Tales from a Disappearing City

Tales from a Disappearing City is a new youtube podcast from DJ Controlled Weirdness (Neil Keating) exploring untold subcultural stories from subterranean London. First few episodes have featured Ian/Blackmass Plastics and Howard Slater and centred around 1990s techno and free parties, with a common thread being the Dead by Dawn club in Brixton. But an emerging theme is that people are not confined to one scene and there are lots of connections linking apparently separate subcultures - each of our lives being a thread that join the dots across time and space.

So now it's my turn, in the first of two episodes me and Neil focus on the early/mid-1980s and my experience of growing up in Luton, in the orbit of London but with its own scenes. We covered a lot of ground including:

- being a 'paper boy punk' - slightly too young to take part in first wave punk and first encountering it in tabloid outrage;

- punk in Luton (including UK Decay, their Matrix record shop, and anarcho-punk band Karma Sutra);

- the open possibilities of post-punk, as exemplified on the Rough Trade/NME C81 compilation (which I misdescribe as C82 in the interview!)

- seeing Mark Stewart and The Pop Group at the Ally Pally and at CND demo

- GLC festivals and events including the one where fascists attacked the Redskins and the Test Dept extravanganza (which Neil went to but I didn't)

- Luton 33 Arts Centre -  a link connecting the later 1960s Artslab scene through to punk and beyond;

- racist skinheads in Luton area and the general climate of violence;

- the influence of 1950s style in the 80s, clothes shopping at Kensington Market and Flip;

-  Luton alternative club nights and warehouse parties; 

- seeing Brion Gysin speak in Bedford library;

- Compendium bookshop in Camden;

- Anarcho punk including Conflict at Thames Poly and my hobby horse about No Defences being the greatest band in that scene even if they never really put out a record;

- the limits of the Crass and Southern studios sonic/stylistic/political template and how the actual scene was more diverse;

- punk squat gigs at the Old Kent Road ambulance station and at Kings Cross.

In the second episode me and Neil move on to late 1980s and 90s and discuss things including:

- Pre-rave clubbing - rare groove, Jay Strongman's Dance Exchange at the Fridge, Brixton; Wendy May's Locomotion in Kentish Town; the PSV in Manchester;

- the early 90s 'crusty' squat scene - RDF, Back to the Planet, Ruff Ruff & Ready and related squat parties at Cool Tan (Brixton), behind Joiners Arms in Camberwell and school in Stockwell;

- the free party scene partly emerging from this, parties in Hackney Bus garage etc.;

- 'world music' clubs including the Mambo Inn (Loughborough Hotel, Brixton) and the Whirl-y-gig (which I went to at Shoreditch Town Hall and Neil in Leicester Square at Notre Dame Hall, also scene of famous Sex Pistols gig);

- Dead by Dawn at the 121 Centre, Brixton;

- Criminal Justice Act and getting into history of dance music scenes; 

- Megatripolis at Heaven and emergence of psychedelic trance;

-  1990s clubbing explosion - so called 'Handbag House' clubs - Club UK, Leisure Lounge, Turnmills, Aquarium etc.;

- 'clean living in difficult circumstances' - glam house clubbing wear as extension of mod sharp dressing continuum;

- superclubs and superstar DJs including Fatboy Slim vs Armand Van Helden at Brixton Academy (1999)

- Reclaim the Streets- Brixton party

- the Association of Autonomous Astronauts - Disconaut division.

Some Brixton Nights - 1994/95

A few flyers and memories from my many nights out in Brixton, 1994/95:

The Duke of Edinbugh on Ferndale Road SW9, with its large garden, was often the starting point for a Saturday night as it was here that we would gather to find out where parties were happening and then head off afterwards to some bus garage in Hackney or wherever. In the age before mobile phones this involved people running down to the phone box and calling a free party phone line where they would leave a message saying where to go.  Sometimes there was dancing in the pub itself too - this flyer for a 'Warmin' Up Mix' with 'deep underground house and garage' from DJs Zeki Lin, Igor and Brian.

 

There were loads of club nights at the Fridge on Brixton Hill at this time - gay club Love Muscle and various trance nights (Return to Source etc.) as that emerged as a separate sub genre. X-ClaimNation Co-op was I believe a split away from Megatripolis, the Thursday night psychedelic/techno/trance club held at Heaven. Not sure they lasted too long in that form but I went to the opening night at the Fridge at the end of May 1995. Like Megatripolis the music was supplemented with stalls offering massage, face painting, smart drinks etc. Bit too much flute playing for my taste at the time, but hey.

