Not going to attempt to comment on today's epic events in London, with the Government voting to increase student fees amidst riotous scenes, with the Treasury, Supreme Court, Oxford Street shops and Prince Charles's car all coming under attack. Many people injured by riot police charging in with horses and batons.
For now just going to post a few photos and report what I saw. At lunchtime crowds came down the Strand and into Trafalgar Square then on to Parliament Square.
As this sound system came into Trafalgar Square it was playing Damian Marley's Welcome to Jamrock and Tribe called Quest 's 'Can I kick it?'. People were bouncing up and down. Then I heard it playing Benga and Coki's Night.
Interestingly the BBC's Paul Mason has written today of the 'Dubstep rebellion':
'The man in charge of the sound system was from an eco-farm, he told me, and had been trying to play "politically right on reggae"; however a crowd in which the oldest person was maybe seventeen took over the crucial jack plug, inserted it into aBlackberry, (iPhones are out for this demographic) and pumped out the dubstep.
Young men, mainly black, grabbed each other around the head and formed a surging dance to the digital beat lit, as the light failed, by the distinctly analog light of a bench they had set on fire. Any idea that you are dealing with Lacan-reading hipsters from Spitalfields on this demo is mistaken.
While a good half of the march was undergraduates from the most militant college occupations - UCL, SOAS, Leeds, Sussex - the really stunning phenomenon, politically, was the presence of youth: bainlieue-style youth from Croydon, Peckham, the council estates of Islington' .
(though while there was certainly dubstep being played, as Dan Hancox notes on Twitter, the sounds of grime, rap and bashment were also prominent: 'they banned grime from the clubs, now THERE ARE 300 KIDS RAVING TO POW IN PARLIAMENT SQUARE' (Lethal Bizzle's Pow).
I also heard another sound system entering Trafalgar Square playing John Lennon's Working Class Hero!
There was the usual percussion...
... and the not so usual bagpipes:
Later in the evening on the Victoria Embankment there was what seemed to me to be an attempt to use music to pacify the crowd with a National Union of Students bus playing music and then telling people to disperse. Bizarrely they had hired private stewards (SFM) who were blocking the road to stop demonstrators heading down to the House of Commons where a line of riot police were guarding the entrance to Parliament Square near to Westminster Bridge. People pushed past the stewards who got very aggressive - two of them shoved me as I walked through afterwards.
A couple of hundred then formed up at the police line, including this trumpet/guitar duo who were playing 'A message to you Rudi'.
I went round to Trafalgar Square having heard that there was an occupation going on at the National Gallery. Then around half past seven a crowd surged across Trafalgar Square and there was an attempt to set alight to the big Christmas Tree - no doubt inspired by the burning of the tree in Athens during the December 2008 riots.
The crowd of several hundred started going up Charing Cross Road and then on to Oxford Street. The police had totally lost control, in fact they were nowhere to be seen with the exception of a couple trying to keep up. People were blocking the road with rubbish bins etc. and on Oxford St there was lots of chanting outside the shops targeted recently in the UK Uncut campaign - Vodafone and Topshop closed their doors. But I didn't see any windows smashed. I doubled back down Oxford Street where another crowd had emerged by Oxford Circus, with police pouring out of vans. This time the main Topshop window on Oxford Street had been broken, and 'pay your tax' painted on it.
Although by now police had formed across the road, they didn't seem to know what to do. Oxford Street on a Thursday night before Christmas is full of shoppers and tourists and it wasn't easy to tell who was standing around excitedly watching and taking photos and who was a protester. Every so often the police would surge forward and shoppers, tourists and protesters would scatter, then another stand off started.
In the last month a sustained movement against austerity has emerged seemingly out of nowhere. Since the student demonstration/riot in London on November 10th there have daily protests, meetings and occupations in towns and cities all over the UK. I have found myself wandering down Whitehall surrounded by hundreds of school students on an unofficial demonstration, seen students training for direct action in the occupied library of my local university (Goldsmiths) and swapped ideas with people from Brazil, Italy and Greece in a Laboratory of Insurrectionary Imagination workshop at the Arts Against Cuts weekend. I have been at a public meeting of 500 people cheering a 15 year old talking about organising a walk out from his secondary school.
What has been impressive is the innovation and the rapid circulation of struggles. A group of school students from Camden School for Girls visited the occupation at University College London - today 100 young women have occupied Camden School for Girls. As far as I know this is the first occupation of a school in London for more than 30 years! (anyone know differently let me know).
A 1977 Occupation
The most recent school occupation I have come across was from 1977: ''Sixth formers at Wanstead High School, east London, occupied their common room and front hall yesterday in protest against education cuts. 'We have a lot of support in other schools and our teachers are sympathetic' Richard Boyes, aged 17, a reprsentative at the school of the National Union of School Students, said". The occupation followed a 12 day occupation at the University of Essex "against Government increases in tuition fees" (Times, March 19 1977).
Sheffield Occupation dance off
Reported previously on the occupation dance offs in Oxford and UCL. Here's another one from the occupation at Sheffield University:
Next chapter tomorrow, with the call to Shut Down London on the day Parliament votes on student fees.
When Walter Hill's film The Warriors was released in 1979, there were fears that it would lead to an explosion of gang related violence. Watching it today the violence seems mild and indeed it seems incredibly camp, as leather vest-clad street gang the Warriors make their way back home to Coney Island fighting off other equally implausibly-dressed New York gangs along the way.
Musically my favourite scenes are those featuring the radio DJ who broadcasts a coded commentary on the gang battles with lines like 'All right now for all you boppers out there in the big city, all you street people with an ear for the action' before playing Nowhere to Run as a threat to the Warriors.
Then there's the scene where the Warriors are enticed into the club house of The Lizzies, an all-women gang who promise 'Let's party a little, get something going'. You don't need a PhD in queer studies to work out that Lizzies suggests 'Lezzies', with women dancing together to "Love Is A Fire" by Genya Ravan. Of course the welcome is a trap and as the women pull out their weapons a hapless warrior shouts 'The chicks are packed'. The film is loosely based on an ancient Greek story, so The Lizzies also stand for the Sirens.
