big free festivals in London parks. Not pseudo-free festivals behind big fences with lots of private security, but proper sprawling mildy-chaotic events with sound systems, dance tents and lots of bands. Two of the biggest were the Deptford Urban Free Festival (in Fordham Park, New Cross) and the Hackney Homeless Festival.

The latter in Clissold Park, Stoke Newington in May 1994 aimed to raise awareness of homelessness, as the name suggests. The energy behind it came out of the squatting scene, but they did involve a locla street homeless hostel, McNaughton House. Up to 30,000 people attended with acts including The Levellers, Co-Creators, Spannerman, Back to the Planet and Fun Da-Mental. One of the stages was organised by Club Dog.

The police piled in after the festival outside the Robinson Crusoe pub, arresting 30 people as clashes erupted. According to one person present: 'A line of police in riot gear approached the pub, pushing people, telling them to go. That's when the glasses started flying. I saw one guy, who asked why they were doing this, get jabbed with a baton. I saw a woman in a wheelchair, who was obviously very distressed, being wheeled around roughly by a police policeman. It was completely unprovoked' (NME, 14 May 1994 - full article below)

Some interesting video footage of the festival at Spectacle video archive.

For more on Hackney, see Radical History of Hackney: http://hackneyhistory.wordpress.com/

UK Police and free parties update, March 2012

A bank holiday weekend coming up and there are the usual warnings from police forces across the UK of 'zero tolerance' of free parties. Still, 18 years after the anti-'rave' Criminal Justice Act passed into law, the parties still coming - and so are the police.

'Police are set to swoop on raves' (Oxford Times, 2 April 2012)

'Police have extra manpower on standby to deal with any illegal raves over the Easter weekend. Thames Valley Police say Easter is historically a “hot spot” for these gatherings and they are urging members of the public to keep an eye out. Inspector Emma Baillie said: “I encourage land owners and communities in the Thames Valley area to report raves being set up as soon as possible.” '
 
'Squatters evicted from £4.2m Clifton Wood mansion in Bristol' (This is Bristol, 2 April 2012)
 
'Squatters have been kicked out of multi-million pound Clifton Wood mansion, leaving it trashed. Once Bristol's most expensive property – on the market for £4.2 million – many of the house's rooms today lay in tatters. In the end, it took more than 50 police officers to clear the building.

Yesterday's eviction came after nearby residents began complaining on Saturday evening about a noisy party at the gated mansion in Clifton Wood Road. The party continued to get louder throughout the evening, with more people seen going into the property, which squatters moved into in February. Officers got into the main room in the house where the party was being held at about 6am yesterday, but were met by a group of around 35 "hostile" revellers. Some of the squatters climbed onto the roof to pelt officers with bottles.

Police arrested four people and continued to monitor the property before returning at 7.30am. A fracas between police and squatters then broke out in the street, believed to have been sparked when further sound equipment was seen being taken into the house. Three officers received minor injuries during the incident.

Dozens more police – around 50 officers in total – arrived at the scene and streets around Clifton Wood Road were closed off for most of yesterday morning. Officers then entered the house and removed the squatters. Eleven people were arrested during the night and are currently helping police with their inquiries. The building has been left strewn with rubbish.The kitchen lies in tatters with graffiti scrawled across the walls and the indoor swimming pool has been partly filled and strewn with rubbish.A private security firm was called in to board up and secure the property to stop further squatters getting inside.

Following an order of possession being granted last week at Bristol County Court in favour of the building's owners, The Bank Of Scotland, bailiffs had been planning to evict the squatters. Some squatters – many who said they moved to the mansion after being evicted from the Occupy Bristol  Camp at College Green – accused the police of brutality and told the Evening Post they had captured the police's "forced entry" on video. The squatters claimed the police did not have a warrant to evict them and that they were simply holding a party for a friend's birthday.

Police told Evening Post they cleared the building using powers to stop raves under the Criminal Justice Act and no warrant was needed. Traveller Dexter Josephs, 19, said: "We were just having a party for a friend's birthday and we were not making a noise." Fellow squatter Raoul Duke, 22, said: "The police have treated us quite horribly. All the neighbours have been fine with us. The police asked us to turn down the music, which we did. They were outside in the riot vans and then kicked in the doors and pushed through the metal gates. We locked what doors we could inside to slow them down, but they continued to boot in the doors. They put my arm behind my back and pushed me out. We don't feel we have done anything wrong. Essentially, this course of action has just left around 35 people homeless."....

[nb - this wasn't somebody's home that had been squatted, the owners are a bank which presumably means that it was repossessed at some point and then left empty. Video footage has emerged showing police making some violent arrests during the eviction]




'Easter rave warning from police after 13 arrests at Burnham Market' (EDP, 2 April 2012)

'A fresh warning against raves has been issued by the police after 13 people were arrested early on Sunday morning from farmland in Burnham Market. The rave was held close to Old Sussex Farm Road in the North Norfolk village and involved about 500 people and 150 cars. Out of the 13 arrests made yesterday, 10 of them were for people who ignored a legal order to leave the area. The other three were arrested on suspicion of possession of drugs.

Most of the people at the rave left peacefully after a number of the legal orders were made.The people who were arrested have been bailed until the middle of this month. Sound equipment, including power generators, were also seized and three vehicles were impounded. Several fixed penalty notices were also issued for road related offences, including seat belt and speeding offences. In the lead up to Easter, officers have warned that there will be a zero tolerance approach to raves across the county.

Chief Supt Nick Dean said: “The event at the weekend at Burnham Market is a timely reminder of the action that we will take with regards to raves. We will intervene and, where necessary, not hesitate to make arrests and seize equipment. It’s important to remind people that we will continue to work with the organisers of licensed musical events.Unlicensed musical events or raves are unsafe and disruptive to our local communities...'