Club 414 at Coldharbour Lane was a longstanding Brixton nightspot, run I think by Louise Barron and Tony Pommell from the 1980s through to 2019. Nuclear Free Zone was associated with the Liberator DJs so very London acid techno sound, that club night itself was still going  15 years later (2009).   This flyer is from November 1994, 'future-techno-trance' from Liberators, Cloggi, Phidget etc.

Chris Liberator and Cloggi again at this Rub Harder night along with Chiba City Sound System, a December 1994 benefit for Crisis at Christmas. Venue was Taco Joe's, a two-roomed railway arch (no.15) on Atlantic Road. This was a great little venue, basically a Mexican restaurant that turned into a club until it lost its licence. Basement Jaxx started out there, with their first night in October 1994.

Shambhala Sound System also put on nights at Taco Joe's, this one in January 1995

The former dole office on Coldharbour Lane closed in 1992 and was soon squatted for parties. The original crew who occupied it were evicted but then it was resquatted by the Cooltan collective. Think this party was in August 1995: 'rave in your face and all over the place with Offshore, Megabitch (all 3 of them), Erase, Medeema, Apple B, Foetal, Ian (disorganisation). Cold taps turned on. Rave on. Hardhouse, techno, jungle'. Unusual for people in this scene to still be using the word 'rave' by this time. 'Cold taps turned on' is a reference to the dubious practice in some commercial clubs of turning off cold water taps in bathrooms so that people had to buy overpriced water from the bar. Bar proceeds were often down as people on other 'refreshments' weren't that interested in drinking alcohol.

See also:

1987: Dancing in Brixton and Beyond

Dead by Dawn, Brixton 1994-6

Summer Rites 1997: Lesbian and Gay free festival in Brockwell Park

Reclaim the Streets Party, Brixton 1998

 

Annotated Archives at 56a Infoshop

56a Infoshop near the Elephant and Castle has been going for more than 30 years now as a small but perfectly formed radical social centre, bookshop and archive tucked in behind Fareshares Food Co-op at 56a Crampton Street, London SE17.

People have been invited to write a series of 'Annotated Archives' to highlight and reflect upon some of the huge amount of material crammed inside. The first series of these was launched in January 2023, but more are on their way.

In his contribution 56a lynchpin xChris highlights a few samples focusing on the labour, pain and love that goes into writing, printing and distributing: 'when you hold something from the archive in your hand, you are touching something that contains a labour of love from those who believed in it, producing it in various contexts and conditions and who, in thinking, in spreading the word virus, in getting it out, they believed it was part of changing the world!'

'Women's Squatting Histories and where to find them in the 56a Archive' does just  what it says on the tin, pleased to see some of the zines produced by friends in the 1990s such as Shocking Pink, Feminaxe and Bad Attitude getting their dues.

With so much to choose from 'R-Z' looks at a 'tiny selection of the zines in the 56a Zine Library' from between those letters

'Here 2 There EP', Adam Denton's contribution, is less a guide to parts of the archive than a reflection on the possibilities and limitations of archive documents to access the past, in the specific context of his interest in the scene around 1990s techno/speedcore club Dead by Dawn held at 56a's sometime Brixton sibling, the 121 Centre on Railton Road. I went there a lot and have written about it here so was of course interested in his take. 

'We can still talk with the living here and the dead. We can read the blogs. We can think about how noise was characterised then and what's the use? what do  you draw using noise now?, in the up-ticking criminalised sphere of just being about and trying to occasionally sleep.

'What we're most engaged with now and what we'll try to retain focus on, is the repercussions of noisey activity like DbD: how it came to be, what traces the tracks, themselves traces… If we take from the papers alone, it's difficult to know anything other than what we want to. There's some detailing of what goes on, we get a sense. But the reality of that lived time cannot be accessed, people may say, say many things, many misremembered, obscured or clarified by drug haze or….