Update: As mentioned in the comments, a sample from the film features in the mid-1990s house track Can You Dig It by Mark the 909 King (sample kicks in at about four minutes):
The Can You Dig It sample comes from a speech by gangleader Cyrus early in the film, where he calls for the gangs of New York to unite and take over the city:
This speech is also sampled in Can U Dig It? by Pop Will Eat Itself
So many student protests in the UK in the past couple of weeks that I can't keep up, let alone follow what's happening in Italy and elsewhere. Which is a good sign I think.
On Tuesday things were moving so fast that when I turned up at London's Trafalgar Square the whole demonstration had moved on unexpectedly through the snowy streets of the West End. On the previous Wednesday in Trafalgar Square there was an amazingly lively crowd, with lots of school students and others climbing all over Nelson's Column. We headed off down Whitehall and within half an hour most of the crowd were surrounded by police where many remained 'kettled' until late in the evening. But not deterred, less than a week later a few thousand were braving the freezing cold to demonstrate again. Interesting times.
Plenty of time to ponder this significance of this later on, for now just a few more notes on the musical aspects. There were a couple of small 12v sound systems on the 24th November London demo including this one, which was playing hip hop when I saw it - to be precise Modern Day Slavery by Joell Ortiz/Immortal Technique.
Lots of other music and dancing going on. Here's students dancing during the occupation of University College London (UCL):
But what is the tune of the of the movement so far? Unexpectedly one contender is from the soundtrack of a film made in 1980. On this week's protests GdnEdinburgh noted: 'Student protesters are singing the Darth Vader tune as police move in to guard the door at the Scottish Parliament'. Meanwhile on the same day in London, Tanya Gold reported: 'We gather at Trafalgar Square at 12 and run. The protesters say they do not want to be kettled like last week in Whitehall. And so the students, a block of teenagers with a sound system that plays the Imperial March from Star Wars, run under Admiralty Arch and into the Mall, then past the Treasury and into Parliament Square'. Two weeks previously on the first big student demonstration in London, Luke Young from Swansea posted on Twitter 'Students on this bus hummed the Darth Vader imperial march as I walked past earlier. They will feel the force later' .
The Imperial March, aka the Darth Vader theme, was composed by John Williams and first featured in the second Star Wars movie, The Empire Fights Back. CoincidentlyIrvin Kershner- the director of the film - died this week.
The ultimately successful fight of the Jedi against the Empire is now an established myth for rebels everywhere. The Fight the Imperial Forces image below comes from Alec Empire's 1994 album Generation Star Wars.
Today is World AIDS Day, a day for everyone to reflect on the ongoing global health disaster that is HIV/AIDS. For me personally, a time to remember my time in the 'AIDS Wars' as a HIV worker and sometime activist in the early 1990s, when prejudice was at its height and medical treatments were in their early stages. A time too to remember those who haven't made it through, like 'Jane', one of the founders of Positively Women who I met at a World AIDS Day event I helped organise and died not long after.
On World AIDS Day 1991 (or to be precise, the Saturday before - November 30th), I took part in a demonstration at Piccadilly Circus. It was quite small - probably only about 100 people - but fairly lively, featuring the famous Sisters of Perpetual Indulgence radical drag nuns. People sat down in the road and chanted, among other things, 'we're here, we're queer, we're not going shopping' before the police piled in.
The following report by Nicola Field was published in the magazine Mainliners (for drug users with HIV), Issue 18, January 1992:
'On November 30th I went along to a peaceful demonstration in central London marking this year’s World AIDS Day. Organised by the London AIDS Coalition to Unleash Power (ACT-UP), the London Bisexual Women’s Group and the National Union of Students, the demo aimed to draw attention to the scandalous lack of information surrounding treatment, healthcare and safer sex/ drug use in this country. The action was interrupted by a violent and brutal attack by the police - more of this later...
Anyway, it was good to gather together in Piccadilly, around the statue of Eros. the Greek god of love, and inject a bit of sanity and reality into the chaos of Christmas consumerism. Quite a few passers-by hung around to read our leaflets. Wildly warpainted Sisters of Perpetual Indulgence from Britain and the US looked brilliant and kept everyone buoyant as a number of people spoke to the crowd about the need to fight back against ignorance, hatred, censorship and intolerance. What stuck in my mind was an American activist forcefully reminding us that we have to take drastic direct action, targeting the institutions which control our access to information and new treatments. Alison Thomas of the London Bisexual Women’s Group told how the media went to Moral Town after the death of Freddie Mercury: as you probably know, Freddie was accused of being a ‘vigorous bisexual’ (!), of living a depraved lifestyle - because he loved men and blamed for his own illness and death. She demanded that the government ensures we are given proper information about safer sex so that we can make our own choices. The number and gender of our partners is irrelevant when it comes to HIV prevention, so long as we take care not to exchange blood, semen and vaginal fluids.
After the speeches the crowd decided we needed to make a bit more impact and so we started an impromptu march down Haymarket, determined to make as much noise as possible about the fact that we and our friends and lovers are being sentenced to death by poor healthcare and education. I was about to plunge into the centre of the crowd, which had stopped the traffic by sitting in the road, when I was suddenly shoved aside by a flying policeman. Reeling against the railings, I watched in amazement as uniformed bully-boys charged in droves, their faces contorted by fear and hate, down to where the protestors chanted ‘People with AIDS under attack -fight back!” Motor vehicles, filled no doubt with good citizens devoting themselves to the sacred ritual of shopping, beeped and shuffled forward. One bus drove inexorably into the crowd, acting as a convenient battering-ram for the police. People were snatching their loved ones out of the way. Like a drowning woman I saw my life flash before me and I recalled my part in supporting transport workers’ actions against low pay and poor safety standards. Where is that solidarity now? Is AIDS not a working class issue? Six police vans had by now screeched on to the scene at breakneck speed.