'Illegal rave in Norwich shut down after complaints' (BBC, 18 March 2012)

'Police were called to shut down an illegal rave in Norwich after complaints from nearby residents. A large crowd of more than 150 people gathered under the A146 flyover off a field in White Horse Lane in Trowse just after midnight. Members of the public complained to police about amplified music, which was switched off at about 09:15 GMT.

One person was arrested on suspicion of possession of drugs, a Norfolk police spokesman said.Supt Mike Fawcett said: "It has been an exceptionally challenging night for police resources across the county and we have had to take this into account in assessing our response to this event, as well as work within the powers granted to police under current legislation.

"Officers have been working throughout the night to identify key participants and negotiate to bring this illegal event to an end as quickly and safely as possible for all concerned.We acknowledge that local residents have been disturbed by the amplified music and we will seek to take further action against those involved."'

'Cops' actions at illegal rave defended after being branded 'brutal'' (Milton Keynes News, 8 March 2012)

'Ninety police officers that closed down an illegal rave have been criticised for their ‘brutal’ and ‘heavy handed’ tactics. CS gas and batons were used against some of the 200 revellers who had turned up to an Old Wolverton warehouse in the early hours of Sunday.The force helicopter was also deployed as police faced a barrage of bottles, coins and pieces of wooden pallets as they struggled for two-and-a-half hours to shut down the party. Some officers even had a car driven at them ‘at speed’.

But now some of those who were at the event have hit out at Thames Valley Police, saying the force used was over the top compared to the trouble they were facing. One man who wanted to remain anonymous said: “The police came in full riot gear – we were not there in riot gear, we were trying to have fun not riot. The police were shouting and threatening young lads who were just trying to see what was going on – 90 police officers in riot gear and a helicopter is excessive for a group of youths having fun, the police were trying to cause a fight with the heavy handed way they stormed in.”

A barrage of comments have also been sent to MK NEWS following the incident. One reads: “I saw many armed officers brutally attacking unarmed men and women with truncheons and pepper spray.” Another claims a woman walked over to a fallen officer to see if he was alright when she was hit with batons...'

Dancing Questionnaire (25): Mark, New York

Mark is 38 years old and works as an Advertising Executive in New York, following an odyssey from Tamworth and London via Sheffield.

Can you remember your first experience of dancing?

I think the very earliest was bopping around to Ian Dury and the Blockheads’ ‘Hit Me With Your Rhythm Stick’ with my grandma at a family wedding reception near Walsall, but the one that really stands out is headbanging to AC/DC’s ‘You Shook Me All Night Long’ at a primary school disco in Tamworth, Staffs, where I grew up. I’d seen some older kids doing it at the previous year’s event - my first taste of youth rebellion aged 8! I remembered the names of the bands on the patches sewed onto their sleeveless denim jackets and over the next twelve months become an entry-level rocker, renting albums from the local record library and getting my own cut-off denim with patches and studs. Then eventually it was me and my mates’ turn to headbang at the disco when the token metal record was played. The DJ cut it off before the end as the teachers were concerned about potential brain damage.

What's the most interesting/significant thing that has happened to you while dancing?

Building a deeper relationship with music. I’ve devoted much of my life to music in all its forms and through dancing I enjoy exploring its qualities more deeply, amongst the thrills and spills. I remember dancing in Manchester in 1996 in the Village to ‘The Love I Lost’ by Harold Melvin and the Blue Notes and suddenly realizing that the dance music I enjoyed most had a particular combination of uplifting-ness and melancholy which then set the course ahead for many years.



You. Dancing. The Best of times...

New York 2007-2010. People say dancing in New York’s not what it was. Sure, over-zealous regulation has harmed the vibrancy and scale of the club scene but this has been replaced by an amazing DIY attitude for the past decade or so. This manifests in all-night semi-legal dance parties in lofts and warehouses mainly in Brooklyn often featuring an eclectic mix of music, DJs, performance and participation. There’s a real sense of excitement for me around something genuinely underground, unpredictable, community based and musically eclectic which has totally revitalized my love of dancing. It’s as if dance music has resumed its role in the city as outsiders’ music, which is how I’ve always most enjoyed it.

You. Dancing. The Worst of times...

When I first moved to London in the late 90s I found it hard to find a scene that satisfied me. DnB was too hard and fast, House had got too cheesy, Big Beat was too beery and everything was too segmented and focused on one style of music. Maybe I just wasn’t looking hard enough though at the time.

Can you give a quick tour of the different dancing scenes/times/places you've frequented?

I started dancing regularly in 1987 at an under 18s discos in Tamworth at a club called the Embassy. It wasn’t really my scene though and things didn’t really take off until I discovered ‘indie’ music via John Peel and then started to make regular trips to Birmingham to indie disco nights and 60s psychedelic nights like the Sensateria at the Institute, as well as the odd hardcore rave. University in Sheffield in 1992 meant a headlong rush into house, techno, garage and funk with the poly-sexual scene around Vague [Leeds], Flesh [Manchester] and Sheffield’s Trash providing a little spice around the slightly-cheesy uniformity of the post-acid house scene up north at the time.

A move to London in the late 90s meant a hotch-potch of east-London fare – reggae, DnB, ragga, hip hop, a bit of house and the electroclash scene around Nag Nag Nag. Carnival weekend was always the highlight of the year, and I had a brief involvement with a north London pirate station. But gradually dancing died away. In 2005 the move to New York reignited it all again.

When and where did you last dance?

To a Robert Owens DJ set at Dalston Superstore, London last November.

You're on your death bed. What piece of music would make you leap up for one final dance?