After leaving hours earlier I eventually arrive home, sit for a while at the kitchen table, beginning to read again. Beginning Sadie Plant on Situationism again. […]  I type SP as she gave a lecture at  DbD at the 121 Centre according to the History is Made at Night blog, and I imagine her touching on it, on it somewhere. Dancing together in 93 is seeing me too glassy about other people's pasts’

‘communing at high BPM, pummelling and relentless music. I'm listening to some of that stuff as I write this, on the Praxis imprint. Wonder if it was about the kinds of people who were populating these nights: who was known, who was up for speaking before, what dissonance and breakage that kind of speech act engenders, in that context 1993 – what could happened here tonight? Spoken texts, becoming noise, cracks the buildings of amplified continuum. Was it friendship alone, shared purpose, the re-purposing where you went somewhere’

[my memory may be fallible but yes I saw Sadie Plant speak at Dead by Dawn in July 1995. According to the flyer she spoke on 'girls, music and other dangerous substances' if I recall correctly talking about some of the stuff that went into her book 'writing on drugs'. It was part of a night themed around 'cyber feminisms, grrrl DJs and she-core'. Most people turned up at the club much later, I think there was probably about 20 people max at the talk. I think I went from the talk to Club UK (then back to 121)  so was dressed for a glam clubbing night out in a silver Daniel James top and tartan trousers!]

Post lockdown party at 56a in July 2021 to celebrate its 30th birthday

The next set of Annotated Archives will be launched at 56a on Thursday 27th April, 6-8pm. I've written one of them so come along for a chat, nibble stuff & grab free zines

 

Ultimate Leisure Workers Club

The Ultimate Leisure Workers Club is an interesting project based in Vilnius in Lithuania focused around the radical politics of clubs and parties:

'Insurgent workers’ minds and bodies turned u on dance-floors long ago, anticipating their liberation from the factory's mechanistic discipline. Clubs were sites that integrated political education and entertainment; social recovery and antagonistic social articulation. Then arrived the weekend, ripe with evening temptations, as both a working class victory and a bargain with capital for an ever more dutiful submission to the pains of the working week. Whether mere toxic retreats into a world of purchased pleasures serviced by instrumentalized hospitality workers; or as maddening aspirations toward collective self-abolition in the crushing beat of capitalist ruins, spaces of nightly leisure are energized by a social desire for what Kristin Ross calls communal luxury: a communistic drive for collective prosperity that capitalism recuperates and exploits.

The Ultimate Leisure Workers' Club hopes to draw from these political potentials, linking up with groups and individuals involved in the struggle to open new terrains for social liberation and communal joy in the night and beyond'.

They are holding an online assembly next week, and as part of it me and Christoph will be giving a talk:

The Club is the Centre of the Invention of New Needs: Dead by Dawn, 30 Nov 2020, 19h (UTC+2)

'Neil Transpontine and Christoph Fringeli will discuss the seminal Dead by Dawn parties held between (1994-1996) at the squatted 121 Centre at Railton Road Brixton. Crossing self-publishing, visual and sonic experimentation, exploratory theory, social spaces, new communications technologies and the emergence of ludic and networked politics, the Dead by Dawn parties were a catalyst for exploring a leisure time clawed back from the social compulsion to labour.

Christoph is the founder of Praxis Records and the editor of Datacide magazine for noise and politics. He was part of the collective responsible for Dead by Dawn. Neil Transpontine attended Dead by Dawn and has written about it for his blog History is Made at Night. He is a regular contributor to Datacide magazine'

Other speakers include Annie Goh, Kristin Ross, Agne Bagdzunaite, Mattin, Noah Bremer, Arnoldas Stramskas and Valda Stepanovaite. Full details here

For previous posts about Dead by Dawn see:

Dead by Dawn, Brixton 1994-6

More Dead by Dawn

Poll Tax Archive (3): Community Resistance Against the Poll Tax

'Pay no poll tax' posters like this one graced many a window during the anti-poll tax movement.  This particular one was produced in March 1990 by Community Resistance Against the Poll Tax,  a group based in the South London borough of Lambeth. The address given on the poster is 121 Railton Road SE24 - home of the 121 anarchist centre and, as discussed here previously, the Dead by Dawn parties. 