Now we all knew that the police were out to break up the demo without so much as a moment’s dialogue. Things moved very fast. Officers began shoving marchers on to the pavement. Many people were grabbed and wrenched from their friends and thrown violently into the back of the vans. A woman came towards me crying. She had just watched as a man was handcuffed from behind, thrown face down on to the road screaming and his head repeatedly smashed on to the tarmac. I and others stood helplessly and horrified by the side of the road, terrified to move as officers barged about arresting people brutally and sadistically. One man was arrested for a1legedly swearing at a vanload of police. As he was thrown like a sack of potatoes into the van, five or six policemen hurled themselves on top of him. We stood crying out as the door slammed shut and the van sped away. I myself was too scared to take photographs, fearing violence. I wish I had been brave enough; I wish we as a community knew how to fight back.
Twelve protestors were arrested, others assaulted, many more were hurt and bruised and everyone was terrorised. The attack was nothing more than a legal exercise in bashing the ‘queers’. At a time when murders of lesbians and gay men are reaching persecution proportions, it makes you wonder whether violence against lesbians and gays, Black people, drug users and people with HIV and AIDS will ever be treated seriously as crime. It’s particularly ironic that this event took place whilst ‘leaders’ of the lesbian and gay communities are trying to meet with the Metropolitan Police to appeal to them to protect us.
But the police arrest us for showing love and affection in public, for standing up for our rights, for trying to show people what we are suffering, and for trying to warn the public about the dangers of HIV infection. They shut us up, no questions asked. So when I read that we should explain to the police what we are going through, and ask for their help, I say: Who’s fucking listening?'
This site celebrates the pleasures of the night, the possibilities of nocturnal encounters on the dancefloor, the sense of liberation in the hours not ruled by work. But of course music/dance scenes are not utopias, specifically they are not always places where women can leave behind harrassment, rape and violence - a point highlighted by the gang rape of a 16 year old at a rave in Canada in September and the rapes at Latitude Festival in England in July.
In her remarkable piece The Night and Danger, orginally written as a speech for a Take Back the Night march, Andrea Dworkin wrote:
'We women are especially supposed to be afraid of the night. The night promises harm to women. For a woman to walk on the street at night is not only to risk abuse, but also--according to the values of male domination--to ask for it. The woman who transgresses the boundaries of night is an outlaw who breaks an elementary rule of civilized behavior: a decent woman does not go out- certainly not alone, certainly not only with other women--at night. A woman out in the night, not on a leash, is thought to be a slut or an uppity bitch who does not know her place. The policemen of the night - rapists and other prowling men -have the right to enforce the laws of the night: to stalk the female and to punish her. We have all been chased, and many of us have been caught... We must use our collective strength and passion and endurance to take back this night and every night so that life will be worth living and so that human dignity will be a reality'
Since the mid-1970s, women in different parts of the world have staged Reclaim the Night/Take Back the Night demonstrations against violence against women - not simply protests but an assertion of the right to be safely on the streets after dark. London Feminist Network have been organising larger and larger annual marches since 2004, and in in central London last Saturday night around 2000 women took part in the Reclaim the Night march. There's a report at Women's Views on News.
Going to be doing some posts about the anti-rave Criminal Justice Act and the 1990s free party scene. 15 years ago the Act had become law and people were waiting to see how it would pan out. As we now know, with years of partying since, the CJA did not manage to stop free parties let alone shut down dance music, but it certainly made things harder. The following article was published in Squall, a magazine from the time that covered squatting, festivals etc.
Police shut down two Bank Holiday raves at the beginning of May, without resorting to the Criminal Justice Act.
Attracting more than 3,000 people over the VE day Bank Holiday weekend, one of the raves featured sound systems Virus, Vox Populai, Jiba, Oops and Cheeba City. United Systems (US) organised the party at a disused RAF base near Woodbridge in Suffolk. Jim, a spokesperson from US, was at the event when police arrived: “I heard one of the poiice officers say, ‘We’re sorry we’ve got to do this but we’ve got orders from above’. The previous night they’d come on site to ask us to turn the noise down and we adhered to that and struck a deal where they were going to leave us alone and we agreed we’d pack up Monday evening. We were miles from anywhere and weren’t in anyone’s way at all. But at two ‘o clock on Monday afternoon they arrived on site to shut us down.”
The police confiscated tens of thousands of pounds worth of equipment from all the sound systems present including Cheeba City’s 6K rig and their vehicles. However, as the CJA can only be used at night, the officers on site had to satisfy themselves with Public Order legislation to enforce the shutdown. Arguments between officers and several of the organisers ensued and four arrests were made.
US contacted Peter Silver, the solicitor who successfully defended the 23 people arrested at Castlemorton Common in 1992. Within two weeks all confiscated equipment had been returned
An event happening near Bangor the same weekend, featuring sound systems Transient and Babel, suffered exactly the same fate. Again in the middle of nowhere, the event was attended by up to 1,000 people over the weekend. Just after midday on Monday officers arrived to close the party down. Again organisers allege that the pollee said they were happy for the event to go ahead but they’d had orders from above. No arrests were made at the Bangor gig and although sound equipment was confiscated it was returned shortly afterwards.
A growing number of people on the free-party scene do not view these events as coincidental. There is a belief that, even where no public nuisance has occurred, local police officers are coming under increased pressure from the Home Office to eradicate unauthorised events'.
The ill-fated wedding of Prince Charles and Lady Diana Spencer was announced in February 1981. Unemployment was high amidst cuts and austerity and the first of what were to be a wave of major riots had taken place - the Bristol uprising of April May 1980 setting the tone for the following year's events.
A lot happened between the announcement of that engagement and the wedding itself on 29th July 1981. The Hunger Strikes in the North of Ireland set off a huge wave of demonstrations and riots there and across the world - 6 prisoners had died by the time Chas'n'Di walked down the aisle.