‘I Want Your Love’ by Chic. The perfect combination of yearning, hope and melancholy that characterizes much of my favorite music to dance to.

All questionnaires welcome, just answer the same questions - or even make up a few of your own - and send to transpontine@btinternet.com (see previous questionnaires).

Portugal 1974/75: Radio and Revolution

In April 1974, left leaning military officers overthrew the Portuguese dictatorship and ended its colonial wars in Africa. For the next two years Portugal was in turmoil, with workers taking over workplaces and many hoping to push the revolution further. The radio stations were one of the key sites of struggle, in particular Rádio Renascença.

The Revolution Started with a Song by John Hoyland (Street Life, November 1 1975):

'3 am, April 25 1974. By prior arrangement with the rebel Armed Forces Movement (AFM), a DJ on Lisbon's Radio Renascenca plays 'Grandola, Vila Morena', a popular song of the day whose possible subversive meaning had escaped the censor's ears. The song is a signal for a military uprising that, with scarcely any opposition, overthrows the Caetano Government, and brings to an end 50 years of fascism in Portugal. The next day, the people pour into the streets, and give the soldiers red carnations. The soldiers stick the flowers in their guns...'

Tuesday August 26 1975

A visit to Radio Renascenca (RR), the radio station that the workers took over from its owners, the Catholic Church. As well as broadcasting news of workers' struggles and discussions with workers and peasants, it plays a lot of good music — including the best rock music in Lisbon — and has an hour a day in Spanish, beamed across Portugal towards Spain. A couple of the workers describe the history of their struggle to take over the radio station from their bosses — how the AFM sent a unit of COPCON [a military organisation] to hand RR back to the Church, and how the occupying workers broadcast a call to the people of Lisbon to help them — with the result that thousands of workers gathered outside the building to defend it, the COPCON soldiers refused to obey their orders, and in the end the AFM was forced to ratify the occupation.

The workers — both young guys, one of them with extremely long hair — go on to say that they are currently linking up with all the Lisbon Workers' Commissions, with the idea of forming a city-wide co-operative that would control the radio-station, and also finance it. "Then we won't have to take any more advertisements, not even from the nationalised industries." (At the moment a radio talk on the concept of Popular Power and the Class Struggle is liable to be disconcertingly interrupted by a bleep and a jingle for Seven-Up.) Before the April 25 coup, Radio Renascenca was on the air six hours a day, whereas now it's 24 hours a day. "We're the same number of workers, so we've multiplied our work-load by four. But you have to. The situation changes here so fast, each hour in Portugal is like a day. Since the coup, we feel as if we've lived through about 30 years . . ." In spite of this, they seem very sprightly and determined people. But they aren't particularly optimistic: "Lisbon is a red island in a sea of reaction. We don't think the conditions for revolution exist in Portugal yet. Nor is there a party that could carry it through. In our view, the parties here' are still too concerned about their own power, and not concerned enough about the needs of the workers'.'



Portugal: the Impossible Revolution by Phil Mailer:

'The radio station had been owned by the Catholic Church. Gradually, during May, the workers concerned had taken it over, disliking the line being pushed. Their communique of June 6 outlined what was at stake: "The complete history of our struggles at RR would bring together arguments and documents which a simple communique' cannot hope to do. When our story is written many positions will become clearer, as will the ways in which they relate to the overall politics of the country. The Portuguese people will then be able to judge the counter-revolutionary politics of the bosses, the immoralities of all sorts committed in the name of the Church, and the many betrayals carried out by capitalist lackeys in our midst. In their latest delirium the Management Committee (i.e. the Church) completely distorted our struggle and attacked the MFA. Of 127 lines, 73 were devoted to denouncing the government...

When they speak of the violent occupation of the radio station they forget to mention that the only violence was when Maximo Marques (a member of the Management Committee) attacked one of our comrades, who didn't respond to the provocation... The management argue that we are a minority of 20, whereas 30 would be more correct. Radio Renascenca is a private company owning a radio station, a printing press, a record shop, two cinemas, buildings and office blocks, etc. In the station we are about 60 workers. The management say we are trying to silence the Church's mouthpiece, and prevent it from reaching a large section of the population. If by this they mean we are trying to silence fascist voices, they are right. Words like truth, justice and liberty lose all meaning when they come from the RR administration. We remember the time when the priests managed the station and censored encyclicals, Vatican texts and even the Bible (!!) We propose that the management show their concern for liberty by supporting the current liberation of RR, now in the service of the workers and controlled by the workers. The workers of RR, June 6, 1975".

The struggle at Radio Renascenca was widely supported. The options were fairly clear: to side with the Workers' Committee or with the Church. Vasco Goncalves and other members of the Revolutionary Council decided to hand the station back to the Church. The decision was bitterly opposed by some 100,000 workers. A demonstration was held on June 18 at which Lisnave and TAP workers stood outside the gates and warned that RR would only be returned to the Church 'over their dead bodies'. 400 Catholic counter-demonstrators had to seek refuge in the house of the local Patriarcado. The determination of the workers caused the Revolutionary Council promptly to reverse steam. It found a way out: to decree the nationalisation of all newspapers, radio stations and television networks'.

In November 1975 the station's radio transmitters were blown up, effectively closing the station down before it was handed back to the Church in December.

Dancing Questionnaire (24): Coz, Dublin

Today is St Patrick's Day, and by complete coincidence the latest respondent to the Dancing Questionnaire is Dublin-based Coz who describes himself as '39, Male, Community Radio DJ (on Near FM), Community Worker and Anti-fascist dance lover'.

Can you remember your first experience of dancing?