There were many political tendencies within the movement, with debates and disagreements about the way forward. In Lambeth there were actually three borough wide groups - Lambeth Against the Poll Tax (Labour left and Socialist Workers Party); Lambeth Anti Poll Tax Union (dominated by 'Militant', now the Socialist Party) and Community Resistance Against the Poll Tax (which included  anarchists and assorted non-party activists).  The key political difference was the first two (LAPT and LAPTU) placed a great emphasis on lobbying the local Labour council not to implement the poll tax, which Community Resistance dismissed as naive. At the time this leaflet came out the Council had in fact just agreed to set the poll tax amount for Lambeth despite a riotous demonstration outside the Town Hall. 

Here's the text from back of the leaflet:

Fight the poll tax

The demonstrations at town halls in March have shown just how much anger there is against the poll tax. It’s obvious that, no matter what anyone says, mass non-payment is becoming a reality. The reason is simple – millions simply can’t afford to pay, millions more don’t want to.

But we can’t defeat this horrible new tax without organisation. All over the place you meet people who are saying “I’m not paying, I don’t care what they threaten me with“. This is great, but in a few months time any of these people could have been worn down by the massive campaign of lies that there will be in the media about how many people are paying, by well-publicised threats of court action by councils, by council snoopers hunting for those who haven’t registered, by the feeling that perhaps they will be among the unlucky few that the council has got the resources to chase up. No doubt there will be no shortage of ‘advice’ available from central and local government about how to tighten our belts to pay our poll tax and how to claim the pathetic rebates that are on offer. Any of us could become “waiverers” if we remain isolated.

We can’t expect “friends in high places” such as councillors or MPs to fight the tax for us. It’s up to us. Labour Party leaders call it “Maggie‘s tax“ but the real position on it was recently summed up by the shadow environment secretary, Bryan Gould, who said “we say pay the bill. However difficult and unpleasant and objectionable it may be..". The experience of Scotland, where the tax has been introduced a year earlier, has shown that Labour councils are just as enthusiastic about sending in the bailiffs against non-payers as their Tory friends are. But in Scotland people have resisted, there has still not been a single successful “warrant sale“ of  non-payers possessions. This is because the bailiffs have been physically resisted by large crowds.

Community Resistance against the Poll Tax is a group of people who live in the Brixton/Clapham/Stockwell/Vauxhall area. We are trying to break down isolation and support anybody who refuses to pay. We intend to resist the councils, the bailiffs and the media liars. We don’t want people to be martyrs who suffer for their principles. If we are organised it will be the implementers of the tax who will be sick with worry, not us. Lots of things could happen in the next year or so. They could get rid of Thatcher , they could call a general election… anything to make people think “we don’t have to fight now, things will be OK“. But we can’t feel safe until this evil tax has been made completely unworkable and the government and councils give up trying to implement it. 

We want to:

1. encourage as many people as possible not to pay. We will do this by means of public meetings, street stalls and the distribution of leaflets and newsletters to keep everyone informed. We have already been doing this kind of thing for well over a year. We need as much information as possible about what the councils are up to. If you know anything interesting… Get in touch!

2. encourage the formation of other local anti-poll tax groups. If you know someone who is thinking of setting up a group in another area put them in touch with us. We can help with organising public meetings, getting stuff printed etc

3. organise well-publicised acts of mass defiance against the tax, such as burning payment books

4. Exercise disruptive pressure against offices involved in implementation of the tax by means of demonstrations, pickets and occupations. We would also like to put similar pressure on employers who deduct payments from the wages of employees refusing to pay the tax, as the courts can require them to do.

5. Make links with workers who are in a position to directly disrupt implementation, either through open strike action or just through being “difficult". If you work locally in the workplacess involved in poll-tax implementation (e.g. DSS, council, company supplying services to the council…) and you think there is some potential for resistance or you think you can feed us useful information, come along to one of our meetings. You will be very welcome.

6. Do anything else we can think off to frustrate the tax.

We hold meetings on alternate Wednesdays at Clapham Baths, Clapham Manor Street at 7:30 pm. The next few meetings are on the following dates: 4th April, 18th April, 2nd May, 16 May. We also sometimes have a public meetings at other venues in the area – look out for flyposting.