Meanwhile on the streets of England, tensions between (mainly) young black people and the police erupted in Brixton in April 1981 and then in July in towns and cities across the country. On the night before the wedding, there was rioting in Toxteth, Liverpool. Chief Constable Kenneth Oxford authorised the police tactic of driving Land Rovers at high speed towards the crowd - a 23 year old disabled man, David Moore, could not get out of way and was run over and killed. Nobody can seriously maintain then that the 1981 Royal Wedding 'brought the nation together' in any meaningful way.
The following cartoon was published in socialist magazine The Leveller (no.61, 24 July 1981), showing the royal cake besieged by rioters. Prime Minister Thatcher watches from the tier beneath the royal couple, while below her a line of riot police keep guard. The bottom of the cake reads Brixton, Toxteth, Southall - scenes of major riots at the time.
Funk the Wedding
I was at school in Luton at the time and on the day of the Royal wedding went with my sister to the Funk the Wedding carnival in Clissold Park in North London, an anti-royalist event organised by Stoke Newington Rock Against Racism. From what I recall it was unexciting but hey it was some kind of statement, with a good few thousand people there. Headliners Tribesman were a UK reggae band, who incidentally made a record about another London green space - Finsbury Park. Joshua Hi -Fi was a north east London reggae sound system. Don't know anything about Movement or Monkey Business who also played that day.
'Funk the Wedding -recently formed, but very dynamic, Stoke Newington RAR have organised a mini carnival for you to dance away your wedding day blues. If you haven't been invited, or can't stomach the Chas & Di show, come and see Tribesman, Movement, Monkey Business and Joshua Hi-Fi in Clissold Park' (Temporary Hoarding, Rock Against Racism zine, August 1981)
Advert for event from Leveller no.61:
Funk the Wedding, Clissold Park (my photo):
'Guess who WASN'T at that wedding... Eight thousand turned up in Clissold Park London' for 'Stoke Newington Rock Against Racism's amazingly successful afternoon of Militant Entertainment' (Socialist Worker).
[post updated Sept 2022 with addition of Socialist Worker report; Temporary Hoarding notice added December 2022
Alan Sillitoe died earlier this year, 50 years after he came to prominence with the classic post-war Northern working class novel, Saturday Night and Sunday Morning, first published in 1958:
'For it was Saturday night, the best and bingiest glad-time of the week, one of the fifty-two holidays in the slow-turning Big Wheel of the year, a violent preamble to a prostrate Sabbath. Piled-up passions were exploded on Saturday night, and the effect of a week's monotonous graft in the factory was swilled out of your system in a burst of goodwill...'
'Once a rebel, always a rebel. You can't help being one. You can't deny that. And it's best to be a rebel so as to show 'em it don't pay to try to do you down. Factories and labour exchanges and insurance offices keep us alive and kicking - so they say - but they're booby-traps and will suck you under like sinking-sands if you aren't careful. Factories sweat you to death, labour exchanges talk you to death, insurance and income tax offices milk money from your wage packets and rob you to death. And if you're still left with a tiny bit of life in your guts after all this boggering about, the army calls you up and you get shot to death ... Ay, by God, it's a hard life if you don't weaken, if you don't stop that bastard government from grinding your face in the muck, though there ain't much you can do about it unless you start making dynamite to blow their four-eyed clocks to bits'.
Sillitoe also wrote the screenplay of the film (released in 1960):
'I'm a fighting pit prop that wants a pint of beer, that's me. But if any knowing bastard says that's me I'll tell them I'm a dynamite dealer waiting to blow the factory to kingdom come. Whatever people say I am, that's what I'm not because they don't know a bloody thing about me! God knows what I am'
'I'm out for a good time - all the rest is propaganda!'
The book and film have been endlessly mined in popular culture ever since. The Arctic Monkeys famously quoted the 'Whatever people say I am, that's what I'm not' film line as the title of their debut album. The film line 'I want to go where there's life and there's people' inspired The Smiths' 'There Is A Light That Never Goes Out' (although the film's star Albert Finney - pictured above - refused his permission to be featured on the cover of 'Heaven Knows I'm Miserable Now'). The Specials recorded their own take, 'Friday Night and Saturday Morning': 'When my feet go through the door, I know what my right arm is for, Buy a drink and pull a chair, Up to the edge of the dance floor, Bouncers bouncing through the night, Trying to stop or start a fight,I sit and watch the flashing lights, Moving legs in footless tights'.
After the exuberance and excitement of Wednesday's massive demonstration (50,000+) against education cuts in London, the hangover is setting in as the inevitable witch hunt is launched against those accused of taking part in the clashes at Millbank Tower, where the headquarters of the Conservative Party are located.
So far more than 50 people have been arrested, with newspapers including the Daily Mail and the Telegraph running photos of protesters and urging people to shop them to the police. I hope some of the Facebook generation don't have to learn the hard way that there are times when filming every moment and sharing it with the world can put people at serious risk. No doubt in future protests too the police will be back to cracking heads Iain Tomlinson-style, now that they have 'shown' what happens when they are expected to show restraint. Today's Observer quotes a 'senior police figure' as saying 'In the past we've been criticised for being too provocative. During the next demo no one can say a word'. You reckon? A swifter and more brutal response at Millbank might have saved a few windows, but seriously injuring students would inflame the protest movement across the whole country.
So potentially dangerous as well as exciting times ahead, but it does feel like a turning point has been reached. Two years after the 'credit crunch', and months of phony war about austerity, the reality of cuts is beginning to be felt and the opposition to them is beginning to get serious. Nobody should dismiss this week's demonstration as just a bunch of students protesting as usual - in the history of the education system in the UK there has never been a student protest of this scale or militancy.
An article in the Evening Standard by the pro-cuts Chris Blackhurst on the day after the demonstration warned: 'The temperature is rising all the time. Already, we've had strikes from the Tube drivers and firefighters, and now students are taking to the streets. More groups are likely to follow suit... Disturbingly, the scene is set for more yesterdays. The police will undoubtedly be better prepared. But that is not to say there won't be trouble or that the rage is going to disappear ('Expect more rage if the rich and poor divide gets bigger', 11 November 2011).