No, but I can recall my earliest memory of dancing. One of my paternal uncle's had a friend who was a huge Elvis fan and was known on the local club circuit (in Barnsley) for paying tribute to the King. We were fortunate as kids in the famlily to get much closer to the King than those occupying Clubland ever could have and having a mother and father who liked to sing and party in equal measure ensured we were ever present at family get togethers. Naturally, Trevor (The King) would take the stage (front room) at some point and receive the Holy Spirit (Elvis), writhing in contorted ecstasy while he moaned and groaned his way through a repertiore of The King classics. Invariably the kids in the room, who were not yet old enough to be inhbited by the presence of others were implored to provide rhythmic accompaniament by various mothers, fathers, aunts and uncles. So, there I'd be, trying for all I was worth to swing my pre-pubescent hips to the Blue Suede Shoes, Jailhouse Rock and Moody Blue... and I've been swinging em ever since.

What's the most interesting/significant thing that has happened to you while dancing?

Hmm, probably too many to settle on as definitive, but certainly one that will live with me until I die (or develop memory loss) was during a Henry McCullough gig (relatively unknown to me at the time) at the Menagerie in Belfast... just about to swagger onto the dancefloor I was stunned then hugely gratified to see him leap of the stage and whack somone with his guitar who was apparently pissing him off (I knew the protagonist and can certainly vouch for his annoying temperament). It all happened in slo-mo and the ensuing collapse of the PA and the swift ejection of the suitably chastised all added to the surreal moment... and I swear Henry still had his slippers on. Quite remarkable and all I could say to my mate for the rest of the night was, “Now that's fucking rock n roll fella!”

You. Dancing. The Best of times...

Turning 16 in 1989, leaving school and embarking on my first year at college (studying shit you'd never get to study at school) and accompanied by the very 'OST' of an emerging Manchester sound blaring out of the stacks at the Baths Hall in Scunthorpe. For the next 3-4 years I mouched my way across the dancefloors of some pretty grim northern pubs, clubs and parties while the Stone Roses, Charlatans, Happy Mondays, Soup Dragons, Blur, The Farm, EMF, et al made every one of them shine like beacons in what were invariably violent, grubby, and dirty-drug soaked nights out. Hot on their heels came Britpop, personified by the arrogance and egotism of Luke Haines (Auteurs), Brett Anderson (Suede) and Liam Gallagher. Sure, they were mostly aresholes then (and some still are) but my God did they make you feel like there was more to life! And of course, there was and still is. Being young, embarking on life's meandering path and all accompanied by some fantastic anthems... well, I couldn't help but dance.

You. Dancing. The Worst of times...

If I can't dance to it I'm just not dancing... unfortunately that basic standard doesn't apply to a lot of others. The worst offenders? Clearly the pill popping, 2 left feet owning and chequed shirt wearing white (invariably) boys from the estates, whom you'd think would be saved by the simplicity of repetitive beats. But not for some lads (and lasses)... the dance scene undoubtedly brought some Halcyon moments (and still does), but these were often accompanied by some less savoury sites of wide-eyed astonishment. Unfortunatley I joined them on far to many occassions.

Can you give a quick tour of the different dancing scenes/times/places you've frequented?

As a young teen it revolved primarily around the informal self made nights that we created either at people's houses or off the beaten tracks of our estates (local woods were always popular, where you could build a fire from the pallets of the nearby Asda and drink/sniff glue/smoke blow without worrying about being seen by all and sundry). Music was provided through 8-12 battery ghetto blasters and was usually hard rock in them days (ACDC/Maiden/Crue/RATT/G'n'R), with a liberal dosing of punk (Clash/Pistols/Tenpole Tudor/Jam/Stiffs) and something a little bit more commercial (Housemartins/Smiths/New Order/Erasure)... and we pretty must just threw oursleves around whichever house/field/wood we were occupying at the time. Once the doors of pubs and clubs were thrown open to me (at far too early and age it must be said) I entered the world of commercial dross in most cases (chart topping hits and the like) and where girls played second fiddle to the music. Still. I managed to stumble upon the odd decent 'alternative' night/club for a dismal northern town, who regaled me with new and unkown sounds (Joy Division/Wire/Chumbawamba/CRASS/Cure/Television Personalities) that at the very least didn't seem to require any particular knowldege or skill related to fancy footwork. Again, throwing myself around a lot seemed to be the order of the night (or day).

Cue 'baggy' and Acid House and all of a sudden everyone's getting on the nouveau retro bandwagon and suddenly you not only needed to look good on the dancefloor but you needed to know the moves to... needless to say I just kept throwing myself around a lot. It didn't seem to matter... 25 years on and such club nights as Bop Yestrum in Belfast prove that you can play whatever the fuck you like and the primary desire for most people is to just throw themselves about a lot.... while I could always generally find a beat to bop to, the only one I could never get and will probably always regret was the smooth moves of the Northern Soul scene... making a bit of a comeback as a slight post-script to the Acid Jazz scene in Belfast in the mid 90s I was always envious of those old enough to have made sojourns across the country to the Weekenders/All Nighters around legendary places like Wigan Casino. Nothing delights me more than watching the effortless shuffles of those adept at moving to a classic Northern Soul number.

And in the 15 odd years since I've gravitated from one alternative disco/club/shebeen to the next... and pretty much still do. Too cynical to ever become truly immersed in a scene/place I've always thought of my dancing experiences as like brief flirtations, where I get to dip my toe in and feel the beat for a while, but I'll never make a mistress of ya! And having lived in Ireland for the last 20 years many of those 'alt' nights/places have included experiences you wouldn't just tell anybody about... particularly the Rozzers! These days, most dancing takes place at any gig I'm fortunate enough to get at where the cool factor hasn't induced everybody into a steady sway at best. No Means No being a more recent example of how gigs should be enjoyed by a crowd.