We are not paying

[as stated here, Community Resistance held meetings in Clapham; they also held regular cafe nights at the community cafe in Bonnington Square, Vauxhall. Original leaflet A4 printed on white paper]

More on the poll tax:

Poll Tax Archive (1): Hospital workers say: 'we're not paying': North Middlesex Hospital anti-poll tax leaflet, 1990

Poll Tax Archive (2): St Valentines Day 1991 - Massacre the poll tax (in Lambeth)

Trafalgar Square Poll Tax Riot Memories

'Mobs riot in the West End': Poll Tax Riot press coverage

I am going to be giving a talk on the 'Poll Tax Rebellion - 30 years on' as part of the Datacide #18 magazine launch event on Friday 21 February 2020 at Ridley Road Social Club, 89 Ridley Road. London E8 2NH (with followed by music courtesy of  Praxis and Hekate - details here)

Panacea: 1990s Cardiff zine from 'techno underground'

Panacea was a mid-1990s zine from Cardiff ('Panacea West') and Southsea ('Panacea South').

Panacea 'future sounds collective' aimed 'to provide information distributed from the techno underground, bring quality music to your ears, and find ways of getting to best future sound parties'.

This issue (number 3) from 1995, includes articles on Jeff Mills and DJ Torah, and a round up of London techno nights, including Digital Nation at Bagleys, Kings Cross and of course Dead by Dawn: 'next Dead by Dawn will continue the party with cutting edge hardcore and hard experimental sounds to challenge the techno establishment. The next Dead by Dawn (121 Railton Road, Brixton) is on Nov 4, line up includes Torah'. I remember chatting to the Panacea crew at Dead by Dawn, nice people.

The front page mentions 'Insurrection in Hyde Park' and the issue includes a review of the pamphlet I wrote at the time about the October 1994 anti-Criminal Justice Act riotous demonstration in Hyde Park, 'The Battle for Hyde Park: ruffians, radicals, and ravers 1855-1994'.

With Datacide magazine we are planning an event at the May Day Rooms in Fleet Street, London,  on October 19th 2014 looking at the anti-CJA movement and also featuring a panel discussion on the radical/techno zine scene at that time. Put the date in your diary, it will start at 2 pm and carry on into the evening with films and music (further details here soon).  We would be interested in hearing from people involved in that movement/demonstration, if anyone from Panacea is out there (Arlene/Sian?) get in touch as we'd like to have you there too!

History is Made at Night in The Wire

Back in December 2013, The Wire magazine featured this blog in its 'Unofficial Channels' column:

(from The Wire, December 2013 -
 nb John Eden is incorrectly described here as the publisher of Datacide, though he is a contributor to it)

The item was based on a short interview with me by Dan Barrow, which I've reproduced below as it sets out some of my thoughts on 'History is Made at Night' in a bit more detail:

How did you come to start the blog? What kind of interests fed into it?

I stated the blog in early 2007. The name came from a byline on a poster for ‘The Last Days of Disco’ - at the time I was unaware of the 1930s film, History is Made at Night.  The origins of it go back to the mid-1990s, when I first started writing about the history of dance music scenes – for a while I had a column in Mixmag on this called Back in the Day, and I also had stuff published in Eternity and Alien Underground zines. I guess every generation thinks they are the first to discover staying up all night dancing, but I was and am fascinated by how people have been doing this for centuries.

The blog also has its roots in the 1990s free party scene, in particular Dead By Dawn techno/speedcore night at the 121 Centre in Brixton. There was a scene of people around it who were thinking and writing about the political/social implications of electronic dance music, with zines like Technet and Alien Underground. So the blog is very much my expression of an ongoing collective project. I still write for Datacide, which also emerged from that same milieu.

The blog's described as being about "The Politics of Dancing and Musicking" - how do you feel dancing and (radical) politics intersect?

In a negative sense, dancing has always been subject to political regulation. As I said at the beginning of the blog there have been ‘rules about when, where and how they can move, rules about who is allowed to dance with who, rules about what dancers can wear and put inside their bodies…’.  Resistance to this regulation has been politically significant, from the 1969 Stonewall riots to the 1990s movement against the ‘anti-rave’ Criminal Justice Act and beyond.

In a positive/constitutive sense, dancing affirms community and can create new social relations between those involved. I took part in Reclaim the Streets, when the fusing of sound systems and protest was taken to a new level in the UK. In more recent movements, such as the student protests of 2010-11, we’ve also seen how sound systems can help fuse together isolated individuals into a social force.

What are your musical interests? I remember reading quite a lot of stuff on the blog about rave, jazz, UK reggae...