The Government is clearly hoping that the diffuse nature of the cuts, with different groups affected in different ways over a long period, will prevent a united movement. They are trying their best to inflame division and resentment between those bearing the brunt of the cuts. For instance claiming that attacking benefits claimants is good for ordinary workers because it is 'unfair' that some people earn more from signing on than others do for working - easily remedied by increasing wages, rather than cutting benefits which will actually tend to put downward pressure on wage levels as a whole.
In relation to the students protests, we are told that they are being selfish and that they will be the privileged of the future. Some of them may be, but many of them will be 'lucky' to find a job when they leave college. Many of those protesting this week, including some of those arrested, were actually working class 16 & 17 year olds facing the axing of the Education Maintenance Allowance, the small payment to young people from the lowest income families to help them stay on at school or college.
In any event, the current generation of students will not be affected by the planned rise in fees as they are likely to be phased in for new students. So their motives cannot be dismissed as simply narrow-self interest (not that there's anything wrong with that). As Nina Power argued this week: 'The protest as a whole was extremely important, not just because of the large numbers it attracted, and shouldn't be understood simply in economic terms as a complaint against fees. It also represented the serious anger many feel about cuts to universities as they currently stand, and the ideological devastation of the education system if the coalition gets its way. It was a protest against the narrowing of horizons; a protest against Lib Dem hypocrisy; a protest against the increasingly utilitarian approach to human life that sees degrees as nothing but "investments" by individuals, and denies any link between education and the broader social good'.
Dancing in the streets
Anyway I was at home sick during the demonstration, so had to make do with watching on TV. Like at the G20 protests in London last year, the endless looping of the image of the windows breaking was used to convey a sense of an ongoing orgy of destruction. Clearly a time limited episode of smashing things up was part of what was going on, but there was also celebration. At one point on Sky TV they showed footage of people dancing to some wobbly bass and the presenter announced 'drum and bass is playing, and the beer is open'. Yes a cycle-powered sound system was on hand, according to a participant account at The Commune: 'A sound system started playing dubstep leading to a Reclaim The Streets carnival atmosphere'
Some good footage here of people dancing, with a megaphone-wielding MC:
This film provides a good overview of the whole event - clearly the main demonstration was carnivalesque, not just the Millbank protest, with people climbing on bus shelters etc:
* Rouge's Foam has a good post on the demo, including some reflections on the music used:
'That day music stepped out of the record collection paradigm and played a role in raising morale, coordinating chants, and most importantly cohering and drawing attention to ourselves as an organised collective. Just south of Trafalgar Square as the march was starting I was near the back and still stationary, tightly packed in and shivering with hundreds of strangers from dozens of different universities. Eventually a sound system started up and boomed out Cee Lo Green’s ‘Fuck You’, a powerfully catchy, upbeat song and a perfect choice at that moment.
Recognising the sentiment we all turned, smiled, and started dancing and singing along, our eyes meeting with a strong and implicit sense of mutual understanding and agreement. There were performers on instruments too. The music of drummers and samba bands contributed to the sense of a shared mood. Outside the Houses of Parliament a student brass band were playing a characteristically old-fashioned and very English sort of music, and yet it only enhanced the atmosphere of diverse voices contributing in every unique way to one cause. By the time I arrived at the Millbank buildings, sound-systems were playing techno, dub, and if I’m not mistaken, Aphex Twin’s ‘Come to Daddy’. Together with our reasons for being there, the sense of collectivity that music instilled that day was ten times as strong as that whipped up at the very best of raves, and I’ll never forget it'.
* Beyond the Implode has done a very funny riff on the line 'drum and bass is playing and the beer is open'. Wish I'd recorded that Sky broadcast, would be a great sample.
F. Scott Fitzgerald's 1922 short story The Popular Girl is centred around the figure of Yanci Bowman and her desire for more than the life on offer to her in her mid-Western city. It starts in the ballroom of a country club on a Saturday night, where Yanci encounters her lover Scott Kimberley for the first time:
"'Ballroom', for want of a better word. It was that room, filled by day with wicker furniture, which was always connotated in the phrase 'Let's go in and dance'. It was referred to as 'inside' or 'downstairs'. It was that nameless chamber wherein occur the principal transactions of all the country clubs in America...
The orchestra trickled a light overflow of music into the pleasant green-latticed room and the two score couples who for the evening comprised the local younger set moved placidly into time with its beat. Only a few apathetic stags gathered one by one in the doorways, and to a close observer it was apparent that the scene did not attain the gayety which was its aspiration. These girls and men had known each other from childhood; and though there were marriages incipient upon the floor tonight, they were marriages of environment, of resignation, or even of boredom... When his eyes found Yanci Bowman among the dancers he felt much younger. She was the incarnation of all in which the dance failed - graceful youth, arrogant, languid freshness and beauty that was sad and perishable as a memory in a dream. Her partner, a young man with one of those fresh red complexions ribbed with white streaks, as though he had been slapped on a cold day, did not appear to be holding her interest, and her glance fell here and there upon a group, a face, a garment, with a far away and oblivious melancholy...
Mr Kimberly suggested to Miss Bowman that they dance, to which proposal Miss Bowman dispassionately acquiesced. They mingled their arms in the gesture prevalent and stepped into time with the beat of the drum. Simultaneously it seemed to Scott that the room and the couples who danced up and down upon it converted themselves into a background behind her. The commonplace lamps, the rhythm of the music playing some paraphrase of a paraphrase, the faces of many girls, pretty, undistinguished or absurd, assumed a certain solidity as though they had grouped themselves in a retinue for Yanci's languid eyes and dancing feet.
'I've been watching you,' said Scott simply. 'You look rather bored this evening'.
'Do I?' Her dark-blue eyes exposed a borderland of fragile iris as they opened in a delicate burlesque of interest. 'How perfectly kill-ing!' she added."