When and where did you last dance?

Funky Seomra (pictured below) at the RDS in Dublin – a regular monthly night of dancing with a strong emphasis on the absence of alcohol and the rewards of physical expression. Daunted on arrival, but soon realising it was really a night for 'alt festival' goers without the tents, field, cider, rain/wind/sun/, cheap burgers but still plenty of 'free spirits' trying to commune with their inner child. Despite my inherent cynicism I embraced it whole heartedly and danced my ass off to some real classics (Yeke Yeke/Insomnia/Blue Monday)... so much so I might just do it all again on Paddys Day, which will be a significant achievement in Dublin when drinking till you die appears to be a minimum expectation.

You're on your death bed. What piece of music would make you leap up for one final dance?

Soooo many, but truth be told it'd be a toss up between RATMs Killing in the Name Of and System of a Downs BYOB and Band of Horse's Funeral . I reckon that in most cases I feel like trashing whatevers around me when 2 of these songs are on and given I'd be on my deathbed I might just get away with it on this occasion! The thirds seems apt...


All questionnaires welcome, just answer the same questions - or even make up a few of your own - and send to transpontine@btinternet.com (see previous questionnaires).

Kaleidakon: 1930s light show

The centre piece of the 1939 Ideal Home exhibition in London was the Kaleidakon, what sounds like a proto-psychedelic light show.

'One of the many sights of the Ideal Home Exhibition now drawing to a close at Earls Court is the huge Kaleidakon, a white and silver tower which raises its head almost a hundred feet above a pool of rippling water. Here, with the aid of Quentin Maclean, at the console of a Compton organ, and an expert on a light console, duets in sound and light are given daily. As the sound of music emerges so the tower is lit by an ever changing harmony in colour in bright and pastel shades closely allied to the humour' (Gramophone magazine, May 1939)

Advert from South London Advertiser, April 21st 1939
'The Kaleidakon, world's greatest musical instrument combining sound and colour'

There's some further technical information at the Strand lighting archive (from where photograph below was sourced): 'The Kaleidakon: 70 feet, 230kW tower in the Daily Mail Ideal Home Exhibition, Earl's Court with a 72-way Light Console and Compton Organ for Colour Music'

Black Panther Records

From the 'Black Panther' newspaper, January 17, 1970, adverts for Black Panther Party records.

Seize the Time was a collection of songs by Elaine Brown released in 1969, with song titles including Seize The Time, The Panther,  And All Stood By, The End Of Silence, Very Black Man and Poppa's Come Home among others.

'songs are a part of the culture of society. Art, in general, is that. Songs, like all art forms, are an expression of the feelings and thoughts, the desires and hopes, and so forth, of a people. They are no more than that. A song cannot change a situation, because a song does not live and breathe. People do.

And so the songs in this album are a statement – by, of, and for the people. All the people. A statement to say that we, the masses of the people have had a game run on us; a game that made us think that it was necessary for our survival to grab from each other, to take what we wanted as individuals from any other individuals or groups, or to exploit each other. And so, the statement is that some of us have understood that it is absolutely essential for our survival to do just the opposite. And that, in fact, we have always had the power to do it. The power to determine our destinies as human beings and not allow them to be determined by the few men who now determine them. That we were always human and always had this power. But that we never recognised that, for we were deluged, bombarded, mesmerised by the trinkets of the ruling class. And this means all of us: Black, Mexican, White, Indian, Oriental, Gypsy, all who are members of the working class, of the non-working class (that is, those who don’t have jobs), all who are oppressed.

This means all of us have the power. But the power only belongs to all of us, not just some or one, but all. And that was the trick. That was the thing we never understood. And that is what statement these songs make. All power to the people, seize the time’ (Elaine Brown, Deputy Minister of Information, Southern California Chapter, Black Panther Party)

Dig featured a recording of  a speech given by Eldridge Cleaver, Minister Of Information for the Black Panther Party at Syracuse University in July 1968.

(I found this amongst a number of issues of the paper at the South London Black Music Archive, an exhibition in Peckham)

121 Centre in Brixton: 1990s flyers

The 121 Centre in Brixton, variously known as an ‘anarchist centre’, ‘social centre’ and ‘squatted centre’, was a hub of international radical activity and much else throughout the 1980s and 1990s. The house at 121 Railton Road, SE24 was first squatted by a group of local anarchists in 1981 and was finally evicted in 1999 (it is now private flats). Its four storeys included a bookshop, office space, printing equipment, kitchen and meeting area, and a basement for gigs and parties.

Over 18+ years it was the launchpad for numerous radical initiatives, some short-lived, others having a more lasting impact. Many groups used 121 for meetings and events, including Brixton Squatters Aid, Brixton Hunt Saboteurs, Food not Bombs, Community Resistance Against the Poll Tax, Anarchist Black Cross, the Direct Action Movement, London Socialist Film Co-op and the Troops Out Movement. Publications associated with 121 included Shocking Pink, Bad Attitude, Crowbar, Contraflow, Black Flag and Underground.

There was a regular Friday night cafe and many gigs and club nights, including the legendary mid-1990s Dead by Dawn (which I've written about here before). 121 was a venue for major events including Queeruption, the Anarchy in the UK festival and an International Infoshop Conference. It was, in short, a space where hundreds of people met, argued, danced, found places to live, fell in and out of love, ate and drank..

This is the first in a series of posts featuring flyers from 121:



September 1995 - a film night with HHH Video Magazine featuring recent events including the Battle of Hyde Park
(anti-Criminal Justice Act demo), the McDonalds libel trial, the 1994 'levitation of parliament; and the Claremont Road/M11 road protest. In the pre-web 2.0/youtube era, videos like this were a key way in which visual information from different movements circulated.

Wonder what the 'Russian Techno Art Performance' was?



February 1995 - a benefit night for the 56a Info Shop in Elephant Castle, with Difficult  Daughters,
Steve Cope & the 1926 Committee, Mr Social Control and others.

Martin Dixon remembers playing the song  'Animals' at 121: 'Steve Cope and the 1926 Committee arose from the ashes of The Proles. I used to play trumpet with them on this one song. Invariably the last song of the set I remember getting on stage with them in the packed basement of the squatted 121 Centre in Railton Road, Brixton. Every time I lifted the trumpet a dog would leap up barking wildly. “Whenever they need to segregate, experiment or isolate, or simply to humiliate,
they’ll call you animals ”.

Mr Social Control was a performance poet, he used to sometimes have a synth player
 and rant to Pet Shop Boys style backing. 



August 1995: punk gig with Scottish band Oi Polloi and PMT, who came from Norwich.



August 1995 'Burn Hollywood Burn' video night. Riot Porn was always popular at 121,
in this case film of the Los Angeles uprising, as well as squatting in Brixton, Hackney and Holland.



1992: Burn Hollywood Burn again! LA riots plus video of Mainzer Straße evictions in Berlin (1989).
The benefit was to raise funds for an early computer link up with the Italian-based
European Counter Network (ECN) amd the Amsterdam-based Activist Press Service (APS),
via which radical news and information was circulated.




Dancing Questionnaire 23: Luc Sante

Luc Sante is the 23rd person to complete the Dancing Questionnaire. Luc has written extensively on New York cultural history, and much more, and as you might expect has savoured much of that city's legendary nightlife as well as clubbing in Paris and elsewhere.

1. Can you remember your first experience of dancing?

In 1963, when I was around 9 years old and in St. Teresa's School, Summit, New Jersey, our teacher would take us once a week to the adjacent Holy Name Hall to teach us square dancing. The tune was invariably "The Old Brass Wagon," and Mrs. Gibbs may have sung it herself--I don't remember a record. One week, though, she plugged in the jukebox and played "My Boyfriend's Back," by the Angels, and encouraged us to frug. I'm not sure the experience was ever repeated, but it left a permanent mark on me.

2. What’s the most interesting/significant thing that has happened to you while out dancing?


Oh gosh, that's a tough one... Possibly it was meeting Jean-Michel Basquiat at the Mudd Club, probably late 1978. I swear I knew at first glance that there was something exceptional about him. He moved in with one of my friends, and then another, and he and I were good friends until he became famous, circa 1983.

Basquiat at the Mudd Club in 1979

3. You. Dancing. The best of times…


From 1977 to 1982, roughly. Isaiah's, a reggae club in an upstairs loft on Broadway between Bleecker and Bond  approx. '77-'79; the Mudd Club from its opening on Halloween 1978 until it started getting press three or four months later (and then there would be huge crowds inside and out); Tier 3 on White Street and West Broadway (tiny, but excellent sounds), 1980-81; Squat Theater on 23rd Street around '79-'81, irregular as a dance venue but *the* place for the all-too-brief punk-jazz efflorescence; the Roxy around 1982--a roller disco that once a week would become a sort of hiphop-punk disco, often with Afrika Bambaataa on the decks. And sometime around '77 or '78 a gay friend once took me to the Loft, which I'm sure you've read about; it fully lived up to the hype.

4. You. Dancing. The worst of times…

White people attempting to dance to white rock, pretty much always the case until 1973 or so, when a great many people of my acquaintance suddenly "discovered" James Brown. And then the last three decades, when dancing opportunities have been few and far between.

5. Can you give a quick tour of the different dancing scenes/times/places you’ve frequented?

My first real dance experiences were all in gay discos, early '70s (I'm straight, but had a gay best friend): the (old) Limelight on Sheridan Square, Peter Rabbit's on West Street, and the amazing Nickel Bar on 72nd Street - where Robert Mapplethorpe, among others, would go to pick up young black men, and where the level of the dancing was so amazing I didn't dare attempt to compete.

Summer of 1974 in Paris: Le Cameleon on rue St.-Andre-des-Arts, a tiny African disco in a barely ventilated cellar - but it was the summer of "Soul Makossa." Nine years later I was back in Paris and Le Cameleon had moved to a much larger aboveground space--an exhilarating experience.

Also, besides the venues noted in #3, the Rock Lounge (sleazy, but good music) succeeded in the same space on Canal Street by the Reggae Lounge, circa '82; the World on 2nd Street a few years later (too sceney for words, but you could shut your eyes); assorted after-hours spots such as Brownie's on Avenue A (not to be confused with the legit rock club of the same name that succeeded it), although drugs were more of a priority than dancing or music in those places. Post '83 I can only remember the short-lived but excellent Giant Steps--a jazz disco--and a series of retro-soul clubs (don't remember their names, alas).

6. When and where did you last dance?


The New Year's Eve before last, a private party in Tivoli, New York, a pretty good techno mix.

7. You’re on your death bed. What piece of music would make your leap up for one final dance?

Tie: "One Nation Under a Groove," Funkadelic; "Got to Give It Up," Marvin Gaye.

All questionnaires welcome, just answer the same questions - or even make up a few of your own - and send to transpontine@btinternet.com (see previous questionnaires).

Nostell Priory Festival 1984

Nostell Priory Music Festival was held near Wakefield in West Yorkshire in 1984, a commercial festival with performances from Van Morrison, The Band, The Danmed and many others. It was also the scene of a violent police operation against the Convoy of festival travellers that prefigured the notorious Battle of the Beanfield in the following year.

The Convoy had emerged from the UK free festival scene in the late 1970s, as a nomadic community moving between festivals in trucks, vans and converted buses. For many travelling became a way of life all year round, not just in the summer festival season with the term New Age Travellers being invented to describe them. The name 'Peace Convoy' became attached to the Convoy as the peace camps at Greenham Common and Molesworth cruise missile bases became added to the itinerary. For instance in 1982, the Convoy arrived at Greenham and occupied land for a 'Cosmic Counter-Cruise Carnival'.

Thus the Convoy was lined up in the Thatcher Government's sights as part of The Enemy Within, along with striking miners, peace campaigners, Irish republicans and other dissidents.

At Nostell Priory, as at many other festivals including Glastonbury in that period, the Convoy has established its own more anarchic area on the edge of the commercial festival. As the festival came to an end, riot police raided the site, arrested 360 travellers (almost all present) and trashed their tents, benders and vehicles. Many of them were remanded in custody for up to two weeks - including in an army prison - before being convicted by magistrates on various trumped up charges.

There's a good interview with the late Phil Shakesby by Andy Worthington which describes what happened. Here's an extract:

'It was the time of the miners’ strike, and the police had been herding them off into a field and battling it out with them. When the police steamed into Nostell Priory, they were fresh from beating up this bloody mega-wodge of miners. The first we knew of it was about half past eleven, when Alex came steaming past my gaff shouting, ‘The Old Bill’s coming up!’ As I leapt outside and looked up this huge field, there was these great big blocks of bobbies, just like the Roman epics, at least four or five hundred of them. And they came charging across the field towards us, with these batons banging on their riot shields, shouting a war cry. Oh, my goodness!

They surrounded us just right of the marquee. At that point we were well and truly sorted. As I say, they had these mega bloody riot sticks, and wagons chasing through the site running into benders. Now they didn’t know whether there was anybody in these benders, and they’d run into them at high speed, just loving the way that they exploded. The tarp and all the poles would blow out, scattering the contents all over the place'.

Interestingly in terms of what we are beginning to find out about police infiltration of movements in this period, Phil recalls that undercover police were also active in The Convoy:  'The other thing that went down: these guys that looked just like us — there was about seven of them. They’d infiltrated us that summer and done a bloody good job. They’d been wheeling and dealing along with some of the other lads that did that kind of thing. As we’re surrounded, people are getting these lumps out of their back pockets and shoving them to one side. They were arresting us — arm up the back — and filing us out through the crowd and pushing us into the main bulk of the bobbies with the tackle'.

 

The following contemporary account comes from Green Anarchist magazine (Nov/Dec 1984) at the time:

 

'Previously the Convoy had been told by the police that there would be no trouble, as long as they moved on peacefully and got out of Yorkshire. It then seems likely, after a report that the Yorkshire police chief said that "they were powerless to act against the Convoy" that Thatcher hit the ceiling, and demanded action. Next morning at 5 am, 3 coaches and 10 van loads of riot police surrounded the camp. As the Convoy retreated to the Marquee the police trashed their vehicles, smashed windows, tearing out wiring with the excuse of looking for guns. There were no guns.

They then demanded to talk to the Convoy's leader 'Boris'. They had got that wrong too. Boris is the goose. The Convoy started quacking. But they were surrounded... [later] Back at the site, a scene of wreckage, the Convoy who had just donated to the miners, were helped by them with food and tools to mend the vans and 45 gallons of diesel, and gave their addresses for bail' (Convoy Arrested, Green Anarchist, Nov/Dec.84).

Snakes for a Rave & other Ludicrous Valentine's Tales

India

'The Delhi Police on Monday busted a gang of snake smugglers and recovered four cobras and about half-a-litre of venom after a tip-off from an NGO People For Animals (PFA). According to police, the venom extracted from these snakes was to be used in high-end raves planned for Valentine's Day in and around the national capital.

So far, snake smuggling for skins or species value was common. However, smuggling cobras for venom meant for raves has alarmed the police. They have arrested two alleged smugglers and booked them for illegally carrying cobras. According to police, venom and snake bites are preferred by drug addicts in raves these days. They suspected that the four cobras were being smuggled to bite junkies.

Police said this new found drug is popular in Delhi raves. Snake bite thus joins morphine, cocaine and the rest as a sort of exotic stimulant. Apart from four cobras, the police also recovered a dead snake. They were investigating the matter further. PFA got information about the smuggling of snakes and it consequently informed the police leading to the arrest of the accused.

PFA activist Gaurav Gupta said, "We had information that some cobra snakes and their venom were to be smuggled to Delhi from Rajasthan so we laid a trap to catch the smuggled snakes. Cobras are killed in large numbers and their venom is smuggled to Delhi and NCR to be used in rave parties for doping purpose," Gupta added.

(India Today, February 13 2012)

Cambodia

'Police will be deployed to guesthouses in Phnom Penh today, and at least one school has asked authorities to crack down on flower sellers in a bid to prevent young lovers indulging in Valentine’s Day activities including . The Phnom Penh municipal authority announced yesterday it would order “all guesthouses and hotels in Phnom Penh” to strengthen security to avoid “anarchy” on a day that is increasingly popular across Cambodia.

Mak Hong, police chief of the capital’s Sen Sok district, said he would send officers to guesthouses and Phnom Penh municipal police chief Touch Naruth has ordered owners to ensure couples who check in today are over 18. “We just want to prevent anarchy,” Touch Naruth said.

Chhun Sarom, director of Wat Koh high school, said truancy rates on Valentine’s Day had increased in recent years, but he hopes a video supplied by the Ministry of Education will encourage students not to skip school with their sweethearts today... Chhun Sarom has also asked police to ban flower sellers near his school'.

(Phnom Penh, 14 February 2012)

Malaysia

'Islamic morality police have arrested at least five couples in a Malaysian city for being intimate on Valentine's Day, local media reported on Tuesday. It follows similar operations in previous years.


The Star, the country's largest newspaper, reported that the couples were arrested at budget hotels in the Malaysian city of Petaling Jaya in the state of Selangor. The raids began at 12:30 a.m. local time and continued throughout the night, concluding at around 4 a.m. local time.

The five couples were arrested by officers from the Selangor Islamic Affairs Department (Jais) for alleged khalwa, an Islamic law that prevents unmarried Muslims from being alone with someone of the opposite sex. Those arrested were identified as men and women between the ages of 20 and 30, the report said. If convicted, those arrested on Tuesday face a jail sentence of up to two years and a fine of up to 3,000 Malaysian ringgit ($984).

Last year, during an operation called Ops Valentine, Islamic morality police in Malaysia also arrested more than 80 people for alleged khalwa. Another 61 people were also hauled up for 'indecent behavior' and were enlisted for counseling sessions with the department. In 2005, Malaysia's Islamic authorities issued a fatwa to prevent Muslims from celebrating Valentine's Day since it is associated with vice activities that are prohibited in Islam'.

(Channel6 News, 14 February 2012) 

Kraftwerk at the Lyceum, 1981

BBC Radio 6 have been having a Kraftwerk-themed weekend, based on the rather slender premise that it is the 30th anniversary of The Model getting to the top of the British singles chart. The track was actually recorded in 1978, but got a new lease of life and a number one hit in February 1982 on the back of the British synth-pop boom - which Kraftwerk were of course a big influence on.

I saw Kraftwerk play in that period and it was certainly one of the most memorable gigs I have attended. Live performances by the band in Britain were rare, and their gig at the Lyceum on 28 June 1981 was their first appearance in London since 1976 (and indeed only their fifth gig ever in the city). They were in the country as part of their 'Computer World' tour, the album of that name having been released in May. Four London gigs took place - one at the Hammersmith Palais and two at the Hammersmith Odeon, but it was the first at the Lyceum that I went to.

Poster for Kraftwerk's 1981 London shows

I can still vividly remember scenes from this gig, starting with the line of glamorously dressed new romantic blitz kid types outside the venue. There were the screens showing railway tracks during Trans Europe Express; the mannequins on stage during The Robots and most of all Pocket Calculator, where the four members of the group came from behind their machines and stood at the front of the stage with miniature electronic devices. In an act demystifying electronic music making they let people in the crowd generate sounds by tapping the keys on a wired-for-sound calculator. Arguably this was the group at their creative peak on the back of three classic albums - Trans-Europe Express, Man-Machine and Computer World - all of which they drew from at the gig.

Mary Harron reviewed the gig in the Guardian: 'On stage Ralph, Wolfgang, Karl and Florian stood before their synthesisers, dressed severely in black, backed by a wall of computers. As they proceeded serenely through their greatest hits video screens flashed bright geometric images and flashing lights put the audience in a pleasant state of trance... their concert was less like a visit to Metropolis than a store filled with marvellous clockwork toys'.

Review of the gig in The Guardian

Those marvellous toys had a fascination of their own - in that period most of us had never seen a computer outside of a special room at school. Synthesisers were becoming more accessible, but were still relatively rare. The school friend I went with actually made his own synth from a kit. I haven't seen him for years, but a quick search shows that he is now a professor at Oxford University with research interests including 'Phonetics, speech technology, laboratory phonology and computational linguistics' - how Kraftwerk is that?!

Steve McMahon, who was also at that gig, recalled: 'The Royal Wedding was about to happen and the riots in Toxteth – when me and my school mates went to see Kraftwerk play at the Lyceum in London. I seriously think that barring Iggy Pop a year later, at his drug addled most bizarre, this was one of the best gigs I ever went to'. 

Like Laibach later, Kraftwerk played around with totalitarian imagery such as uniforms which sometimes confused those who didn't perceive how they were subverting it with a critical intelligence. In a rare UK 1981 interview with Manchester's Beacon Radio, Ralf Hütter gave an insight into their thinking at that time: 'unfortunately a lot of control-oriented people have been using computers to store other people's data and take advantage of it. We didn't like that too much. In Germany there's very strong state control, a very strong bureaucratic system. The BKA have, I think, millions of people's data stored. This made us very upset. We're more concerned with working with computers in other directions: more creatively or productively, and not leave it to these kind of people who are only into compensating for their lack of love or personal acknowledgement. We are more interested in cooperating with computers as an extension of the creative side of the human being. Which I think is more the way society should be going: being more productive in expressing your ideas and fantasies and wishes, or visions. Anything that could help in making society a better place to live in, you know? And we feel we're only just starting to go in this direction, with the help of musical machines, computers or whatever it takes to put ideas across to other people. Communication between people in the technological society is what we are about'.

In the same interview he described 'The Man Machine' as being partly about 'certain aspects in society where people are mechanically reproduced, or bought and marketed, or robots: the original Russian word "robotnik" means "worker". That's really our identity, what we are'. Intriguingly he also said 'we're very much into situationists, so what we do now, and the next few steps, is what we're concerned about'. In 1981, nobody was name-checking the Situationist International in the media - was this really who Hütter was referring to? I wonder.

If Kraftwerk's influence in 1981 was particularly felt in the post-punk electronic scene (the Human League, Soft Cell, Cabaret Voltaire etc.), it was soon to spread even wider. A year or two later I remember hearing Afrika Bambaataa's Kraftwerk-sampling Planet Rock for the first time under the Westway at Notting Hill Carnival. Electro-funk, techno and so much more was to follow - but that's a whole other set of stories.