I suppose the focus of the blog is less on the music as such than on what happens when people come together around a music. So although I am not a massive jazz fan, I am very interested in the 1940s/50s London jazz scene as it prefigures later bohemian counter-cultures and indeed as far as I know gave birth to the word ‘ravers’! My personal musical involvements have ranged from anarcho-punk, to house and techno, to playing in pub folk sessions.

How do you keep blogging? I ask partly becuase a lot of the blogs from that era have more or less disappeared - Woebot, Beyond The Implode, Sit Down Man, The Impostume...

In starting HIMAN I was partly prompted by that wave of music blogs such as Blissblog and Uncarved (the latter’s John Eden is somebody else I first met through that Dead by Dawn scene). Obviously people’s focus shift sfor various reasons, some of that first generation of music bloggers used their profile to move on into publishing books and articles etc. It’s obviously true that the time I have spent blogging could have been put to use in writing several books, but maybe that desire to monumentalise your writing in an object that sits on your shelves is anachronistic – though I am not averse to it. Actually I have been talking to somebody about publishing a History is Made at Night book, but we shall see. What I still like about blogging is its immediacy - the ability to respond to things in real time. And the fact that unlike with Twitter, you have the space to do more than just express a quick opinion.

The blog goes up and down in terms of the time I can put into it, what keeps it going is that every so often something comes along that make its concerns seem particularly relevant – such as the Form 696 row about policing grime events. Also when people express an interest in it I feel guilty that I haven’t posted for a while and am stung into a burst of action!

I also wanted to ask about the Transpontine blog. What do you feel distinguishes South London as a place, especially musically?

If you start exploring the history of music scenes you can’t help but be struck how certain locations recur as important over the decades (e.g. Soho). As I live in South East London, I’ve tried to document this in relation to my own area at another blog, Transpontine. Deptford and New Cross for instance have been important at various times for reggae sound systems, punk and other scenes. I don’t think it’s necessary to fall back on a supernatural spirit of place to explain this, as Peter Ackroyd sometimes seems to – there are material processes at work. Partly it’s about the mix of people created by migration, location of colleges etc. Partly it’s about them having space to practice and perform – so you need a combination of plentiful/cheap rehearsal studios and pubs, clubs and other venues. As with art scenes, music is sometimes valorised for its contribution to creating a ‘buzz’ for regeneration, but the same process of rising property values threatens to undermine its infrastructure  as pubs and ex-industrial buildings get converted to flats.

Praxis Records 20th Anniversary Party

Looking forward to next Friday's Praxis records party in London, all aboard the MS Stubnitz boat (facebook events details here) .

Praxis released its first records in November 1992, and twenty years later is still going strong. Started by Christoph Fringeli in South London, and associated in the mid-1990s with the famous Brixton Dead by Dawn parties, it is now based in Berlin. It has stayed true to its mission of putting out sounds from the noisier, faster, more experimental, but still very much partyable end of electronic music. There's a great line up next week, with various people associated with Praxis and related projects at various times:

- Bambule - http://soundcloud.com/touchedraw
- Base Force One - http://soundcloud.com/praxisrecords/
- Controlled Weirdness - http://soundcloud.com/dj-controlled-weirdness
- Dan Hekate - http://hekate.co.uk/
- DJ Stacey - http://soundcloud.com/noyeahno
- DJ Scud (Ambush/Sub/Version)
- Eiterherd - http://widerstand.org/
- FZV - http://soundcloud.com/fzv
- Kovert - http://soundcloud.com/kovert
- Somatic Responses - http://soundcloud.com/somatics
- Warlock - http://soundcloud.com/warlock

VJ: Sansculotte

The boat is located at King George V Dock, Gallions Reach (DLR-Station), Royal Docks, London - it is a stationary boat, so you can get on and off when you like!


Doors open 11pm on Friday 2nd November, music starts midnight and goes until 6.

Tickets on the night: GBP 10.00.  Guest list: GBP 5.00 (email to praxis(at)c8.com for guest list with subject header “stubnitz guest list”)

The venue itself will be worth the effort. The MS Stubnitz is a former East German deep-sea fishing vessel, converted in 1992 to a floating cultural space. It came over to London earlier this year for the ill-fated Bloc festival. In fact, as chaos and overcrowding ensued on shore, leading to the cancellation of the festival, the party on the Stubnitz went fine by all accounts, with DJ Controlled Weirdness and others holding it together.