(story first published in Saturday Evening Post, February 1922; reprinted in F.Scott and Zelda Fitzgerald (pictured), Bits of Paradise, London: Penguin, 1973)
Martin C. (Beyond the Implode) and John Eden (Uncarved) have put together a great if suitably chaotic anarcho-punk mix/podcast, released on You are Hear last week (download here).
A good selection of tracks by Crass (Securicor), The Ex, Six Minute War, Potential Threat (the Hunt is on), The Apostles (Mob Violence), XS Discharge (Lifted), Flux of Pink Indians (the Ballardian 'Tube Disasters'), Polish punks Dezerter, Oi Polloi, Exit Stance (Ballykelly Disco), Twisted Nerve, Lost Cherees, Hagar the Womb (Dressed to Kill). All this and Class War's 'Better dead than wed', the anarchist group's foray on to vinyl to denounce the Royal Wedding of Prince Andrew and Sarah Ferguson in 1986.
The Blaggers, whose Brixton Prison anthem Jail House Doors gets an airing, were certainly punky and political but were associated with Red Action/Anti Fascist Action rather the largely pacifist anarcho-punk scene (incidentally when I lived in Brixton, the band's guitarist was in my local anti-poll tax group Tulse Hill Estate Against the Poll Tax. We were also involved in fighting against some anti-abortion zealots who tried to blockade the Brixton Hill abortion clinic, the full story of which can wait for another day).
Some interesting reflections from John and Martin on the limitations of anarcho-punk ideology, particularly the dominant strand of moralism and failure to prioritise - so that meat eaters and low paid security guards were sometimes viewed as being as much the enemy as top generals and industrialists.
Some thought too on the squatting/travelling/counter culture continuum, the 'Hidden kind of connections' flowing through the Hawkwind/Stonehenge scene through Crass/anarcho-punk and later on to techno free parties. As John Eden notes 'There are people that went through that whole thing, but obviously that doesn't fit neatly into genre-specific histories'.
Colin Jerwood - Eltham's Chuck D?
One of the bands I saw most at the time was Conflict (variously at the Old Kent Road Ambulance Station, Thames Poly and the Clarendon Hotel).
Listening to Conflict's Colin Jerwood spitting out lyrics at machine gun pace on Berkshire C*nt on this mix reminded me of why I loved that band, and also put me in mind of fast chat reggae MCing or early Public Enemy. Given the lack of melody in most anarcho-punk, it makes sense in some ways to place its vocal delivery in a rap/MC continuum. As with some hip hop and reggae there's an urgency to communicate, as if those traditionally silenced in mainstream culture fear that having finally found a voice, the microphone might be snatched away again at any moment. So get the message down quick.
I guess we're entering similar times to the early 1980s, and there does seem to be a renewed interest in the anarcho-punk sounds of that period. Trying to simply reproduce the scene would be a political and musical dead end, but there's certainly plenty of noise and commitment to take inspiration from.
Not everybody who passed through anarcho-punk ended up as well-adjusted as myself. Check out the excellent Who Makes the Nazis? for the sad tale of John Cato of AYS, who seemingly moved from this scene to the extreme right. There's also a good new post there by Mr Eden again, this time on his time as a Death in June fan.
Last Saturday night's squat party in central London seems to have generated a huge amount of press interest, not all of it accurate. Scumoween was held in a multi-storey former Royal Mail parcel office in Museum Street, Holborn that has been empty for years.
There was an extensive report with pictures at the Daily Mail (sourced from Associated Press, so a bit more balanced than the average Daily Hate fare). Here's some choice extracts:
'Spooked riot police forced to retreat as 600 Halloween youths cause chaos at an illegal rave in central London
Eight Halloween revellers have been arrested after violent clashes with riot police who tried to break up an all night illegal rave. A number of officers were injured when bottles were hurled during clashes with a crowd of up to 500 youths at an abandoned former post office in central London. Police desperately battled to calm the party but most of the people went back inside the building in High Holborn and continued partying. The rave continued into the morning with deafening hard techno pumping around the surrounding streets.
Hundreds of youngsters in hooded tops - many wearing Halloween masks - crammed into the streets around the building. Police kept watch as the sun came up today and the atmosphere was friendly. Hoards of tourists have also started to flock to the scene in a bid to keep the rave going. Officers have now surrounded the eight-storey building, which is bordered by High Holborn, Museum Road and New Oxford Street, while the rave takes place.
Police were first called to High Holborn at 11.20pm yesterday. Violence was sparked when some people in the crowd became aggressive after they were asked to leave the area, police said. Bottles were hurled at officer and dozens of riot squad officers from the force's Territorial Support Group were drafted in....
A man who said he was attacked by police during the altercation revealed bruising on his thigh. The raver, who did not want to be named, claimed: 'It was the police who were being aggressive. All we came to do here is party. They wouldn't let people in and then just started hitting people. I was on the floor and they kept on hitting me'... Ravers in boiler suits, bear suits, and jester costumes, and an array of hoodies, top hats, fluorescent caps and dreadlocks, were in the road.
SamantaColetti and FlaviaPickler, from Brazil, tried to have their picture taken with some officers. The pair of experienced ravers were armed with earplugs, water and fake blood. Miss Coletti, 27, a waitress living in west London, said: 'We love it. We always go to squat parties, you never find fights, if someone is stealing or harassing girls they are told to leave, you can leave your bag on the floor and dance.' Miss Pickler, 28, dressed as a toffee apple with her face paint fading away, came on the train from Brighton where she works as a nanny. She said: 'It's very friendly, you can trust people.'
Inside the building space was dark. Some people were dancing while others were barely moving - raising fears that many may have used the rave to take drugs... "Inside were 10 different 'arenas' with 30 sound systems, and 200 DJs playing through the night and day", he said [one of the organisers]. He said this was the first such event in central London for nine years, adding: 'There will be a big resurgence of this sort of thing because of the economic situation. It's mirroring what happened in the last recession'.
Since then I've spoken to people who were there, and there's also been quite a bit of chat about it on various forums including Urban75 and Party Vibe.
Seems like when police first turned up there were already hundreds inside the building. They tried to stop other people getting in, but this just led to big crowds forming on the streets outside the police lines as well as traffic chaos in these West End streets. At this point things got quite heavy, the police used batons and tasers, the crowd raided a bottle bank for ammo. The police withdrew leaving some of the vehicles behind, some of which were damaged including a police van getting smashed up. If anything the Met's press office seem to have downplayed the intensity of the clashes. But it seems there were no major injuries on either side.
Then the party was left to go ahead for the rest of the night, seemingly it was a good one with loads of sound systems over several floors, including the large garage area in the basement that would once have been used for the post vans. Estimates of the crowd range from 1200 to 4000, certainly a lot more than 500. Rigs were apparently allowed to leave the area at the end without police interference.
There's an interesting range of perspectives by police who were there over at Inspector Gadget. Some fantasising about being French CRS-style tooled up riot cops able to steam in with maximum force, others noting that attempting to clear the building could have resulted in deaths. This comment is particularly telling:
'The bar has been set now – if we don’t get a heads up there is no way a response team could take on a couple of hundred determined people getting into a squat like that... Even with force mobilisation we would have had a problem clearing it, it would have been brilliant but messy, and no good news would come out of it. Back to the days of mass raves now, they’ve tried and won, and we’re now screwed'.
Some people have criticised the organisers for drawing attention to themselves by holding the party in a high profile area (e..g comment at Urban 75: ''What were they thinking...having it so central and posting the details all over the internet"). Possibly a party on an industrial estate in Hackney wouldn't have generated such interest, but equally out of site of the press, tourists and central London passers by, the police could have gone in a lot heavier.
David See 'was a finalist in the Music Week National DJ '77 Championship' and writer for Disco International. In 1980, Hamlyn (London) published his A4 annual style book, How to be a Disc Jockey.
When I found this book (and I literally found it in the street in New Cross), my first thought was that it would be a barrel of retro laughs. And sure some it it is very of the time -such as the sections on 'To Talk or Not to Talk' and disco cabaret (seemingly some DJs were livening up their act by doing stunts and dressing up).
But some of the advice offered is timeless: 'Discotheques, whether in the club environment or portable, serve one basic purpose and that quite simply is entertainment in a place where girl can meet boy and boy can meet boy, etc. It is a participative environment, where the dancers are as much of the total atmosphere as any other factor, yet they are also the reason why the discotheque is there and why it survives. The public must not be forgotten, and it pays the disc jockey to remember that'.
The author shows off his decks
The book is actually a fairly comprehensive guide to DJing pitched at the mobile operator travelling around with all the kit needed for a party in the back of a Ford Escort Estate. This DJ needed not only to know about cueing and BPM but also have an impressive knowledge of electronics, lighting, copyright law, insurance and much more besides. I'm not sure how many present day DJs would be able to explain Ohm's law in the way Dee does, or even fully understand a diagram like this:
There is some interesting material on DJ politics at the time. In 1974, the South East Discotheque Association was formed 'to promote the profession and art of disc jockeying', while around the same time a short-lived National Association of Disc Jockeys was formed. Then came the launch of the Disc Jockey's Federation (GB) which at the time of publication had 800 members (the author estimates this was ony 1.6% of the total, which would mean there weree 50,000 DJs). But attempts to make the DJF something like a union for DJs were seemingly floundering. The Federation had turned down an offer from the National Association of Theatrical an Kinematographic Employees to absorb it into the union. And there was tension with some of 'Britain's leading funk and soul circuit disc jockeys who not feel that they need an association', a group known as 'the Funk Mafia' inclusing DJ Chris Hill.
Crocs Phoots
The book features some good clubbing photos, all of them, including the cover shot, taken at Crocs Night Club, Rayleigh, Essex. Crocs Glamour Club, as it was also known (later the Pink Toothbrush) was an important Essex venue - and yes at one time it had a crocodile in a tank. In 1980 it hosted a regular 'Futurist night' where Depeche Mode (originally known as Composition of Sound) played their first gigs. It also hosted punk gigs (see Southend Punk Rock History)
The DJ featured on the front of the book is seemingly Crocs DJ Don Lewis. Not sure what kind of music he played, but at the Southend Punk forum somebody says that ' Don Lewis turned me onto reggae in that place'.
I went to Cafe Oto in Dalston a couple of weeks ago for a reading by two members of Wu Ming, the Italian writing collective responsible for novels including 54, Q (written under the name Luther Blisset) and the newly-translated Manituana.
At least one of the four Wu Mings was associated for a while with the Association of Autonomous Astronauts (1995-2000), the multi-dimensional politico-creative network dedicated to 'independent community-based space travel'. The premise of the AAA was for people to form their own groups (often it must be said, just one or two people) to put their own slant on the mission. Thus my node in the network was Disconaut AAA, dedicated to the use of dance music for space exploration, while electronic/industrial outfit Nocturnal Emissions was associated with AAA Kernow. Messrs Eden and Grievous Angel had their own groups, as did others in France, Italy, Denmark, Holland, New Zealand and elsewhere.
From Bologna, a later Wu-Mingster launched 'Skin Heads as Independent Travellers in Space' (SHITS). This is their launch text, published in 'Moving in Several Directions at Once! The Third Annual Report of the Association of Autonomus Astronauts' (1998). The text celebrates 'proletarian elegance' and looking sharp, a theme that recurs in Wu Ming's novel 54 (discussed here recently).
WORKING CLASS KIDS AGAINST SPACEIMPERIALISM
Only those whose boots stomp the ground will conquer the skies
by Fabrizio P. Belletati
In the name of Luther Blissett “I” announce the foundation of the SHITS (Skin Heads as Independent Travellers in Space).
Proletarians have never benefited by any space exploration programme launched by the great Powers. NASA in particular, that gigantic parasite, dissipated billions of dollars in order to take workers away from their everyday exploitation, inducing them to passively gaze at the deeds of yankee imperialism and the conquest of the “last frontier”. NASA introduced the average chauvinist redneck male as the cultural and aesthetic representative of the whole human species (in the American TV series Northern Exposure. a character named “Maurice Minnefield” effectively parodies pathetic flag-waving ex-astronauts). NASA has always attempted to militarise and commodify outer space (remember the infamous Ronald Reagan’s SDI plan).