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.




1987: dancing in Brixton and beyond

The Acid House moment of the late 1980s, like the Punk moment a decade or so previously, is often presented as a kind of Year Zero where something entirely new exploded against a backdrop of boredom and mediocrity. To sustain this narrative it is necessary to pretend that nothing much was going on beforehand. Simon Reynolds' (generally excellent) Energy Flash is a case in point: 'In 1987, London clubland was as crippled by cool as ever. The Soho craze for rare groove (early seventies, sub-James Brown funk) represented the fag-end of eighties style culture, what with its elitist obscurantism... and its deference to a bygone, outdated notion of 'blackness''.

For me personally, the house and techno scenes of the early 1990s were a period of unprecedented intensity. But was the time before it really so dull? Not for me. January 1987 was the time I first moved down to live in London, initially squatting on Brixton's Tulse Hill Estate while working in Lambeth Council libraries by day. I remember that year as being a time of great musical innovation, as well as appreciation for some fine older music.

It was a time of amazing electronic beats - 1986 saw the release of Janet Jackson's 'Control' (produced by Jam and Lewis), 'Who is It?' by Mantronix and Joyce Sims' 'All n All'. A time when the possibilities of sampling were first being explored - 'Pump up the Volume' by MARRS and Coldcut's 'Say Kids What Time is It?' both came out in early '87, as did KLF's notorious '1987 - what the f*ck is going on?'. It was the golden age of Def Jam, with 'License to Ill' by the Beastie Boys and Public Enemy's debut 'Yo! Bum Rush the Show' both coming out that year too. I remember lying on the beach in Majorca that summer listening to it - if that was 'outdated blackness' it sounded good to me (though the big track that summer in Majorca was 'I Found Lovin'' by the Fatback Band, must have danced to that every night). And yes, a time of house music breaking through - Steve 'Silk' Hurley's Jack Your Body went to number one in Britain in January '87.

(Public Enemy actually played at the Brixton Academy in 1987 with Eric B & Rakim, as did on another night Run DMC and The Beastie Boys. I didn't go to these gigs though did see Public Enemy there a couple of years later)

In clubs you would hear an eclectic mix of all this with earlier soul and funk sounds. The latter was partly being rediscovered as a result of checking out the source of hip hop samples. For instance I remember dancing to Jean Knight's Mr Big Stuff at Wendy May's Locomotion at the Town and Country club in Kentish town, a Friday night feast of Stax, Motown and Northern Soul. Like many people, I'd first heard the chorus as a sample in 1987's Mr Big Stuff by Heavy D and the Boyz.

A Wendy May chart of tracks from the Locomotion - not sure of source of this, evidently a 1980s music paper!

'Free bus to Trafalgar Square from 1:00 am'

One of the first clubs I went to in London '87 was a night called Wear it Out, in a room above a pub in Brixton - the Loughborough Hotel. Music was a mixture of classic soul/funk and new beats. I know it was there that I first heard Prince's Sign o' the Times, which also came out that year. The same venue became a big part of Brixton nightlife in the late 1980s/early 1990s, going on to become a gay club where they played lots of Stock Aitken & Waterman dance pop and then from 1989 to 1997 the home of the Mambo Inn, legendary Latin & African music club.

Wear it Out flyer posted on Twitter by Ian Marsden, who recalled: 'We lived above the taxi office opposite and got a  mainly local crowd from leafletting  in Brixton and Camberwell. Prince was a staple. Collaborators/DJs were @deborahmarsden1, @WyattBedford, Susie Bonfield, Gin Murphy and @LucyOBrienTweet' (Lucy O'Brien, sometime NME journalist and author of books on women's music, recalls that she played Sign O' The Times DJing there. Apparently fellow NME writer Stuart Cosgrove also DJ'd there).

Danse Chase (or Dance Chase) upstairs at the Alexandra at Clapham Common had a similar musical mix of old and new. I remember hearing tracks there from Michael Jackson's Bad LP, another 1987 classic, on the day it came out. The image on the membership card, with its Keith-Haring-meets-the-Aztecs figures, was repeated on banners around the walls. I believe they were designed by promoter Kev Moore.

Danse Chase diversified into Northern Soul with what became the Southside Soul Club (some good memories of that place at Soul Source - photos of Dance Chase also sourced from there). They also had a jazz night (Hi Note), which was where I once saw Slim Gaillard.

This short film of dancer Keb Darge was shot at the Alexandra in that period:

Another Northern Soul night was Agent 00-Soul at the George IV in Brixton Hill. I remember there being some serious dancers there, including a guy in a wheelchair who put my wannabe Wigan Casino moves to shame.

Also went out sometimes to the 121 club in Brixton, the squatted anarchist centre at 121 Railton Road (later home to Dead by Dawn). Some friends of mine from the South West London Direct Action Movement put on a party there that year, I recall flyering the Prince Albert pub and then dancing to disco in the basement at 121.

One of the biggest nights was Dance Exchange at The Fridge on Saturdays in Brixton, a big dancefloor with banks of TVs around it. 1970s 'Rare Groove' was a big part of the sound there, with great tracks including Maceo & The Macks 'Cross the Tracks', Bobby Byrd's 'I know you got soul' and The Jackson Sisters 'I believe in Miracles'. But plenty of contemporary sounds too. And yes I wore the uniform of black denim (bought from Allders in Croydon) and Doc Marten shoes, with flat top from Andy's/Haircut Sir? at bottom of Tulse Hill.

Fridge programme, March 1986 (from Phatmedia)

It was a similar mix of the old and new at the PSV club in Manchester where I went a couple of times in that period (the club in Hulme, also known as the Russell Club and the Caribbean Club had previously been the location for the first Factory club). This flyer from 1987 gives a sense of the variety of music to be heard out in that year: Tackhead, Trouble Funk, Sly & Robbie, Eric B, Joyce Sims, Mantronix, Prince etc. (there's an account of PSV by Mancky, who recalls tracks including Jocelyn Brown ‘Somebody Else’s Guy’, InDeep ‘Last Night A DJ Saved My Life’, Gwen Guthrie ‘Nothin’ Goin’ On But The Rent’, A Certain Ratio ‘Shack Up’ and Funkadelic 'One Nation Under a Groove').

The PSV - I didn't realize until recently that stood for Public Service Vehicles, it being at one time a social club for bus workers (photo by Richard Davies via Paul Wright on twitter)

Finally in Brixton there was the Prince of Wales, a gay club on the corner of Coldharbour Lane. A cheap night out - £1 in rather than £5 for the Fridge - my main memory of it is dancing to extended mixes of Madonna and Hi-NRG tracks like Taffy's I Love My Radio. There's still a pub there, but it's half the size of the old gay club which occupied that whole corner, including where the KFC is now. I think the club closed down in the late 80s having achieved some notoriety in the 1987 trial of serial killer Michael Lupo, who was arrested after being spotted in the place.

That gloomy ending aside, 1987 was a pretty good year!

(a really good take on London 1980s nightlife is You’re too Young to Remember the Eighties – Dancing in a different time, which Controlled Weirdness wrote for Datacide. Great tales of warehouse parties, the Wag, Mud Club etc. and the times when almost all legal clubs closed by 2 am)

Update, October 2021:

Found at archive.org, a review of London nightlife from issue no. 1 of LM magazine, January 1987 (pretty terrible Lifestyle Magazine not to be confused with later Living Marxism). The article mentions some rubbish clubs but does big up both Locomotion and The Fridge, the latter 'the hippest club outside the West End' with Jay Strongman playing 'Washington DC go-go, New York hip-hop, Chicago house music, old R&B and more traditional soul and funk in a cold but packed venue. While Brixton is not normally associated with trendiness, the multiracial mix that characterises today's club scene is no better expressed than here. Wear your Levi 501s'.  The Harp Club in New Cross (later the Venue) also gets a mention, didn't go Flim Flam night there but did go to indie/post-punk Million Rubber Bands/Totally Wired nights there.

@TheJazzDad on twitter noticed this article was written by Simon Goffe, later manager of Roni Size and working with Giles Peterson at Mistral Productions. 

'Come down to the Alexandra opposite Clapham Common tube... and blow your brains on a mixture of Northern and funk. Drinks are pub prices. Arrive early or you won't get in' (Black Echoes, 14 March 1987). Steppers at 414 Coldharbour Lane, Brixton also gets a mention - later Club 414.