The Associations of Autonomous Astronauts fight the present-day state, military and corporate monopoly of space travel, and exhort the oppressed of this world to build their own spaceships and get together into free communities of cosmonauts. The revolutionary proletariat has the power to expose the deceptions of the space travel establishment.
But I think that the AAA project must keep its distance from Hippie/New Age bullshit — we’re talking about class war — neither some kind of utopian-escapist plan (e.g. The Jefferson Starship Blows Against The Empire) nor some Star Trek Kennedyan dream — we’re talking about Jello Biafra’s rant Why I’m Glad That The Shuttle Blew Up.
The subcultural cross-fertilisation which originated the Skinhead style reached its peak in 1969, i.e. whilst NASA was organising and staging the first moon landing hoax. The creative clash between West-Indian music (Ska, Rocksteady and early reggae) and the Hard Mod look defines the so-called “spirit of ‘69”. We’ve got to hang on to this spirit of ‘69, and oppose it to the other, symbolised by the star spangled banner on a TV studio moon ground.
Original skinheads, suedeheads and later street punk skinheads COULDN’T GIVE A TOSS about such nerveless middle-class counterculture à la Jefferson Starship. Skinhead subculture can provide autonomous astronauts with a style and a sartorial rhetoric which break both with liberalism and hippy shit. Moreover, both the Suedehead evolution and the modernist heritage can work as stylistic North Stars and orient our efforts to an essential “proletarian elegance”. It’s a matter of self-respect: we can’t figure what clothes the inhabitants of other planets have on, but certainly we won’t go to the rendez-vous dressed like shaggy buffoons!
Skinhead Moonstomp is the title of a classic Ska anthem. That’s how we’re gonna deal with zero gravity: skipping about on a steady upbeat rhythm. Long live SHITS! Death to NASA!
Sad news about the death this week of Ari Up (Ariane Forster), former lead singer of The Slits. She was only 48, incredibly she was only 14 when she joined the band and only 15 when they set out on the famous White Riot tour with The Clash in 1977. At that time they were quite literally making a sound that had never been heard before and looking like nobody had ever looked before.
As Greil Marcus wrote in Lipstick Traces: a Secret History of the Twentieth Century (describing a bootleg recording of the band):
'Shouting and shrieking, out of guitar flailings the group finds a beat, makes a rhythm, begins to shape it; the rhythm gets away and they chase it down, overtake it, and keep going. Squeaks, squeals, snarls, and whines - unmediated female noises never before heard as pop music - course through the air as the Slits march hand in hand through a storm they themselves have created. It's a performance of joy and revenge, an armed playground chant' (Greil Marcus, Lipstick Traces). In 1977, Caroline Coon accompanied the band on some of the White Riot tour, taking some great photos like the one above of The Clash's Paul Simonon watching Ari do her hair. She documented it in her under-rated book '1988: The New Wave and Punk Rock Explosion':
'It is what the Slits represent, even at their least provocative, that gets up people's noses... Their earthy arrogance and striking mode of attire - an organised mess of dressed-up undress - causes adults to behave with alarming intolerance. Quite apart from being thrown out of hotels, Ari Up is quite used to being spat at by people who pass her on the street. Being refused service in coffee bars and pubs is another fact of life'.
The book includes a poignant quote from Ari: 'I want to live, and when I'm sixty I want to have green hair and spikey heels. If people hate us its because of our honesty. You have to comb your hair otherwise they think you're a mad loony or the devil. But they are living in the past'. Sadly she didn't make it to sixty, but she will be remembered for a lot longer.
'Raymond Castro, a veteran of the 1969 Stonewall Rebellion in New York City, died in his hometown of Madeira Beach, Florida on Saturday, October 9th. He was 68 years old and is survived by his husband of 31 years, Frank Sturniolo, 50. On June 27, 1969 Castro was inside the Stonewall Inn on Christopher Street, on the first night of the uprising and is documented as the only person arrested that evening who was known to be gay, according to historian David Carter.
Although police raids of gay-friendly bars were sadly common at the time, on that night people fought back. As two officers were escorting Castro out of the bar, the crowd shouted, "Let him go, let him go," and he pushed against the waiting patrol wagon with both feet, knocking the two cops to the ground. He was put in the back of the vehicle and detained, but was later released without charge. He hired a lawyer to resist the charge against him in court and also his lawyer represent an arrested lesbian who was in the patrol wagon with him. Typical of his generosity, he did not let the lesbian assist in paying the attorney who represented them. That night's events, including Castro's struggle against police, gave birth to the modern gay civil rights movement...
David Carter said that all the evidence he collected about the event made him sure that Castro's resistance to his arrest, taking place in public soon after the occurrence of the evening's tipping point--the unknown lesbian who fought the police outside the Stonewall Inn and twice escaped a patrol car she was placed into--helped guarantee that the resistance to the police raid became both massive and violent, and thus had the power to become a transforming symbol of LGBT consciousness: the Stonewall Riots.
Ray visited New York City in June to celebrate the 41st Anniversary of Stonewall and attend the 40th annual gay pride parade. The New York Daily News featured his story at that time, quoting Castro as saying: "A lot of people, especially the young ones, have no inkling what Stonewall is. They think Gay Pride is just a big party. None of this would have been possible if it wasn't for 1969. I had no idea that I was going to be involved in history-making... I would do it all over again."
More on Stonewall here... history was certainly made that night.
As this sound system came into Trafalgar Square it was playing Damian Marley's Welcome to Jamrock and Tribe called Quest 's 'Can I kick it?'. People were bouncing up and down. Then I heard it playing Benga and Coki's Night. 
Interestingly the BBC's Paul Mason has written today of the 'Dubstep rebellion':
... and the not so usual bagpipes:
