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> We also have a new library for successful project proposals, click here if you want to see that instead >
Funding applications are forms you complete and submit to funding bodies, organisations or trusts in the hopes of gaining money to support something you would like to do. In the arts, funding covers all sorts: a gallery's running costs and programming, artist fees, staff payment, materials, money for research and development, marketing, printing, production, archiving, organisational development, travel... everything really. The arts relies on it. Artists and groups apply for themselves and if they're lucky, they'll get something; and big galleries apply to lots of different private and public funders in order to make up their big budgets. But knowing where to start when writing an application can be difficult; knowing who to apply to can be tricky as well.

This library is a resource of successful funding applications that you can learn from. Personally, I found writing them really confusing until I spent time reading some and then I could finally get a handle on the language used and the way budgets are put together. Take a look below, see if anything is relevant to what you're hoping to do, or learn from other applications' writing and shape. Look at what is being applied to and where, and check out the funders these are addressed to see to if they are appropriate for your project. The library will grow and we'll try to furnish this page with even more information so that everyone can hopefully secure themselves some £££.

If you want to share a successful application, for more info; and if you cannot submit via a gmail account instead for submissions directly to our email

Some words have been redacted by choice of the people sharing the apps

We recently made a podcast called 'Everything you need to know about funding .' Search The White Pube on Spotify or Apple Podcasts or listen to it on our website where you can also find the transcription. Hope between this podcast and the examples below, you can find some help!

Project Grant: organisation application for 12.6K to Arts Council England to fund gallery programme, public programme and staff member for 5 months at OUTPUT gallery in 2018. Liverpool, England.

Project Grant: Individual application for Susie Green, for 12.5K from Arts Council England to pay production costs, travel and artist fees for 3 exhibitions and 2 performances in London, 2018.

Grants for the Arts (old name for the Project Grant): Individual application for Emily Speed for 14.2K from Arts Council England to create three new artworks, performances, and a publication.
Project Grant: ​ Research and Development for 15K from Arts Council England to make a new piece of work in Gloucestershire, England.
Programme Support for Venue and Galleries, 30k, Arts Council of Wales to support the running of the gallery - organisation of exhibitions, commissions, residencies, training and workshops
Individual application to Arts Council England's DYCP for £10,000, primarily to pay for researcher, also includes travel + material costs. Malaysia.
Joint application to Arts Council England's DYCP for £10K by Sophie Chapman + Kerri Jefferis for 'our bodies are the only space we have', support for 2 residencies & the start of new piece of work in ceramics & bronze, resulting in a choreographed film, London

Individual application to Arts Council England's DYCP for £10k towards artists fees, mentorship, space hire, equipment & new musical collaborations in Newcastle upon Tyne, England.

Individual application to Arts Council England's DYCP for £9880 for research on decolonising and democratising museum documentation practice, Brighton, England

Individual application to Arts council England's DYCP for £9.5k by Sean Carroll, Leicester UK

Developing my Practice, No Ordinary Experience, 2019, DYCP grant from Arts Council, 9k

Individual application to Arts Council England's DYCP for £9952 to fund visual artist Gemma Gore R&D
Animation project and workshops 2020, £8,040 fom Art Council England DYCP. Project to run animation workshops online and collaborate with a local musician in Liverpool, England
Corie McGowan 2021, DYCP, 10k from Arts Council England

Individual application to Arts Council England's DYCP for £9,964 to fund a period of formalised, self directed research and practice. London

Individual application for Art Council England's DYCP for £6,411. An Art and Health project about exploring the stigma of Borderline Personality Disorder form personal perspectives, and how to move from curator/artist to curator/producer
Printmaking Artist in Residence 2021/22, $1000/month for one year (so $12K) + free housing + $1000 professional development and some help w bills + $1000 worth of free dental, provided by Lawrence Art Center, 12 month Artist in Residence with access to making facilities; responsibilities including teaching, community outreach, print studio care, and will culminate in a solo exhibition, in Lawrence, Kansas, USA Artists' Residency at The Forge, Wild Rumpus CIC. No money but accommodation and use of all their space, equipment etc. provided for 3 days. Individual application for £350 to the Eaton Fund for artist materials. Liverpool, England. Individual application for 2.5K from Arts Council England to bridge loss of work in the field of Art, Culture and Fashion in lockdown.
1. Easier to read Top 10 Tips for funding applications from DASH Arts

2. PDF from 'Writing Applications for Funding: Workshop' by Sophie Chapman, for Into The Wild Artist Development Programme, August 2020

3. We recently made a podcast called 'Everything you need to know about funding .' Search The White Pube on Spotify or Apple Podcasts or listen to it on our website where you can also find the transcription.

4. Web link for Arts Council England's access support for help in completing applications

5.. Grant for the Oppenheim Downes Trust for aged 30+ applicants

6a. Arts Council England's Developing Your Creative Practice fund. G rant range is £2k-£10k and it is aimed at individual practitioners for research and development.

6b. Arts Council England's Developing Your Creative Practice list of recent grants given.

7. PDF for Access Support information from Arts Council England (helpful for everyone imo)

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We also have a new library for successful project proposals, click here if you want to see that instead > Funding applications are forms you complete and submit to funding bodies, organisations or trusts in the hopes of gaining money to support something you would like to do.

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An eccentric excursion to the furthest fringes of youth culture and alternative lifestyles, as captured in archive film and TV.

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Surrey Constabulary: Part 4: A Policing Revolution: 1976-1992

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Surrey Constabulary: Part 4: A Policing Revolution: 1976-1992

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1986-90

1986, 25 March: A group of Millwall football supporters arrived in Haslemere at 2130 and went to the Swan public house. A fight with locals followed and considerable damage caused to the pub. Two constables attended and arrested eight youths who were charged with affray.175

1986, 27 March: During a discotheque at Dormansland a serious disturbance took place resulting in eight arrests of youths from Edenbridge. A significant amount of baseball bats and other offensive weapons were recovered.176

1986, 27 September: National Front held a march of 150 supporters in Guildford although the organisers had thought many more would attend.

There was a counter demonstration and a large number of police deployed which prevented serious violence.183

1986, 22 November: Some forty hunt saboteurs attended a meeting of the Old Surrey and Burstow Foxhounds at Lingfield. One of the vehicles contained a number of wooden clubs and one man was arrested and charged.184

1986, December: Drug Squad: Following a join Hampshire and Surrey operation a man was followed to an address in Addlestone where he was detained and found to be in possession of two kilos of cannabis. The owner of the house was detained and a further five kilos found as well as £7,000. The street value of the cannabis was in excess of £15,000. The cash was forfeited by the court.187

1986: Murder of Samuel Feiner.

1987: Accidents on the motorways involving large numbers of vehicles is becoming commonplace.189

1987, January: Regional Crime Squad officers kept surveillance on suspects involved in two burglaries and demanding money with menaces in Bisley. They were eventually arrested and charged.

1987: Crime increase Eastern Division: Crime was up 10.4% partly due to the opening of the final sections of the M25 and the use of the new road by criminals from out of the area some travelling substantial distances.

1987, 27 March: A train travelling from East Grinstead hit a tree at 40 mph near Dormansland. A number of passengers were injured.199

Robert Taylor: An armed robbery occurred at Surrey University when a delivery was being made to the bank on the campus. Two armed men attacked the security guards and took £140,000 a third male driving a Renault picked them up and shots were fired at building workers nearby as they made their escape. The vehicle was later found abandoned a short distance away. Enquiries revealed that the Renault had been stolen some time previous at Crawley in Sussex from outside a garage. Despite extensive enquiries and a full reconstruction on Crimewatch the case remained undetected.204

1987, 18 April: Officers found a body in a pool of blood in a house in Horley. A man was arrested and later found guilty of manslaughter.205

1987, May: Following a series of thefts of high powered cars a suspect was arrested which led to the detection of 170 offences and nine sent for trial.207

1987, May: A series of burglaries across the west of the county and in Hampshire took place when the masked criminal entered houses between 2 and 4 am and females were either assaulted in bed or the offender stood and watched them. A significant joint operation was established without success.

1987, 25 May: M25: A collision between a Datsun and a Renault van resulted in a passenger from the car being thrown onto the M25 and was struck by a Mini. The Datsun split in two and caught fire. A Ford Granada was struck by flying debris before colliding with both vehicles. There were four fatalities.210

1987, May: DC John Brake awarded the Queens's Commendation for Brave Conduct for his actions during an attempt to arrest three offenders. A vehicle was driven directly at the officer and although badly injured he managed to arrest them.

Frank Austin: John and I went to the High Street, Reigate following the report of shoplifters. We found the car parked and watched for their return and one suspect eventually ran from the castle grounds jumped into the car. We ran back, I went to the driver's side and John towards the passenger.

The car drove off and attempted to run John down but he jumped onto the bonnet and held onto the wipers whilst the car swerved from side to side at high speed trying to throw him off. I followed in the CID car and could only watch whilst the car deliberately rammed a parked car and John went flying through the air.

I didn't think John could have survived. I ran from my car and was amazed to see that John had beaten me to the offender. I dragged him out and threw him over the bonnet of the CID car where I had to forcibly restrain him causing damage to the police car bonnet and his face.

Members of the public started to interfere as they assumed it was just a fight caused over the accident. Once assistance arrived amazingly John only suffered bruising and lacerations to his hands caused by the wipers. The offenders I believe came from the Coulsdon area but I cannot remember the outcome.

Dick Crockford: John Brake is now in New Zealand. I went to the job and after John came off the bonnet he simply could not speak. He kept pointing at a woman and I thought that she was a witness. I spoke to her and she was reluctant to give details. I finally got them and it turned out later that she was the other half of the driver.

I interviewed the offender with Detective Sergeant John Miller. I think that he was charged with attempted murder from memory and as I recall I ended up at the Bailey with a plea for Actual Bodily Harm (ABH). He was a shoplifter who panicked. By the way it was named Operation 'Mascot' (my idea!).

1987, 4 June: Regional Crime Squad officers began surveillance on a suspect following intelligence reports of his involvement in night burglaries in rural areas. He was followed on the 4 June for 120 miles when he was seen to stop to look at a number of premises. On his return to the county at Ripley he broke into a garage and stole cash and cigarettes to the value of £700. He was arrested and at his premises further stolen property was recovered. He was sent to prison.212

1987, 14 August: A prostitute was found in a distressed state at Virginia Water. She said she had been abducted by three men in Paddington taken to Virginia Water and raped by three kidnappers.

Over the next few weeks three more women were abducted in London driven to the same area and subjected to multiple violent rape and other obscenities. Some of these incidents only came to light during police enquiries. On the 5th September a fifth woman was abducted and subjected to similar treatment this time at Dorking.

A lengthy enquiry followed and four men were arrested and found guilty at the Central criminal Court of thirty offences and sentenced to imprisonment ranging from nine to nineteen years.215

1987, August: Operation Puffin: Prostitutes from London raped and indecently assaulted in Camberley by Asian men.

1987, 3 September: Murder of Jennifer Gibbons at Pantiles Nightclub, Camberley.

She turned out to be the doctor's lover and I believe she wanted him to get divorced and marry her but he was not of the mind to do it. We traced the purchase of the knife to a hardware shop in Swindon where the sales person recognised the woman as the buyer of the death knife.

As an aside, Les Martin and I visited the factory in Sheffield where the knife had been made. The guy we saw up there gave me a pruning knife which is still as sharp as the day it was given to me and is still in use in the garden!

Mo Clarke: Two people were found dead in a hotel suite at Pennyhill Park Hotel in Bagshot both were in bed. Mid 1980s I think. At first it was thought to be a double murder. Blood everywhere, even over the ceiling. His head was almost severed at the neck. She had multiple stab wounds and bled to death.

Then it transpired that the murder weapon, a large kitchen knife found at the scene, was bought by the lady. The receipt was found in her hand bag. But that was after various people had been sent to the factory in Sheffield where the knife had been made, then tried to trace it via distributers, warehouses, etc. Lots of over time, you know the sort of thing!

It turned out to be a crime of passion. The couple, who were far from young, met regularly in the hotel for their trysts. But he had decided to end the affair but she decided to do the same by other means.

1987, 21 October: Alan Hurlow: myself and Gary Parkin were part of the action teams involved with the murder of a man by his wife who lived off the Petworth Road, Witley ... more

1987, 20 October: Murder: Dr. Spencer Mount at Lightwater; Officer in Case Detective Chief Inspector McFadden and Detective Inspector Amos.

1987, November: Drug Squad: Following a long term surveillance operation concerning the supply of heroin in Surrey Iranians, two men and a woman, were arrested in possession of one and a half kilograms of heroin with a street value of £150,000. The drugs were smuggled into the UK in three condoms inserted into the woman. They were imprisoned then deported.222

1987, 8 December: Murder in Merrow of a 79 year old man. Offender was arrested and charged.223

1987, 24 December: A disturbance at the Cricketers Pub in Wrecclesham involving 25 youths where two people sustained serious stab wounds.224

1987: Farnham: Murder R v Hughes, Hughes, and Wallis.

1987: Farnham: Murder R v Monica Hopwood.

1987: Police Support Units were deployed within the county on twenty five occasions to a range of incidents.226

1988: Mobile Support Department (MSD): Bob Bartlett: Chief Superintendent Eric Hughes and Danny McNulty as Superintendent T with Bob Heaton chief inspector who with grace provided some of his best officers as crew for the helicopter project. Danny retired and Shane Burrows took over from being chief inspector at Chertsey - Traffic became Mobile Support Department (or Music Singing and Dancing!) as there was a feeling amongst chief officers that Traffic should respond more to general calls and get involved in crime - many would argue the traditional role of Surrey Traffic.

I took over form Eric Hughes and like sub-divisions the chief superintendent was taken from the equation and MSD stood alone. MSD under Shane developed a technique for stopping those that did not want to. The driving school trained many other forces in this mobile containment requiring a very high standard of driving and nerve. The new system was called TPAC, Traffic Pursuit and Containment, which is explained below. Also developed was stinger which initially I have to admit I thought a crazy, unworkable idea - just as well I retired- and the ongoing enhancement and operation of Tracker.

1988 about: Mick Wayland: Movement of travellers from Inkerman Barracks, Woking. Some one hundred and fifty or more caravans whose occupants had taken up residence on the barrack site and the local authority with police to keep the peace were aiming to remove them and escort them out of Surrey with Traffic cars. We were all briefed not to have physical contact with the occupants if possible as there were a lot of cases of a very infectious type of lung disease amongst the travellers.

We assembled around the site at about 5 am and all was still and quiet. The first movement was a caravan door opening and a small pony being pushed out for its constitutional! Things got under way as the council representatives spoke with the apparent leader. He was an impressive blonde man, who despite being only some five feet three inches tall, the same wide, with arms bigger than my thighs.

We all stood prepared as he was required to leave first under considerable verbal protest. He walked to his close coupled caravan which was some twenty five feet long and located some three yards away from his up market Range Rover. We all thought that he would back his vehicle up for coupling but none of it. Grasping the caravan he lifted it up and single handed towed the caravan, load and occupants to his vehicle and attached it with ease. We all made a mental note that he would be one to avoid if at all possible.

1988, 26 January: Armed robbery on a security van at Copthorne. Two guards were taken at gunpoint in their van to Shipley Bridge where shots were fired into the ground, £200,000 stolen and the vehicle and guards abandoned. The four offenders ran to the motorway where a vehicle was waiting for them. This was a part of a series of offences and a team of robbers was arrested at a similar offence in Kent. This crime remains undetected but there were no more in this series!231

1988: Special Crime Patrol Unit commenced surveillance on a target provided by the Force Intelligence Unit following a series of burglaries. The suspect who was dressed as a chauffeur was followed to Normandy where he was arrested for Burglary. He later admitted a number of other burglaries and was imprisoned for five years.232

Ted Sherwood leading a parade of the Queen's regiment exercising their right as freemen of the Borough of Guildford.

1988 Special Crime Patrol Unit: A series of burglaries were committed in the county and it appeared that there was one offender. The Mo was the same as a man dealt with by the SCPU in September 1987 and surveillance was mounted and the following day he was arrested entering premises he had been seen to have a close look at the day before. Admitting 35 offences he was sentence to three and a half years in prison at Guildford Crown Court.233

1988, Drug Squad: Was engaged in an enquiry of international importance with over 30kg of cocaine valued at £5,000,000 having been seized. This was the largest police seizure of drugs in the UK.234

The case was uncovered through investigation by the Surrey Fraud Squad. On the 23 December 1989 the principal offender was sentenced to 15 years in prison and identified assets of £1,452,101 were confiscated.235

1988: New Zealand and the Drug Squad: Operation Panther UK involved working with the police in New Zealand to disrupt supplies of LSD from Surrey to that country. A man was arrested in Surrey and extradited to New Zealand.236

1988, January: Major armed robbery when Securicor cash in transit vehicle was seized and disappeared complete with crew. Surrey used the Metropolitan Police helicopter and Sussex helicopter as they did not have one and eventually the vehicle was found abandoned on open country and the crew rescued. Operation Cricket.

1988, January: An American Airlines aircraft disappeared off the radar just after it took off. A full alert was called and it was thought that the aircraft had probably crashed into the side of Russ Hill close to the end of the runway. Later it was revealed that as the pilot took off a gust of wind blew out one of the engines and so the power was reduced.

Reaching Russ Hill the aircraft was so low it dropped off the radar. The plane hit the tops of the trees but managed to pull away, out over the English Channel to dump fuel, to make a lighter and safe landing. On the approach the aircraft was too heavy and more fuel had to be dumped out again over the Channel before the aeroplane was finally able to land and the passengers hosed out! It was a near run thing, and was the closest to a major crash since 1970.

1988, early in the year: CS gas was used by youths during a disturbance in Egham at Holloway College where students were attacked and eight received hospital treatment for exposure to the gas. A further incident occurred a few weeks later in a public house.238

1988, March: Operation Lynx: This was a Firearms Support Team operation following a number of raids on Securicor vans in East Surrey, Kent, and other police areas. The teams were mobilised early in the day each week to sit and watch from pre-planned observation points the security vans as they made their deliveries. The intention was of course to try and arrest the armed robbers. It went on for weeks and eventually the robbers were arrested in London during an armed robbery.

1988, 24 March: Reigate town centre: A man called 999 and threatened suicide with a firearm. He was kept talking by the operator as police were deployed and saw the man striking something concealed in a plastic bag which exploded. He later died. It was found that there was a short piece of pipe with a shotgun cartridge which was discharged by the striking.

Frank Austin: This incident was at the phone box at the traffic lights at the junction with Reigate Road and Wray Park Road I can't remember who he was on the phone to but he had a length of tube with a shotgun cartridge inside and from memory he was ramming it with a screwdriver. Eventually he was successful and the cartridge fired into his stomach and he eventually died. I believe DC Colin Edwards was also present.

Bob Bartlett: I was newly appointed in charge of Ops and I went to the control room when called because of this job. I looked at the handwritten message and it said SAS called. I was a little annoyed and asked was it not possible for Surrey firearms to deal with such a small scale incident to be told it was Surrey Ambulance Service. New Boss!

1988, April: The Firearms Support Team was deployed to an incident at Chertsey involving a twenty year old girl. All the windows in her top floor flat were broken and she threatened to shoot local officers and the sound of a low powered weapon was heard coming from the flat. The girl barricaded herself in the roof piling bricks on the trap door. An entry was made by the unarmed Firearms Support Team through a hole in the roof made by the girl. The girl was arrested and taken to hospital for assessment.240

1988, early in the year: A temporary prison was established at Alma Dettingen barracks, Deepcut to house 335 prisoners who could not be found spaces in the prison system. The prison was fully manned by the military but police were required to respond on a number of occasions some of which were riot situations. The extra commitment and ever present threat was a considerable drain on resources.242

1988,15 April: The Firearms Support Team attended Leatherhead to a report that a shotgun was being discharged on a housing estate On investigation local officers were confronted by three children running from the house; they had seen their mother shot by her common law husband. The premises were contained and the Firearms Support Team called and entered the house to find the mother and the man dead in the bedroom from gunshot wounds.244

1988: Police Support Unit: Deployed on aid to Wiltshire and on fourteen occasions within the county.246

1988, 17 July: Murder at Reigate Operation Chain: John Milner: Murder of Joel Winter a ninety one year old retired dentist, and attack on his companion eighty nine year old Daisy by two drunken I think, Irishmen.

Lynn Evans: I was involved in a Redhill Murder in 1980s when two old people Joel Winter and Daisy French were burglary victims and Joel murdered. Two men Lynch and Finnegan were convicted and officer in case was John Milner.

Dick Crockford: Redhill murders in Station Road committed by Lynch and Finnegan.

Jamie Donaldson: The scene was a flat over a dental practice. John Milner told me that enquiries indicated the victim had about £600 in the home and I instructed the local Scenes of Crime Officer to search for it and none was found. John was insistent and I became involved and saw a Scenes of Crime Officer empty a drawer of socks and then start to put them back. I asked if he had unravelled the socks and he had not and that is where the money was found in £20, £10, and £5 notes. It just shows how important every detail is in a murder enquiry. We learn all the time and a team is only as good as the weakest link.

1988, 22 July: Murder Dorking: Victim Ware Op Pump.

1988: Major operation mounted to move travellers from a camp at Addlestone with numerous PSUs and other resources under Assistant Chief Constable Christ Atkins ... more

Robert Bartlett: Ops had very recently received a request from Air Sea Rescue for work in land as their assets were under utilised and so a bid was made and responded to very quickly from the coast. The missing man was the father of Detective Constable Trooper Cooper who came to HQ and was put on the helicopter to direct the crew. His father was found within minutes of their arrival.

1988-1989: Fatal Road Traffic Accident: 1988 77; 1989 90 with 6529 people injured.260

1988: Murder/Suicide: Hazeltine/Todd.

1988: OP Church - Armed Robbery Reigate.

1988: Smith Family Murders Reigate.

1989: Firearms Support Team: The demand for the team increased with an extreme example of four deployments in a day and another where five armed robbers were arrested in two incidents within another week. The team retain their very high standard of professionalism and on many occasions during the year acted with great bravery often in very complex and dangerous situations. Their enhanced work load has led me to consider establishing a team on a full time basis.261

1989, 2 February: Arson: A fire was discovered in a ground floor room of Peperharrow Mansion a residential school for maladjusted children. A naked flame was put to a foam filled settee the fire quickly spreading causing damage of £3,000,000. The enquiry was very difficult given the nature of the residents.262

1990, 20 April: Operation Lynx: Murder at Chertsey of Dick Owen Sidney Johnston; Officer in Case Detective Superintendent Rose.

1989, 3 April: The Firearms Support Team was deployed to Farnham where a resident in a guest house overheard a conversation in the next bedroom when the terms, explosives, bombs and the IRA were used. The town was closed off causing considerable disruption but it was found to be an elaborate hoax.

1989, 2 May: Six off duty police officers were injured in an Indian restaurant where they had tried to stop a disturbance. In the following days a number of raids took place on various sites and three offenders were sent for trial.266

1989, 3 May: A burglary took place at Betchworth where a neighbour took the index number of the offender's vehicle leading to the arrest of two men later that evening in London. The men admitted 29 burglaries in the Dorking, Leatherhead and Sutton areas.268

1989, 22 May: Robbery: An elderly man was attacked while carrying his employer's takings to Jacobs Well Post Office. Three men were subsequently arrested and £1990 of the stolen £5,109 was recovered. Two men were committed for trial.269

1989: Military establish a temporary prison at Deepcut to deal with the overflow of prisoners from HMP. A trip was arranged to a temporary prison run by the military on Salisbury Plain. It was like something from the Second World War - a POW camp; all that was needed, and there might have been one, was an escape committee and a tunnel.

Difficult discussion took place with the military with policy established by General de la Billiere. The Surrey Constabulary did not feel able to participate as fully as the Army believed they should. Plans and discussions also take place with prison governors should prison officers go on strike and have to be replaced in prisons by police; Operation Fletcher.

The aftermath of a "pay party" -
the morning after.

1989, 26-27 August: An "acid house" party was held on farm land at Effingham attracting some 12,000 people causing acute disruption to the local community. Attempts to hold similar events at Clandon, Witley, Burpham and Hambledon were thwarted by good information and positive police action.281

1989, 27 August: Arson: A number of arson offences were committed in Guildford leading to the arrest of a man who set a fire at Ashenden Builders causing £460,000 worth of damage. A man was sentenced to eight and a half years in prison.282

1989, 10 September: The helicopter Oscar 99 was trialling the use of the aircraft to counter the years old problem of speeding motorcycles at the weekend on the A24 at Mickleham. One motorcycle was recorded at 122 mph and failed to stop twice when signalled to do so by foot police. The rider made off through the village pursued by the helicopter which the rider was unaware of. The vehicle returned to the A24 where the helicopter made itself known and the rider gave up. He was reported for many serious traffic offences. The use of the helicopter in this novel way had a significant impact on the behaviour of motorcyclists at Mickleham.286

1989, 18 October: Richard Bond: A quadruple fatal on the M25 Eastbound carriageway between Leatherhead and Reigate Hill on 18 October 1989. I did not deal with it. (Somebody from HTG did.) The story was that a Colt (I think) car going west crossed through the emergency access and hit a van going east. The driver of the car was thrown out. The three others were workmen trapped and burned to death inside the van. An off duty officer from Leatherhead in motorcycle gear received burns trying to get the three out. The two officers behind the van were me and Lenny Millsom with powder extinguishers.

Gordon Larkins: I believe motorway closed for fourteen hours.

1989: The rent allowance is replaced: The rent allowance was abolished for new recruits, and they instead received a new housing allowance worth two-thirds of its predecessor.292

1989: Murder of two Children.

1989: First deployment by helicopter of an armed response from the field and firearm's range at HQ to Godstone Green at about 1700 on a Friday evening following a shooting on a traveller's site, Peter Moore, Bob Bartlett as cadre officer, and one other Firearms Support Team member.

1988-89: Emergency Planning: Planning with other emergency services to respond to major incidents began in earnest although at this stage the County Emergency Planning Officer (CEPO) was excluded as he was seen to have ambitions to take over the role of commander something that was completely unacceptable to the Chief Constable and unsuitable in practice.

A working group was formed and the police, ambulance and fire joined in the detailed planning and eventually, after a change of personnel CEPO was invited to participate. Over time a strategic level for emergency planning was developed which incorporated all the chief officers and a lower level where the work was done. A joint county plan as prepared which included a single mortuary for the county based at Longcross Chertsey, the first such initiative in the country.

Common sense finally made people accept that if a plane with several hundred people on board fell from the sky no ad-hoc local facility would cope. The scale of the planning task increased and Sergeant John Lawrie and now a civilian, retired sergeant Fred Smith undertook the role.

1990, 10 January: Operation McKenzie: Robberies Lloyds Bank by Chieke brothers.

1990, 20 January: A party involving 250-300 people took place in a derelict house in Camberley. Four were arrested for drug offences as they let the party at 0600. A further part was planned but the owner obtained a court order and police and bailiffs entered the site early in the morning of the alleged party. Twenty vehicles and 42 hippies were escorted off the site. Large numbers of would be party goers came to the site but left on police advice!293

1990, 26 January: 2130 an aggravated burglary at an Indian restaurateur's home in Farnham. The owner's wife and small son were on the premises when four Asian men burst in and threatened them with a long bladed screwdriver. The mother and child were separated as the house was ransacked, the offenders leaving after thirty minutes with £3000 in cash, jewellery and other property. Two men were later arrested and charged.296

1990, 13 February: Attempted armed robbery: A young man entered a building society in Woking and demanded money saying he had a gun. He left empty handed but was seen by police who gave chase. A police woman closed with the offender who produced a gun. There was a struggle and as extra police arrived the man was subdued and arrested. He was convicted of a number of robberies and sentenced to four years. WPC Hughes and two members of the public attended the crown Court where they were presented with cheques for £250 each for their brave conduct. They were also commended by the Chief Constable.297

1990, 15 February: Missing Person Caterham: This was a significant enquiry for a missing man Humphries. Operation Straw.

1990, Pay parties: During the summer Police Support Unit were deployed on a number of occasions to counter pay parties and were successful as only one small scale event took place.304

1990, 20 April: The body of a 72 year old man was found in his caravan at Lyne, Chertsey. His hands and feet were tied and a nearby office searched. Extensive enquiries were made but the murder remained undetected.305

1990, 19 May: Mid-air collision between to private light aircraft a Piper Archer and a Tiger Moth. Both aircraft were near Redhill at 1800 feet. The four occupants of the aircraft were killed. The Piper crashed into the grounds of the Royal Alexandre and Albert School at Gatton and the Moth into a field north of the M25.307

At approximately 17.45 two light aircraft crashed into each other over Junction 7 M25 at Reigate, resulting in the instant death of four people. Both planes had earlier taken off from Redhill airport. A Piper Cherokee with three men on board came down in the playing field of the Royal Alexandra and Albert Foundation School were a number of children were playing - five were treated for shock. The second plane a Tiger Moth came down on the north side of the motorway with debris being recovered from the central reservation of the M25.

James Bulman: I was on duty in Reigate Dedicated Station Unit and it was the usual boring quiet Saturday afternoon. Everyone was watching the football on TV. The two civilian staff and I were arguing as to whose turn it was to make a coffee.

The phone went and I was informed about the accident. The girls heard me repeat what I had been told and we automatically swung into action and did not stop or get much of a break from then on. I remember that some pieces fell on the motorway. Others fell in the grounds of a private school called Gatton Park. I seem to recall that there were some children playing football on an adjoining pitch to the site where the bits landed but there were no injuries to anyone.

Dick Crockford: I was in the CID office in May 1990 and we were having an after-work scotch when Paddy Crossan came in and told us two light aircraft had crashed over Reigate Hill. I remember DC Jenny Elliott being with me. We went to the Royal Alexandra and Albert School where one plane had crashed into the rugby pitch. We were then sent to the other scene in a field at Reigate Hill. After walking across fields full of cows we found it. I recall some typically lazy traffic PCs driving across the field as they were clearly incapable of walking. Paddy Crossan travelled from one crashed aircraft site to the other by helicopter.

1990: Bill Bethell: A security guard was shot in the leg after an armed robbery at the Aldershot Road bank in Guildford. The shooter made off on the back of a motor bike towards London. Colin Ward and I were dealing. The security guard died in hospital two weeks later but although a Holmes course started at HQ that day there were no further CID officers to assist with the murder enquiry. It has never been solved and that was the final nail for me, I left and joined the City of London Police.

1990: Firearms Support Team officers following cash in transit vans and watching banks and Securicor vehicles particularly in the east of the county to counter a significant number of armed robberies.

1990, 15 July: Farnham: Murder of Child.

1990, Saturday 28 July: Pay party: Adverts began appearing all over London for a party to be held in the Dorking area and information was received that 10,000 tickets had been sold for £16 each by agents for the party at the Old Brickworks, Newdigate. The owners of the site were extremely cooperative using hard core to deny access to the site. On the night of the proposed party 130 Police Support Unit officers were deployed. A number of arrests were made but the organisers were never traced. The cost to the police was £17,000. (Operation Shackleton)316

1990: Drug Squad: Seized over £5000, 000 worth of drugs and arrested a number of people including two international drugs dealers.323

1990: The Reigate Coin Hoard was found on the 22nd September 1990 by Roger Minty using a metal detector. A total of 6,701 coins were found. One hundred and thirty five were gold and the rest were silver. The coins dated from 1272-1455. Among the coins were gold nobles, half nobles and quarters. Silver groats, half groats, pennies, ten French gold saluts, twenty one Scottish silver coins, and six non-English issues. They were probably buried in AD 420-30. The find was reported to the police at Reigate who then played a part in the recovery and cataloguing of the hoard on behalf of the Coroner.

1990, 28 December: Suspicious death of Steven Kersey whose body was found in a stolen car in a lake at Lingfield. Operation Echo.

1990, 31 December: In the early hours the proprietor of a greengrocer in Smallfield was attacked and robbed and two men made of with £10,000 in cash. Two men were arrested in due course and sentenced to six and three year's imprisonment respectively.325

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1986, 25 March: A group of Millwall football supporters arrived in Haslemere at 2130 and went to the Swan public house. A fight with locals followed and considerable damage caused to the pub. Two constables attended and arrested eight youths who were charged with affray.175 1986, 27 March: During a discotheque at Dormansland a serious disturbance took place resulting in eight arrests of youths from Edenbridge.

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this archiving project has been carried out by the department of humanities

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university of central lancashire and is funded by the heritage lottery fund. the work is supported by an advisory committee

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which includes individuals who were involved in these campaigns

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academics and archivists.

 

tandana - aims

    tandana aims to archive the visual and ephemeral culture of south asian struggle in britain for social

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cultural and political rights.
    tandana aims to give value to this heritage through:
    a. the creation of a centralised and accessible archive.
    b. the collection of supportive and contextual documentation.
    tandana will digitise the ephemera and make this heritage accessible through the web to allow access by as wide a number of people as possible. 

advisory committee

 

    mukhtar dar - former member of aym (sheffield)
    matloob hussayn ali khan

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former member of aym (sheffield)
    john hutnyk - centre for cultural studies

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goldsmiths college
    virinder kalra - department of sociology

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university of manchester
    tabasum khan - technical consultant
    tariq mehmood - former member of aym (bradford)
    anandi ramamurthy - project manager

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university of central lancashire
    wendy webster - department of humanities

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university of central lancashire
    talat butt - it consultant

contact

if you would like to get in touch with the archive please contact:

anandi ramamurthy
tandana - glowworm
department of humanities
university of central lancashire
preston
pr1 2he
tel: 01772 893040
email info@tandana.org

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This archiving project has been carried out by the Department of Humanities, University of Central Lancashire and is funded by the Heritage Lottery Fund. The work is supported by an advisory committee, which includes individuals who were involved in these campaigns, academics and archivists.

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Continuing our celebration with the second Summer of Love, Wag Club founder Chris Sullivan moves into 1988 and onward, charting the explosion of acid house into the mainstream, and the dawn of the legendary illegal warehouse raves and parties...

One might reasonably accept that punk changed attitudes and was the most important youth cult since the sixties. But rave has been equally subversive, causing seismic shifts in cultural and political attitudes and behaviours.

But there's a big difference between punk and rave. With punk, even though its adherents' attitudes were cut from the same anarchic cloth, you didn't have gatherings of tens of thousands of people on any Saturday all over the UK, dancing to the same music, all on the same buzz, and all with good intention. Where punk was about anarchy, shock and anger; rave was about love, appeasement and acceptance.

"I was 13 when punk happened," states pioneering house DJ Andy Weatherall. "So I watched that train go by, but when I got on this [acid house] bus I was deliriously happy, out of my head on E. I felt like I was at the centre of a magnificent cyclone."

Read Summer of Love Part I

"Punk and New Romanticism were very empowering for us," explains pioneering promoter Nicky Trax. "They too had this DiY ethos which house music picked up and ran with. House music was a very open and friendly scene - no VIPs, no attitude - and it was all about like-minded people taking a chance, putting on something new that might or might not work. Everyone was loved up, and caught up in the moment. We all felt a part of something new and exciting that was ours."

But this fledgling scene, just like punk, was all-encompassing, certainly organic; and was growing exponentially all over the UK.

By January 1988 Shoom was so busy Jenni Rampling had to stand on the door and vet attendees. "You'd see Pete Wylie, Paul Rutherford, Keith Allen, Boy George, and Michael Clarke dancing, off their tits in the smoke, bumping into the bleeding mirrors next to a bunch of Millwall fans from Rotherhithe," laughs Johnny Rocca, ace face on the music scene.

"Sometimes we didn't get into Shoom," attests Charlie Fitzgerald ( nee Colston-Hayter), whose brother Tony was the man behind the now-legendary Sunrise parties. "I think this is when Tony started thinking he could do his own events."

Other people had similar ideas - me included. In December 1987 I opened a club called Afters in Clink Street (near to London Bridge) that started at 4AM and finished at noon. The music was a couple of 90 minute acid house cassette tapes mixed by a bloke called Ron Hardy of Chicago's Music Box, played on a boom box. Afters only lasted a few months as it was free to get in and we didn't sell any drinks as mostly everyone was off their trolley on E. But that's why they were up all night dancing. Swings and roundabouts. C'est la vie.

Club night Delirium had paved the way with an exclusively house music policy but closed its doors in December 1987, and DJs Noel and Maurice Watson moved to the Wag on a Friday to do Black Market main man Rene Gelston's 100% acid house night. And in January 1988, the brothers became residents in the same club on a Tuesday for Translantic, where Ce Ce Rogers, Marshall Jefferson, Kym Mazelle, and Frankie Knuckles performed in February '88 - for the almighty sum of £350.

Around the same time in the Empire Leicester Square, they played former St. Martins Art student Robin King's Delirium Deep House Convention, and were joined by Fingers Inc., Robert Owens, Ralph Rosario, Dj Pierre, Adonis and Xavier Gold.

"It was make or break for me as the acts came at great expense,' sighs King. "Unfortunately, only 250 people turned up and I lost about £4,000. It was a credible success, but a financial failure."

But, this was just the lull before the storm. An unlicensed event, aptly named Hedonism, in a rundown furniture warehouse in Hanger Lane would create the blue print for the coming acid house tsunami.

MOVING INTO UNDERGROUND TERRITORY

"I got married in Wandsworth to Jenni on the day of Hedonism," grins Danny Rampling. "Got mar ried, had lunch in Joe's Café, went home and changed, and then went and danced all night. It was a pivotal event."

Hedonism was created by brothers Alun and Simon Gordon, and a third partner, Josh Wilkins. The brothers had gone to New York in the summer of '87 and caught DJ David De Pino at the predominantly gay Tracks NYC (sister to the Detroit club) on West 19th that featured dry ice, Muscle Marys, OTT drag queens on PCP and thumping house music via a monster sound system.

Bringing the vibe back to London, on Friday 26th February 1988 they launched warehouse night Hedonism, with DJs Colin Faver and Justin Berkman (who went on to found the Ministry of Sound) pumping out pure house music all night long. It not only hit the target, it blew the bloody doors off. Hedonism with its solid no-holds-barred one hundred percent Chicago, New York and Detroit house soundtrack was tough, urban, very London and utterly perfect.

"My first real 'proper' flat-out full-on all night house music session was at Hedonism," remembers Nicky Trax. "Around 400-500 people jammed all night, the sound system was one of the best you've ever heard while the lasers smoke machines and graffiti decorated walls topped it off. It was an incredible sensory experience; stimulating and immersive."

This is something of an understatement. I personally walked in at 4.30AM and was hit flat. The bass growling through the pit of my stomach via one of the best sound systems I'd ever encountered, the treble tickling the spine while patrons danced furiously in semi trance, whacked out of their gourds. I then knew that this was it. This was going to be massive.

Three more Hedonism events followed; the scene exploded on a wave of Doves (unusually potent pills from Amsterdam) and new clubs sprang up proffering this new acid house idyll while the crowds got bigger and bigger all over the country.

"The effect of E was huge," stresses Hacienda DJ Mike Pickering, the man behind the Latin House classic Carino of 1987. "I remember how over a three week period the crowds changed; I likened it to a Mexican wave starting one end of the club to the other. The whole atmosphere and look of the crowd changed, and DJ-ing was never the same again. Then on my Friday night Nude [at the Hacienda] the queues started forming around 6PM and by opening time stretched miles around the block. I then saw that this could be truly a global thing."

The effect of E wasn't just felt on the dance floors.

"The North was pretty grim back in the 80s," remembers Graeme Park. "There was a recession and cities like Manchester, Liverpool, Sheffield, Bradford, Leeds and Nottingham weren't the glitzy modern metropolises they are today.

"Nobody lived in city centres and they were pretty dismal. Unemployment was high and there was a Thatcher government, so the rave scene was an escape from the harsh realities of modern life. Acid house and ecstasy was the perfect antidote and nobody cared who you were. Gay, straight, black or white; plumbers, barristers, shop workers, doctors, football hooligans... they all came together to party all night long with a soundtrack like no other.

By now this cultural tidal wave had its own clothing mores and was developing its very own argot; 'On one matey,' 'radio rental,' 'Jack and Jills,' 'monged ', 'munted' etc. Much taken from ye olde Cockney Rhyming slang tradition (itself created to baffle undercover cops) it was often deliberately absurd, rapidly obsolete and consciously irritating.

Meanwhile, all over the country little warehouse parties full of happy, euphoric ravers were cropping up most weekends, along with weekday one nighters.

HAPPY CULTURE

Back in the clubs, Shoom moved to a bigger venue, RAW at the YMCA in March 1988, and in April Oakenfold and Ian St. Paul teamed up with Gary Haisman to do Spectrum at Heaven on a Monday night. The first night was under-attended with only about 300 in a space that held 2,000. "We were in trouble," admits Oakenfold. "Then after a few weeks it went massive and was packed every week."

Soon people were coming from all over the country; in particular a big Manchester contingent. So Spectrum productions became more and more ambitious; one week there were confetti snowstorms, another saw a huge E covered in silver foil coming out of the ceiling to Ride of the Valkyries; while even more remarkably, one Monday night I saw Lisa Minnelli sitting drinking champagne on the balcony.

"Looking around Spectrum one night," reminisces Johnny Rocca, who DJ'd in the back room and looked after a lot of the scenic productions, "there was all these proper hard football hooligan firms there that I knew and I thought 'Oh no, it's going to kick off!' but it didn't, as everyone was so off their face on the best E ever, they were all hugging each other and totally loved up."

(It still tickles me that chaps who'd a few weeks before been fighting viciously over football were embracing this music that had, in the main, been created by gay black Americans. But such was the power of the pill.)

"I used to go to raves in Blackburn that were massive," enthuses Dave Beer, the main man behind Back to Basics in Leeds. "And then it spread all over the North, and it was lovely because before, if you came from Leeds and you went to an event in Manchester or Liverpool you'd get your head kicked in. But during the house days we all accepted each other and suddenly got on and danced as it was all about love and acceptance. It changed people's lives forever."

And all the while preposterous shenanigans flourished.

"I remember on my 40th birthday in '88,' interjects Rocca. "I was DJ in the back room and they had a little kids' play pen in the bar. So I climbed in it with Dave Little and spent the whole night rolling about with a variety of strangers and friends. Totally off my tits, it felt like I floating was in a lovely big bath. It was the best night of my life. You could do what the fuck you wanted back then as it was all about love and acceptance. But it was full time, like going to war, a military campaign; we all lived it to the max, going out every night of the week till dawn for months on end."

The acid house scene is lovingly recollected by all.

"One of my fondest reminiscences is of Barry Mooncult - who'd been a proper nasty Chelsea football hooligan - rearranging the petals of a daisy he'd found, and trying to revive it by pouring mineral water on it," recalls DJ Andy Weatherall. "It had that effect on people."

Undeniably, Spectrum's huge success signaled the scene's move from subculture to superculture.

In June 1988 Nicky Holloway opened The Trip at The Astoria that, a smash from day one, had queues around the block, and folk dancing in the fountains underneath Centrepoint till they were dragged away by the peelers.

Two weeks later Love opened at the Wag with two floors of crucial house music from 10PM till 6AM. Initiated and promoted by Rod Marsh and DJ Dave Dorrell (who'd had a number one record with Pump Up The Volume), Love proffered the UK's finest house music DJs such as Dorrell himself, CJ Macintosh, Pete Tong, Jeremy Healey, Paul Anderson and Andy Weatherall et al, whilst also pulling in likes of Mike Pickering and Graeme Park from the North, and legends like Tony Humphries, Little Louie and Frankie Knuckles from over the water in the US.

Because it was legal, proper and on a Friday, customers traveled from all over the UK; there were 500-metre queues each week. But the downside of the market was the drop in drinking. Whilst floors filled up, the bar take plummeted to nothing. I recall a pile of about 20 punters writhing around on top of each other on the floor and my business partner asking me, "What on earth is going on Chris? What have you done to our club?" My only reply was a cheeky gurn.

THE SECOND SUMMER OF LOVE

Love spawned the nomenclature, 'The Second Summer of Love'. For that and the next few summers Rod, Dorrell and I took Love to Ibiza monthly with our residents DJs, and took over Amnesia on a Friday and Pacha on a Saturday. Back in the UK things were moving fast and the movement was spreading.

"I'd never witnessed such electric energy and enthusiasm in my life as at the Friday Nude night at The Hacienda," smiles Graeme Park. "It was a night for hedonists by hedonists. I doubt we'll ever see the like again."

"All over the country you'd see these freshmen walking into a rave," chuckles Johnny Rocca. "And they'd be all wide eyed and nervous, not knowing what to expect, then you'd see them dithering about, deciding whether to buy an E which was £20 a pill (£60 now). Then next thing they're on the dance floor drenched with sweat, and you'd see them outside at 5AM still off their box looking as if they'd found God."

Indeed, I'd liken them to Moses when he came down off the mountain but the big difference was that Mo hadn't swallowed his tablets! Looking back, for many this was the chance they'd been waiting for. Times were tough. Disaffected youth weren't happy. They needed something that was their own that their parents and the powers that be disapproved of. Said youth went into their first acid house night as civilians, dropped a pill and came out disciples of this futuristic epicurean religion and went forth and multiplied.

ANARCHY IN THE UK

It was at this time that unauthorised, anarchic parties started popping up everywhere until barely a field was empty. Getting stranded in the countryside and asking a cow for directions home became tres chic in the UK.

"I thought at the time that this house music palaver was both amazing, and also that I hated it," recalls BBC London's Robert Elms. "I knew immediately that this fledgling scene was the next big thing, but this will end in a field I thought. Hippies, mud, terrible clothes and no discernment. It was so all encompassing and all consuming and there has been nothing like it since. It was the last spaced out, loved up, lilac-clad hurrah of indigenous British youth culture."

"My first rave experience was in a massive field somewhere in the Midlands," recalls Wolverhampton-raised DJ Sarah Walcott, who was 18 at the time. "Thousands of people jumping for joy, running around smiling and hugging each other; but mostly dancing, smiles of ecstasy on their faces. The defining moment was the sun rising, smiling like an Inca God over us, it was beautiful! Hands out raised to the sky, all of us together, was a magical moment! From that moment we knew we were part of something that was extraordinary."

On the 17 August 1988 The Sun led with the headline, 'Scandal of the £5 drug trip to Heaven'. They got it totally wrong, as they claimed everyone was tripping on LSD and not on Ecstasy, but the headline ultimately only served to promote the concept even further, as the youth, just as they had with punk, considered anything The Sun hated as being something worth following. And so, while the authorities were sharpening their knives (as they had with Teddy Boys, Mods, Hippies and Punks) the movement exploded.

Parties popped up in grand stately homes, on farms and on racetracks; in London, every night a good half dozen acid house after-hours spielers were open till they shut in Soho full of gangsters, trendies, trannies, hookers and ravers. In Brixton you had Mendoza's with DJs Fabio and Grooverider, while those not in the know after the clubs had finished simply congregated around a car with a good sound system and blasted out the house music until the cops arrived. A night out became an hilarious adventure fuelled by E- looking for parties, getting lost, taxi journeys, the police, running out of petrol, being stranded. Every calamity was hilarious.

SUNRISE

Luckily, the tube was running by the time I left professional gambler, card counter and veritable genius, Tony Colston-Hayter's first event (with Roger Goodman), Apocalypse Now, August 88 in Wembley film studios.

"When Tony said he wanted to start putting parties on, none of our group questioned it," says his sister Charlie. "We all jumped on board and took on different roles. Tony found a loophole in the law that said it was legal to put on a private party, so everyone became a Sunrise member, and they were going to a private party. They all had membership cards and we sent out newsletters (by post, no internet or Facebook in those days). We ended up with about 30,000 Sunrise members by August 1989."

The first Sunrise occurred on 8 October 1988 in Wembley, four days after ITN had transmitted a damning six-minute report about the dangers of ecstasy, and so the police busted it. Undeterred, Tony then put on a bash at a secret location near his home in Buckinghamshire. About 1,000 guests experienced a rather incredible evening that ended at 8AM with Don't Worry Be Happy by Bobby McFerrin. So we didn't worry and were happy as sand boys.

But this was perhaps the last un-maligned event of the time as by now the powers that be had fully cottoned onto this 'thing' that was happening and began to crack down.

All the press needed was something to hang their coats on to lambast the movement and sell newspapers. This came in the form of 21 year old Janet Mayes who died at the end of October 1988 after taking a couple of Es. Oddly the first death - 19-year-old Ian Larcome who died after he allegedly swallowed 18 'little fellas' after a police stop and search - went largely unreported. He probably wasn't pretty enough.

Meanwhile the BBC banned all acid house. Lick-arse DJ Peter Powell commented, "It's the closest thing to mass organised zombie-dom. I really don't think it should go any further." We didn't agree, and neither, it seemed, did the public.

"We were racing up the pop charts with the track I did with D-Mob, We Call It Acieeed," recalls frontman Gary Haisman. "We were already there, then at the last minute they cancelled us and said we'd been banned. It didn't stop us getting to number one though."

There's nothing like a banned record to propagate a youth movement, just ask the Sex Pistols. And so the popularity of acid house and the raves that went with it catapulted beyond our wildest imaginations. As did the absurd police attention.

In November 1989 the Metropolitan Police in their infinite wisdom publicly declared open hostilities with the acid house scene, and the next day invaded a small soiree of some 150 people on a boat on the Thames, pulling out all the stops. Undercover rozzers in bandanas, smileys and dungarees, scores of riot police dressed in crash helmets and protective boiler suits carrying shields; frogmen, launches and searchlights.

It was the Raid on Entebbe, but on the Thames at a tiny party. An impressive haul of just nine middle class party people were arrested for having a good time, being friendly and sharing half an E.

On a more serious and utterly unjust note, organisers Robert Darby and Leslie Thomas were charged with "conspiring to manage premises where drugs were supplied" and were sentenced to 10 and six years imprisonment respectively. You'd get less for rape.

Still the scene grew. James Perkins started his Phantasia events at Cheltenham; Fabio and Grooverider opened Rage; Sunrise sold 4,000 tickets for their Guy Fawkes bash, and Wayne Anthony commenced his series of Genesis events in the East End.

The genie was out of the bottle and 1989 was to become the year that house music made serious money for farmers with empty fields, warehouse owners, ecstasy dealers and bottled water companies, and the whole of the UK was consumed by this wave of goodwill - all initiated by a gay club in Chicago and bolstered by Ecstasy.

"The attempts to clamp down were always doomed, due to the sheer numbers of people and the ingenuity of how to get around the authorities," chuckles Graeme Park. "The police were only paying lip service to an outraged right wing press and government. They knew they were on a hiding to nothing."

STILL RAVING ON

Today, as traditional nightclubs close for business left and right, illegal raves or unlicensed all night parties are popping up again all over the UK, as the new Vice online documentary , directed by Rhys James and presented by Clive Martin reveals. "The police, the authorities, and the property developers might be moving closer, but for now the scene is a long way from being locked off," concludes Martin.

"Something like this is needed now in the UK as society is in a mess divided through politics and social media," concludes Danny Rampling. "And it's sad to see the rise in the level of violence, knife crime, hate racism and the far right. What we did was change people's attitudes and gave them a certain empathy and love for everyone. This is needed right now."

"I suppose back then people felt like anything was possible, which is a good collective energy to be around," concludes DJ Nancy Noise (top photo, in hat). "My daughter has said to me quite a few times, 'you're so lucky Mum, what you went through; being part of something like that'. And you know what? We were."

To read Part I of this journey click HERE
The three-CD mix celebrating the Second Summer Of Love. The period from 1988 through 1989 as compiled by Paul Oakenfold, Nancy Noise and Colin Hudd is out now on though New State Music. Limited edition signed lithographic prints of Spectrum; Land of Oz. Boys Own posters etc are available from www.davelittle.co.uk Chris Sullivan promoted a long list of warehouse parties, founded and ran the Wag Club and is a former GQ style editor who has written for many others including Italian Vogue, The Times, Independent and The FT. He now is Associate Lecturer at Central St Martins School of Art specializing in 'youth' cults.

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Summer of Love Part II - Ecstasy, rave explosion, underground parties

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One might reasonably accept that punk changed attitudes and was the most important youth cult since the sixties. But rave has been equally subversive, causing seismic shifts in cultural and political attitudes and behaviours. But there's a big difference between punk and rave.

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Archives of dissent * Glasgow * Scotland * elsewhere

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We couldn’t find the page you were looking for. This is either because:

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Underground and Alternative Press Collection | University of Brighton Reading Lists

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This collection of underground magazines written in the sixties, seventies and eighties in the UK, including Brighton, is available on microform as a primary resource into subcultural movements such as New Age, Punk, Feminism, alternative comics, and other delights.

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Archives of dissent * Glasgow * Scotland * elsewhere

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Little Magazines, Alternative Press & Poetry Store Collections

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Little Magazines are those which publish creative, often innovative work, with little or no regard for commercial gain. They provide an outlet for new creative work in literature and the other arts which in many cases is outside the criteria governing most mainstream journals.

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Reveal Digital's Independent Voices already comprises over 15,000 issues of US periodicals produced by feminists, dissident GIs, campus radicals and the New Left, Native Americans, anti-war activists, Black Power advocates, Hispanics, LGBTs, the extreme right-wing press and alternative literary magazines. We will now digitise similar UK publications.

Background to the project

During the 60s, 70s and 80s, people on both sides of the Atlantic started to produce their own publications, enabling them for the first time to freely express their views on culture, politics and society. Black consciousness, radical feminism, art, poetry and music all underwent revolutions through emerging independent presses and counter-cultural activism.

These publications were produced by those who felt underrepresented by the mainstream media. They knew that there were like-minded people out there with comparable views and the availability of cheap reprographic devices made it possible for them to reach that like-minded audience. This approach has had a huge influence on publishing to this day. People are still casting their own voice through zines (so-called little magazines) and by blogging on the internet.

What we're doing

We will undertake UK-based digitisation activities to supplement material from this side of the Atlantic, preferably in collaboration with participating libraries. Each library that buys the existing collection will be contributing towards a small digitisation fund to enable this.

Benefits

The idea is that participating UK higher education libraries will steer the selection of UK content to be digitised and added to Independent Voices.

This means that by 2019 there will be unparalleled open access to a huge range of content which cannot be acquired elsewhere. Many of these publications cannot be accessed in their hard copy form due to preservation issues, scarcity and simply because they were not collected by libraries on a large scale.

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Digitising UK underground and alternative press content for Independent Voices

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Reveal Digital's Independent Voices already comprises over 15,000 issues of US periodicals produced by feminists, dissident GIs, campus radicals and the New Left, Native Americans, anti-war activists, Black Power advocates, Hispanics, LGBTs, the extreme right-wing press and alternative literary magazines. We will now digitise similar UK publications.

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https://docs.google.com/spreadsheets/d/1D16yp3jX5FgbRp18-uhsZzENtXR1vEzpR0uAQtP6AVg/edit#gid=992506258

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LITERACY

Engaging people in reading is only part of the path toward true literacy. It's equally important to engage them in writing. The skill involved in shaping a text, be it story or rant, engages literacy skills on a deeper level through active use. Reading and writing zines makes it clear that the power of literacy skills is tangible and doable.

Visual literacy is also practiced in zine-making, as the message of imagery is wrestled with through collage, drawing, and juxtaposing image with text. Zine makers learn how powerful images can be to create an emotional response or to further the power of the written text.

Zines are also a path toward cultural literacy. The depth and breadth of our culture is not adequately presented by mainstream media. Zines offer off-the-beaten path images and stories, and commentaries about society, making it clear that people should be creating their culture.

CREATIVITY

Creating and not just consuming culture, writing, images, and ideas is central to the power of zines. More and more of our activities are mediated and shaped for us, rather than created by us. Making choices is central to developing creative skills. In today's culture it can feel like we have to consciously separate ourselves from the mainstream in order to have real choices, and zine culture provides a community of other do-it-yourself experimenters to make contact with.

Zines also provide a place to practice both individual and collaborative creativity. The skills of each are unique, and our culture does not provide adequate forums to really explore either. Collaboration is a skill that is given short shrift in our hierarchical and competitive society. Zines are one way to practice the give and take that collaboration entails, as you work with others to create a collective expression.

HISTORY

It's frequently said that history is created by the winner. These days the winner is corporate media, the government, and those with the money to control others. It's essential that the experiences of each person is valued, that the culture they are part of is valued, that the importance of the small stories of life are valued as all being essential to the recording of history. Being a part of shaping history means including zines the archives of libraries, and treating them as valuable resources for future generations who want to learn from the past.

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Engaging people in reading is only part of the path toward true literacy. It's equally important to engage them in writing. The skill involved in shaping a text, be it story or rant, engages literacy skills on a deeper level through active use.

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http://content.lib.washington.edu/wwrweb/

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STRIKE! Magazine is a platform for those involved in grassroots resistance, anti-oppression politics, and the philosophies and creative exspressions surrounding these movements.

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http://hiphoparchive.org/

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Hannah J. M. Ishmael, Rob Waters; Archive Review: The Black Cultural Archives, Brixton. 20 Century Br Hist 2017 hwx023. doi: 10.1093/tcbh/hwx023

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Hannah J. M. Ishmael, Rob Waters; Archive Review: The Black Cultural Archives, Brixton. 20 Century Br Hist 2017 hwx023. doi: 10.1093/tcbh/hwx023

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This website is intended to be an offloading point and information depot for a number of archiving projects, all related to saving websites or data that is in danger of being lost. Besides serving as a hub for team-based pulling down and mirroring of data, this site will provide advice on managing your own data and rescuing it from the brink of destruction.

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The Full English: available now

"The Full English is possibly the most exciting and significant thing to happen to British folk music in at least a generation... To give everyone the keys to the archive of our common heritage will be an invaluable inspiration to generations of musicians and writers."
Lee Hall, playwright and screenwriter (Billy Elliot, Pitman Painters, War Horse)

The English Folk Dance and Song Society (EFDSS) and its partners present the world's largest online collection of English folk manuscripts.

Freely explore 80,000 pages of traditional songs, dances, tunes and customs from the golden age of folk music collecting, within the manuscripts of nineteen of England's most important late Victorian and Edwardian folk collectors, including Ralph Vaughan Williams, Percy Grainger, Lucy Broadwood and Cecil Sharp.

The Full English digital archive delivers the true 'voice of the people' through a variety of material ranging from full songs to fragments of melodies, invaluable for researchers, performers, composers and many more. It is rich in social, family and local history, and provides a snapshot of England's cultural heritage through voices rarely published and heard before.

Improving access to The Full English digital archive

The first part of The Full English project was to make these images available, in a format that is searchable. However, as the information on these images can very hard to decipher, particularly if you are not a music reader, the second part is to improve access by providing transcriptions of texts and musical notation, as well as midi files so the tunes can be heard.

A word of caution

None of The Full English materials have been censored. The contents do not reflect the opinions and views held by the English Folk Dance and Song Society, or any of The Full English partner organisations.

Explore

Search The Full English collections
Browse The Full English collections

Discover
Find out more about the collectors
Find out more about The Full English learning programme
Find out more about Take 6
Copyright

The images of the materials in The Full English digital archive on the VWML website are licensed from the repositories which house the original collections. Permission to reproduce any of these of these images for anything other than private study must be sought in the first instance from the holding repository. Details of these repositories can be found here

The Full English archive partners

Clare College, Cambridge
The British Library
The Folklore Society Library and Archive, University College London
The Grainger Museum, University of Melbourne
The Mitchell Library, Glasgow
Vaughan Williams Memorial Library
Wiltshire and Swindon History Centre

Our archive partners immediately saw the value of this kind of co-operative venture and were enthusiastically supportive. Without them, The Full English project would not have got off the ground and we extend to them our heartfelt thanks.

The Baring-Gould folk song collection appears as part of The Full English thanks to Wren Music who donated the entire digitised and catalogued collection to EFDSS as part of the Devon Tradition project.

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The world's biggest free digital archive of English traditional folk music and dance tunes "The Full English is possibly the most exciting and significant thing to happen to British folk music in at least a generation... To give everyone the keys to the archive of our common heritage will be an invaluable inspiration to generations of musicians and writers.

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Have you written a thesis on young people or youth, or do you know someone who has? Once again the Finnish Youth Research Society is looking for high-quality theses and will reward the best ones with the Youth Research Thesis Awards.

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In recent times Old Dog publishing has resurrected the cult fiction genre and in some style. The undisputed emperor and innovator of the genre, Richard Allen, penned a total of 18 books in the 70s. First of these was Demo, it was his second book, Skinhead, that introduced anti-hero Joe Hawkins in the process capturing the attention of a generation.

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In the late 1970s, Sheffield-the former industrial powerhouse in the North of England-was a city in a state of flux. It was still defined by its manufacturing industry, one that churned out masses of steel and coal. Tall brutalist concrete buildings towered over the city's skyline, drawing comparisons to Fritz Lang's Metropolis. "Sheffield was bleak, colorless and derelict," Jane Wilson of I'm So Hollow remembers, but it would soon become a city defined by its colorful musical output. Despite pockets of crumbling desolation and dreariness, Sheffield began to birth a cultural movement rooted in glamour, Dadaism and futuristic sounds that were both a contrast to, and a representation of, its surroundings. The music took many forms around this period, some groups harnessing the momentum of punk and distilling it into wiry and urgent post-punk, others reimagining the industrial force of the steel mills, whilst others went about creating a template for a new type of electronic music through synthesizer experimentations, tape loops and cavernous plunges into territories unknown.

One such music fan and musician watching these changes take shape was Nick Taylor, the founder of Sheffield Tape Archive. An active gig-goer in the late '70s, he saw early performances from pioneering electronic masters Cabaret Voltaire as well as Jarvis Cocker's favorite band, Artery, who were a vicious and vivacious maelstrom of post-punk fury. Artery feature largely through the archive, which is a collection of (mostly) Sheffield artists presented through demos, live shows and often unreleased or unheard recordings.

The collection is largely Taylor's own, amassed over the years from personal recordings he would make at gigs and demos he would collect. When he was interviewed for the 2003 book, Truth and Beauty: The Story of Pulp, it became clear - through speaking with author Mark Sturdy on the origins of them - that Taylor was in possession of some some rare live recordings and word soon spread through the fan community with Taylor then burning CD copies for diehard fans. A few years on Taylor found himself with some unexpected time on his hands. "I was in a serious accident-I broke my back whilst rock climbing. I was off work for nine months, so I thought-all those gigs people have been asking me for, I'll put them on a website." That's when the archive was born, a collection that spans long lost cassette demos from 1977 to live recordings as recent as 2007.

Recently the archive benefited from the addition of new material from the personal collection of Martin Lilleker, a Sheffield music journalist and the author of Beats Working for a Living: Sheffield Popular Music 1973-84. Sadly he passed away in 2016 after being diagnosed with early onset Alzheimer's. There was no direct talk with Lilleker of such a project whilst he was alive, as many didn't realize how ill he was until it was too late. Taylor says that he initially thought his unreplied-to text messages, asking if Lilleker would be at such and such a gig, were just the signs of someone getting a little older and less interested in going out. After his passing, Taylor, along with fellow Sheffield music fanatic Simon Dell, digitized Lilleker's personal archive. All proceeds from the STA recordings go to the nursing home Lilleker spent his final years in.

Specifically, the money has been earmarked for music-based therapy sessions for patients. "Martin's widow, Annie, asked me to sort out his large vinyl collection," Dell says, "Through this, we came across a box of cassettes. They were demo tapes and private recordings by local bands that he had kept for over 30 years, so presumably they meant a lot to him. A lot were generally unreleased or had been unavailable for many years." From Lilleker's personal archive Dell selects the Vendino Pact recording-Vendino Pact were a post-punk outfit involved in sound-tracking theatre productions-as a special one. "The Refugees stage play soundtrack had been known about for years, but it wasn't known if [the recording] existed," Dell says, "It really captures the cross-fertilization between music, stage and art that was prevalent at the time."

The archive includes both cult and popular acts, such as: Clock DVA's 1979 demo, Pulp live at the Hallamshire House in 1984/85, a 9 track demo collection from the Surface Mutants (7 more songs than they ever released), Hula live at the Leadmill and I'm So Hollow's 1979 original demo recordings. The singer from I'm So Hollow, Jane Wilson, reflects on those recordings from 1979, taking place at Cabaret Voltaire's studio at Western Works, an old cutlery factory. "It was damp and cold. I remember the staircase being marvelous, drab with paint peeling, a shadow of its former glory but these buildings reflected the new industrial music perfectly and were a fitting background for creativity." It was here the group began to cement their sound, fusing the propulsive charge of insistent and piercing guitars with a natural melodic edge, recalling a slightly less pop-soaked Pylon. The "Western Works Sessions" made their way to John Peel's ears, and on August 13th, 1980, I'm So Hollow were invited to record an infamous live session for his show. Playing four tracks, their sound benefited from the broadcast quality recording but lost none of its spunk, urgency and idiosyncrasies in the process, the wonky and squelchy electronics on tracks such as 'Fashion' and 'Monotony' take the songs in a distinctly other worldly and dystopian direction, elevating the songs far beyond the guitar-heavy post-punk norm of the day.

The archive has created a home for various recordings that many thought were dead and buried. "Molodoy and Dachau Choir were both favorites of mine," Taylor says of some of the rarer findings. "In Molody the singer would dress as Alex from A Clockwork Orange. I thought they were a bit like early Siouxsie and the Banshees. When I got in touch with those guys, a couple of them thought the recordings were lost forever. They didn't even have copies."

Molody was not the only band in Sheffield influenced by A Clockwork Orange. The 1962 novel by Anthony Burgess and the 1971 film by Stanley Kubrick as well as, very crucially, the soundtrack by Wendy (then Walter) Carlos grabbed the attention of many. Heaven 17 are named after a scene in the film, and Clock DVA are also partially named after both the film and book. The group's co-founder Adi Newton remembers its impact. "It was an analogy for the state of a dystopian future in which we felt a form of alienation from mainstream society. The cult of youth felt out of odds with the old technology and traditions, so the film and book's concept appealed to us. We loved the soundtrack, it was a big influence on our thinking then in terms of the fabric of sound." A Clock DVA recording features on the archive too. "I think we manage to capture a certain intensity in those recordings," Newton says of the sessions swathed in whirring tape loops, dense bass lines, brooding drones, distorted vocals and an eerie sci-fi hum.

The archive includes many of Taylor's own bands, such as Dog Canute and Sixteen Hooves, but one of his earliest projects is another golden nugget plucked from the depths of obscurity: Heroes of the Beach. The group only existed briefly, played a few gigs, and barely rehearsed. This release captures both a rehearsal and a live recording. Including a beefed up and discordant cover of the Talking Heads' 'Psycho Killer' in which a very young Jarvis Cocker can be heard stabbing away at the guitar.

"There are some gigs I really wish I'd got," Taylor says, cursing the evenings he didn't record, "Like Artery. They were quite confrontational; they would get hold of people and the audience was involved whether they liked it or not. A bit like Nick Cave in the Birthday Party." Taylor also remembers when the group's singer climbed out of a high first story window mid-performance to scale the building and re-enter through another. "He was towering above all these people down below in the street waiting for the bus.".

The project is still an evolving one. "It's a case of the end never being in sight," Taylor says. Whilst there's still a couple of Sheffield bands he would love to unearth some rare recordings of, like Comsat Angels and Cabaret Voltaire, his ongoing quest for making this music public is in the name of posterity and memory. "I've had a few friends my age that have died in recent years. It brings it home to you, some of those people I was in bands with. I could have died, too. when I was lying on the ground paralyzed so I thought, 'Life's too short.'"

- Daniel Dylan Wray

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The Sheffield Tape Archive is a Post-Punk Demo Treasure Trove

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In the late 1970s, Sheffield-the former industrial powerhouse in the North of England-was a city in a state of flux. It was still defined by its manufacturing industry, one that churned out masses of steel and coal. Tall brutalist concrete buildings towered over the city's skyline, drawing comparisons to Fritz Lang's Metropolis.

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Kaur, R. (2015). "Writing History in a Paperless World: Archives of the Future." History Workshop Journal 79(1): 242-253.  http://hwj.oxfordjournals.org/content/79/1/242.abstract

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History project media culture interviews

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History project media culture interviews

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http://www.historyproject.org.uk/gallery

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https://archive.org/details/smash-hits

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http://telu.me/

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https://1minutecpd.wordpress.com/

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http://blogs.shu.ac.uk/shutel/files/2014/10/TeachingApproachesMenu_full_version07external.pdf

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http://liblists.sussex.ac.uk/lists/088AF898-2E85-8F9F-CA6C-6B93161BDC9C.html

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https://rockroots.wordpress.com/

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http://vogmae.net.au/integratedmedia/wp-content/uploads/2012/02/Chapter3deCerteau.pdf

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Blippar's augmented reality suite transforms classrooms, educational publishers, cultural institutions & workplaces into interactive learning environments.

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https://en-uk.articulate.com/

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https://www.westminster.ac.uk/camri/research-areas/black-music-research-unit

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http://www.historypin.org/en/phop/geo/53.185384,-1.815867,6/bounds/47.061611,-8.495555,58.544541,4.86382/search/tag:five%20star/sort/popular/paging/1/pin/995833

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Great early article on video games and subcultures.

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10,000 zines and counting: a library's quest to save the history of fandom | The Verge

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10,000 zines and counting: a library's quest to save the history of fandom | The Verge

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The University of Iowa's fanzine collection is going digital before it falls apart

The University of Iowa is home to almost a century of fandom history. Its library's special collections house everything from 1920s "dime novel" reviews to T-shirts that were auctioned off in protest of the 2002 Farscape cancellation. In 2012, though, it acquired one of the most valuable resources yet: the library of James "Rusty" Hevelin, a lifelong science fiction superfan and prolific collector of books and fanzines dating back to the 1930s. Last year, the Hevelin Collection was chosen as the first target of the university's Fan Culture Preservation Project, a massive effort to digitize some of the most vulnerable and ephemeral pieces of science fiction history. Now, that effort is starting to take shape.

In July, UI digital project librarian Laura Hampton officially began the long process of archiving the Hevelin Collection. The library is partnering with the fan-run Organization for Transformative Works to collect more zines for eventual digital archival, but Hampton is currently focused on material from the 1930s to 1950s, spanning the rise of zines and the Golden Age of science fiction. The vast majority of the images will stay offline, but an accompanying Tumblr has given outsiders a peek into the roughly 10,000 zines that Hevelin donated - and into the communities that helped create science fiction as we know it, from fandom clashes to fan fiction.

It's impossible to talk about the history of sci-fi, or modern popular fiction more generally, without talking about fandom. H.P. Lovecraft, Ray Bradbury, Robert Heinlein, and many other seminal authors were shaped by and participated in fandom, whether through letters, early science fiction conventions, or fanzines. Zines were home to some of these writers' first stories; later in the 20th century, they were central to the rise of fan fiction. But for a variety of reasons, they were usually meant to circulate through a community, fade away, and fall apart.

Fanzines feel almost designed to resist archival. "Creators were working with what they had, often within pretty tight budgets, and producing fantastic images with relatively cheap materials," Hampton tells The Verge. Many of Hevelin's zines were hectographed - copied by pressing paper to an inked gelatin pad. The medium produced brilliant purples and blues that can still be seen in some of the illustrations. But it favored cheap, highly acidic paper, and images could fade within hours under direct light. "There are rusty staples, tape - all these material things that make a fanzine a fanzine are also what make them difficult to preserve." Each zine is photographed page by page as quickly as possible, supported by a specially designed cradle, until it can go back in storage.

"All these things that make a fanzine a fanzine are also what make them difficult to preserve."

A few hectographic images are showcased on Hampton's Hevelin Collection Tumblr. They're the epitome of bizarre 1930s pulp: a metal claw-handed giant bat (apparently) breathing fire on the Capitol Dome, a robed man being (again, apparently) attacked by an alien octopus while trying to inject something into the arm of a semi-nude woman. Other Tumblr posts are strikingly timeless, like illustrator Alva Rogers' 1940s covers for Lovecraft tribute zine The Acolyte. And some photos highlight the writing of early fandom, including snippets of short stories and nonfiction columns.

"One of the things that surprised me most about the fanzines is their personal nature," says Hampton. "While some editors primarily published fiction, so many of the fanzines are personal accounts of cons, events, reviews of other publications, reviews of pulps. There is a dialogue that emerges, between publications and across years."

The 1930s was a foundational period in science fiction, and as communities tried to define what the genre stood for, that dialogue wasn't always friendly. The first World's Science Fiction Convention, held alongside the 1939 New York World's Fair, was also the site of a feud between two fan groups: the Queens Science Fiction Society and the rival Futurians. According to later accounts, their struggle for control culminated in an aggressive leafleting campaign and the banning of several prominent Futurians from the convention, including future award-winning author Frederik Pohl. (They showed up anyways, hobnobbing with attendees - including a teenage Ray Bradbury - outside the official venue.) The fight is referenced in one Hevelin Collection photo, which captures a con-goer's recollection of "a number of nasty things."

Digitizing the Hevelin Collection is a long-term project, but it's merely a part of the University of Iowa's whole fandom archive. And the archive itself captures only pieces of fandom history. Zines still exist, but future archivists will face the challenge of collecting stories, videos, podcasts, and art spread across hundreds of fan sites and larger repositories. They'll have to decide what to preserve and how to present it - the equivalent of fanzines' personal conversations might now take place in a LiveJournal comment section, or the reviews of a story on FanFiction.net.

Fandom itself has been dealing with these questions for years, and the Organization for Transformative Works runs its own fiction archive and fandom wiki. But libraries have to work with longer-term solutions in mind, ones that aren't dependent on outside hosting services or current computing platforms. "This is one of the central questions of the profession today, and answers are varied and ever-changing," says Hampton.

Even with these limits, the Fan Culture Preservation Project is stopping a key part of fandom history from disappearing. But in doing so, it's using the zines in a way that their creators may never have envisioned or intended, and the effort hasn't sat well with everyone. As the project progresses to newer material, it will also shift into more sensitive territory. Where early zines might have published gossip and reviews, later ones circulated the first slash fiction - stories, often explicitly sexual, about romances between male characters.

"I don't want my fanzines included in any way," wrote one commenter on the Organization for Transformative Works' announcement post. "I keep in print those I want to keep available, and some have purposefully been taken out of print and allowed to quietly fade away. If I wanted them made public and accessible, I'd have done it."

"Post-internet authors have an understanding that their work will be found now. Pre-internet authors did not."

Practical concerns exist: an erotic fanfic author might not want to risk being outed to family or friends, and an author who fears copyright crackdowns might worry that companies will see the archives as a form of public distribution. But there's also more general discomfort with a niche hobby suddenly coming under academic or public scrutiny. "There is a vast difference between publishing to a fairly known community and having your work suddenly available to a very different community in both outlook and number," another commenter wrote. "Post-internet authors have an understanding that their work will be found now. Pre-internet authors did not."

Some of the complaints hinge on how accessible the zines will be. While the archives are being digitized, only small pieces like the Tumblr photos are being put online. A group of volunteers will transcribe the text and upload it into a searchable directory. If researchers want specific material, they can visit the library or request scans of limited portions, a standard archival practice. To some people, that's enough; to others, it's tantamount to letting someone photocopy and redistribute their zine.

Hampton says that anyone who is uncomfortable with their work being digitized can contact the library, and they'll try to work out a solution. But she also says that there hasn't been much resistance to the project. She hopes that some creators might even want to make their zines publicly available, something the university is in a uniquely strong position to do.

And for every hesitant author or editor, there was one enthusiastic about the project. "Sure, I'm slightly embarrassed, in an amused way, by the zines I published up to 50 years ago," wrote a fan who said they'd seen at least one of their old zines in UI's library. "But I published them - typos, grammatical infelicities, naiveté, and all - for people who might enjoy them, and that still holds."

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10,000 zines and counting: a library's quest to save the history of fandom

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The University of Iowa's fanzine collection is going digital before it falls apart The University of Iowa is home to almost a century of fandom history. Its library's special collections house everything from 1920s "dime novel" reviews to T-shirts that were auctioned off in protest of the 2002 Farscape cancellation.

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greengalloway: Diary of an anarcho-goth-punk fiend

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greengalloway: Diary of an anarcho-goth-punk fiend

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Found a diary I kept through 1983. Here are some edited highlights. Of interest is the movement on from punk (anarcho / goth) towards first Psychic TV and second Stonehenge, but also the politics- Stop the City.
What I find hard to realise is that through til November I was still working for London Rubber, busy making condoms and rubber gloves. I seemed to spend a lot of time staying up all night ...there is a photo of me in my white lab coat fast asleep at work.

People mentioned in 83 diary (in vaguely sequential order)
Bob, Tony, Val, Min, Nicki, Mouse, Fod, Big Steve, Paul, Scarecrow, Marina, Jenny, Tinsel, Andy Palmer, Lu, Elaine, Ruth, Karen, Helen, Gary, Donna, Michelle, Richard, Michael Moorcock, Lorraine, Alex, Mark, Tod, Jane, Jackie, Lisa, Sally, Alf Martin, Mick (Luggy), Mick (Mercer) , Genesis P. Orridge, Ronnie, Sarah, Rachel , Kenneth Grant, Colin (printer not Conflict,) Ripper, Brett, Angie, Julian, Josef, Green hair, WOg (William Ogden), Caroline, Iosanna, Marion, Shirley, Keith (Here and Now?), Jeremy Gluck, Matt, Valentina, Jake, Debbie, Joan, Gabrielle, Lou, Cory, Andrea, Claudette, Beki Bondage (!) , Janet, Rod, Les, Angee, Sonia, Lol, John, Derek Flux, Simon (Rough Trade?) James, Claudette, Chris, Emma, Sally(2), Zena, Hester, Anya, Soo, and Rob Vex. Who did eat all his muesli?
I make it over 70 altogether, which gives a fair idea of how lively it all was.

January 31st to 3rd. First too New North Road ( squat where Mark Wilson of The Mob lived + Val Drayton, Mark 's younger brother Paul, and Richard Cabut - Kick and NME journo)

Then to Nettleton Road , New Cross - New Year party at Mouse and Alex's house with Val, Mark, Nicki, Tod, Paul, Michelle, Tony, Scarecrow, Fod, Donna, Tinsel, Lorraine, Min, Gary and Michelle's guitarist. We listened intently to first Psychic TV album - "v.cosmic man" my opinion.

Mouse later became PTV person and Min moved to Beck Road , former Throbbing Gristle HQ, then Psychic Temple and became singer for Zos Kia.

7th to 9th To Bayston Road/ Stoke Newington where Bob and Scarecrow had been making a film, then on to Kingdon Road / West Hampstead - a lesbian squat. Helen lived there. Met Helen when I visited Min for the first time in 1981 when she was living at Cazenove Road/ Stoke Newington. Helen had a leather jacket with "Lesbian Guerilla" and a Kalashnikov painted on it. I was impressed and only a teensy bit nervous when I got talking to her and her girl friend Sonia. But it was cool, and I loaned them a fiver to get a taxi home the next day.

Then on to Puppy Mansions/ Westbere Road/ West Hampstead - Tony, Mouse, Bob, Jackie and listened to tape of Necromantra and Love is the Law - forthcoming Blood and Roses single. We celebrated with a bonfire in the garden.

15th Visited new house - an as yet still derelict 103 Grosevenor Avenue, soon to become a home for eight Black Sheep.

22nd The Mob played the London Musician's Collective.

February Thursday 17th Richard's NME piece came out - front cover. "Positive Punk". Blame the sub-editor. Went to a Blood and Roses gig. At the time I just wrote "NME piece", but it was used to heap derision upon the whole scene. Full text is online - on a history of Goth site and a punk site.

19th/ 20th Started work at 103, clearing crap out of garden and having a bonfire. A policeman came round, assuming we were dirty squatters - but we had a Council Key. Got some photos of us at work. Weekends in Feb. were all house work. We filled several skips.

March 4th/ 6th Visited Mouse and Bob at Bayston Road , then more skip filling at 103. Cover of Mob album done. Spoke to Alf Martin about writing for Punk Lives. Alf rang back on the Monday - join the crew. So I wrote a piece about the Centro Iberico for him.

12th/ 13th New North Road. Mark planning a bus trip. (As in free festivals and travellers).
Westbere Road. Michael Moorcock had been to film - following Richard's NME piece - for a tv show. I had read all of Michael Moorcock's books and knew of his links with Hawkwind - though he had also written a Sex Pistols meet Jerry Cornelius piece years before. Exciting times.
Julien drew a sex-chart - putting everyone's names on a big sheet of paper and linking up who had slept with whom. It came out as a sex-web.

14th Got a letter from Kenneth Grant.

18th Michael Moorcock film on tv. "Dodgy" Lots of elder punk persons like Siouxsie saying how crap the music/ scene was in comparison to the old days. And several minutes of Michelle talking whilst using hairdrier on Richard's billowing tresses. Why?

20th to 25th On a course "Project Management for Engineers" at a Management Training College near Rugby. One of our tutors had worked for NASA on the Space Shuttle. Was actually very useful - still using ideas I learnt there. Like - break down big task into small bits and tackle each in turn - after first working out which are 'critical' - called critical path analysis- so you focus on the problem areas and don't get swamped by details.

April 1st April - Val and Nicky off to Greenham. Long talk with Min at Tolly (Tollington) Way. Was that when she told me about the rape that became the Zos Kia single?

April 2nd Punk Lives - my article becomes 2 page Anarchy centre spread

April 6th Wrote Blood and Roses story for Punk Lives, focused on Lisa (singer) so took it round to let her read it and get one of her drawing to illustrate it. She liked the story. Actually recycled from a high school essay based on Lou Reed/ Berlin album.

Sunday 10th. Elaine, Karen and Ruth - Hagar the Womb - at Puppy Mansions. Bought 3 gas fires at Brick Lane for new house.

21st/22nd Stayed at Mouse's New Cross to go on another course "Working in a Co-operative" One of the people on course was Keith/ Here and Now . Met Marina from USA. Told me her ex-boyfriend Mark Mothersbaugh of Devo. (Now he does music for The Rugrats.)

23rd/24th Blood and Roses at the Scala. At soundcheck. Bad PA! Visited Helen at Kingdon Road.

28th Pip has been bannistering at 103. Met Jeremy Gluck.
Nearly all the work done to convert four derelict houses to a liveable standard was done 'in house'. We had gas -fitters and roofers, joiners, plumbers, electricians, painters... all the skills needed found amongst anarcho-punk-goth community. Maybe the NME sub-editor should have called us "Practical Punks".

May 1st May. Interview Conflict with Tony. (For Punk Lives?)

7th CND March - to Brockwell Park?

21st Moved in to 103 - after 4 years living in a bed sit in Ilford with a Polish Catholic landlady - refugee from communists after WW2. Brother Ian came down from Scotland and built table in kitchen and a bed for me.
24th to 31st To Scotland with Min. We camped in the forest at Drumness for a few days, on the Polmaddy (wolf's stream) Burn. Min not looking forward to returning to London. Go to "possibly last ever Blood and Roses gig" at The Tribe. (No idea where that was)

June
3rd Mob and Hagar the Womb gig.

4th new Pet Puppy - No.6 , about long strange journey to Stonehenge- finished.

6th Printed 100 copies of Puppy 6 at Islington Bus Garage- community centre.

Monday 13th Val, Tony and Nicky off to Stonehenge

18th Andy Palmer (of Crass) and Lou visit. They are living at Cross Street Black Sheep house. Up all night doing layout for Encyclopaedia of Ecstasy Volume 1.

23rd Mick, Tony, Mark and Sarah back from Stonehenge.

24th Val, Nicky and Fod back from Stonehenge.

July
Sunday 3rd. Brick Lane. Mark bought truck. Note: Key moment in shift from 'anarcho-punk' to 'hippy traveller'.

10th Blood and Roses gig. Abortive attempt to squat new Anarchy Centre - Ives House on Roseberry Avenue.

15th Mob gig. Stayed up til 6am. Bit knackered.

20th Read some of Dreaming the Dark by Starhawk. Tinsel came to visit.

22nd Mob gig.

August 2nd Lengthy discussions about co-ops with Val, Mark, Rod, Les and Mick until 2am. Mick said "Co-ops don't work, people need to be told what to do... "

3rd Rob Vex's birthday.

6th Mob gig at Meanwhile Gardens/ Westbourne Park

13th Picnic on Hampstead Heath with Angee, Anne, Les, Tod, Mick, Maria, Anna, 2 Italians and Dom. Fcation gig blown out. Note: Maria and Anna lived in other Black Sheep House. They ran Southern Death Cult fanclub and wrote article 'Magick and Greenham Common" for Vague.

19th Sold 5 copies of EOE to Mysteries book shop, bought lots of books on structuralism. Met Beki Bondage and Ligotage - went to pub with them. Visited Sheffield anarchos - squatting on Camden Road.

21st Everyone back from Berlin. (Mob on tour?)

23rd Aleister Crowley in Flexipop.

30th Wog (William Ogden) visited. Coming off heroin- again.

September
2nd Washed up, cooked dinner for Cory, Wog, Min, John A. Washed up. Sleeved 500 Witch Hunts with Mark and Min then a chillum. Hunt Sabs visited - they had had a good one.

3rd Rough Trade with Mark, met with Derek of Flux and Simon -talked business.

4th. Mark and Fod met Genesis P. (Orridge)

7th St. Ives House finally squatted - great place. Me and Tony build stage in basement.

8th Making and printing poster's for St. Ives house/ New Puppy.

9th A work related entry "Pat on back from Finance Department" - I had solved mystery of a job which had run £10 000 over budget. Production Dept. had bought a 'titration' device which came in on invoice at £36 000 rather than the £26 000 estimated. I had gone through every invoice for the past six months until I found it. Such dedication!

10th Gig at Ives House- Poison Girls. Not many people but lots of fanzines, good atmosphere, but police checked us out... got home 5 am.

16th Mob gig at Burn it Down Ballroom (Was that old bingo hall up at Highbury and Islington tube? Photo of Flowers in the Dustbin playing there on their website www.flowersinthedustbin.co.uk/ )
Sarah a bit drunk - still wanting Mark.

17th Min is moving to Beck Road / PTV

21st Gas oven working - made six loaves of bread.

28th Invoked Hecate and Kali in back garden for Stop the City

29th Stop the City ....

30th My 25th birthday party (so wild I had fallen asleep by midnight)

October 24th Gig New Puritans, June Brides, Boys Brigade, The mob. Lots of people - Zena, Min, Cory, Sue, Debbie and new person Anya, who is Polish.

26th Big Steve needs £500 bail! Josef sorts it out.

28th New PTV album - very good.

29th Gig at new A centre. Curse of Eve, Toxic Shock, John's band, Curse of Eve. Woken up by Zena and Hester giggling. First copies of Alternative Sex from printer's ( feminist zine produced by Val, Nicky, etc)

November 5th Marina came to visit - took ecstasy with her. She had weird visions of plutonium.

11th Missed Hagar gig - Tony still not right.

18th left London Rubber - to manage All the Madmen once everything sorted out.

20th New Encyclopaedia - not ready yet.

Diary ends In January 1984 at a party at 103 met Pinki. Relationship lasted 12 years - until her death in January 1996.

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Found a diary I kept through 1983. Here are some edited highlights. Of interest is the movement on from punk (anarcho / goth) towards first Psychic TV and second Stonehenge, but also the politics- Stop the City. What I find hard to realise is that through til November I was still working for London Rubber, busy making condoms and rubber gloves.

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Never Mind the Bollocks, Here's a Punk History Reading List

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Never Mind the Bollocks, Here's a Punk History Reading List

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Even though it predates my existence by a few years, I've always been drawn to punk. (Are you surprised? Maybe, if you saw my country music reading list.) I'm clearly not the only one; punk has become pervasive in our culture but somehow manages to retain its edge in a day and age when you can see mostly-naked-people and zombies on TV. You can still read about Iggy Pop's early performances and say, "Whoa, that guy was hardcore."

I've been reading a lot about punk history in the past few years, since I missed experiencing it live (bummer). Here are some rocking good history reads to round out a punk reading list.

Histories

One of the things about punk is that, if you ask different people what "punk" is, they're going to come up with totally different answers. There's NYC punk, LA punk, London punk, Bay Area punk. There's proto-punk and post-punk and a lot of genrepunks. Thus, there's no real definitive history of punk tome that one can point to, but a lot of good ones that encompass different movements.

Please Kill Me: An Uncensored Oral History of Punk by Legs McNeil and Gillian McCain is a personal favorite of mine; it intertwines music with concurrent art and poetry, which were hard to separate in the beginning of the punk movement. It covers mainly the New York/Detroit scene, but dips into LA/London as well. Both Please Kill Me and Punk Rock: An Oral History by John Robb weave anecdotes from real punk rockers to tell a story that emerges out of the deep roots of punk rock.

Another history, From the Velvets to the Voidoids: The Birth of American Punk Rock by Clinton Heylin, has a more scholarly (and some say, snobby . . . YMMV) tone but is jam-packed with information about bands and delves more deeply into the Detroit and Cleveland punk scenes.

For local flavor, We Got the Neutron Bomb : The Untold Story of L.A. Punk by Marc Spitz and Gimme Something Better: The Profound, Progressive, and Occasionally Pointless History of Bay Area Punk from Dead Kennedys to Green Day by Jack Boulware and Silke Tudor both focus on west coast punk. England's Dreaming: Anarchy, Sex Pistols, Punk Rock, and Beyond by Jon Savage is considered one of the best tomes out there on the London punk scene.

Memoirs

The great thing about the literacy overlap of the punk movement is that we have great writers who also made great music. Patti Smith's memoir was a critical success when it dropped in 2010; her ex-boyfriend Jim Carroll's second memoir Forced Entries is less famous than its predecessor, The Basketball Diaries, but is probably my favorite punk era memoir. (Then again, I've had a Jim Carroll obsession since middle school and I may be biased.) D.H. Peligro wrote about his experiences in The Dead Kennedys in Dreadnaught: King of Afropunk (bonus: he also played with the Red Hot Chili Peppers). Richard Hell mused on the nature of rock and roll in I Dreamed I Was A Very Clean Tramp. Sonic Youth's Kim Gordon wrote about being a Girl in a Band and Viv Albertine's raw look at male-dominated punk in Clothes, Clothes, Clothes. Music, Music, Music. Boys, Boys, Boys. lays the foundation of the Riot Grrl movement to come.

Media, Interviews, and Ephemera

The era of punk was also the era of DIY culture (no, not the stuff you see on HGTV-not that I don't love me some HGTV), and that meant DIY media and zines. The Best of Punk Magazine highlights some of the great interviews, photos, and art put out by the publication that helped popularize the term "punk." MOJO Magazine put out their own collection, Punk: The Whole Story, and Tesco Vee and Dave Stimson collected 22 issues of their zine in Touch and Go: The Complete Hardcore Punk Zine '79-'83. If you're into post-punk (Joy Division, Talking Heads, The Specials), Simon Reynolds' compilation of interviews in Totally Wired will be well-thumbed in a hurry.

If you're into pictures (and who isn't?), Punk Press: Rebel Rock in the Underground Press 1968-1980 and CBGB & OMFUG: Thirty Years from the Home of Underground Rock will provide hours of pleasure. (CBGB was Hilly Kristal's attempt at a country and western music venue that accidentally birthed punk rock instead. Whoops!) Once you get through those, Jon Savage's collections Punk 45: Original Punk Rock Singles Cover Art and Punk: An Aesthetic will help fill the punk void.

If you're not completely punked out at this point, A Cultural Dictionary of Punk, 1974-1982 by Nicholas Rombes is an "obsessive[ly], exhaustively researched" yet subjective and personal dictionary of punk that people hail as being absolutely brilliant.

These are my go-to titles for people who want to immerse themselves in punk or venture into the punk realm for the first time, but they're by no means exhaustive. If you have favorite titles to add to this punk reading list, let me know in the comments!

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Never Mind the Bollocks, Here's a Punk History Reading List

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Even though it predates my existence by a few years, I've always been drawn to punk. (Are you surprised? Maybe, if you saw my country music reading list.) I'm clearly not the only one; punk has become pervasive in our culture but somehow manages to retain its edge in a day and age when you can see mostly-naked-people and zombies on TV.

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Animating to communicate: using digital media as an assessment tool

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Digital Pedagogies | GradUCon | The University of Chicago

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Digital Pedagogies | GradUCon | The University of Chicago

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Digital Pedagogies | GradUCon | The University of Chicago

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Effective pedagogy has never been a static concept or practice. But recent shifts in technology and in systems of communication are ushering in a period of innovation and change that is proving to be particularly profound. This panel gathers educators from a variety of institutional positions, in order to share information around a range of digitally-enhanced pedagogical practices.

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Tramps like us : music and meaning among Springsteen fans - University of Sussex

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Tramps like us : music and meaning among Springsteen fans - University of Sussex

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The Revolution Has Been Digitized: Explore the Oldest Archive of Radical Posters

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The Revolution Has Been Digitized: Explore the Oldest Archive of Radical Posters

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The oldest public collection of radical history completed a digital archive of over 2,000 posters. The Joseph A. Labadie Collection at the University of Michigan Library announced this month that its posters on anarchism, civil liberties, feminism, labor, and other political movements are online for the first time.

"It's not enough for us to preserve the artifact if people cannot see it," Julie Herrada, Labadie Collection curator, told Hyperallergic. "Posters are a difficult format because they are fragile and can only withstand so much physical handling, so providing access to these materials while keeping them safe is a complicated process, or it was, until the technology and resources became more readily available to us."

While all of the posters were scanned at high resolution, they appear online as thumbnails with navigation to zoom. The posters are just a portion of the material in the Labadie Collection, which includes pamphlets, journals, political buttons, and other ephemera, some of which is also in the library's digital collections. The collection's strongest holdings are in anarchism, andgo back to founder Joseph A. Labadie. The Detroit-area labor organizer, anarchist, and author had the idea for the social protest archive at the university in 1911.

"He knew the importance of these materials and wanted people to use them and learn from them," Herrada explained. "Since that time we have honored the tradition of collecting and providing access to materials that document 'history from below' and fill in the missing stories of our past."

Many of the posters are visually striking: a 1988 poster for a Toronto "Anarchist Unconvention" has ladies reminiscent of Matisse's "The Dance" turning around cracking columns; a 1982 March for Peace & Justice poster in New York features colorful legs of different people emerging from a white dove; and a 1996 Boston rally poster to defend rent control has raised fists illustrated as apartment buildings.

The collection moves from one political extreme to the other, from French anarchists proclaiming: "Worse than Hitler, Stalin, and Franco: the Nuclear," to Industrial Workers of the World attacking the Ku Klux Klan. With material going back to the early 20th century and spanning to today, it's an essential public archive on radical history around the world, and now it's finally available to that global audience.
View the digitized posters from the Labadie Collection online at the University of Michigan.

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The Revolution Has Been Digitized: Explore the Oldest Archive of Radical Posters

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The oldest public collection of radical history completed a digital archive of over 2,000 posters. The Joseph A. Labadie Collection at the University of Michigan Library announced this month that its posters on anarchism, civil liberties, feminism, labor, and other political movements are online for the first time.

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There's an app that will send you an alert when you're near a spot a woman made history

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There's an app that will send you an alert when you're near a spot a woman made history

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Rediscovering fierce and clever women whose contributions to history have been sadly overlooked? Believe it or not, there's an app for that.
Spark, a gender equality collective, has designed an app called Women on the Map which does exactly what it says on the tin - every time you are near a place where a woman achieved something extraordinary, your phone will buzz with an alert saying so.

Some members of Spark, a collective of around 30 women under the age of 23, noticed that women's achievements are not honoured with statues, plaques and street names in the same way men are: in New York City, for example, there are 145 statues of men, and just five of women.

They decided to use modern technology to start rewriting the history books, crowdsourcing the stories of around 119 women in 28 different countries so far.

Anyone can nominate a woman to be included by emailing Spark with 300 words about someone they feel should be included in their community or area who has been neglected by mainstream historical narratives.

"We didn't want to start with women who everyone had heard of," Edell told . "We want the project to expand what it means to be part of history." So far, 60 per cent of the stories are about women of color.

American-born French dancer, singer, and actress Josephine Baker

If you find yourself near Le Vésinet in Paris, your phone will buzz about Josephine Baker, and in San Francisco you can learn about Mary Ellen Pleasant, who was born in the city as a slave and went on to become a major civil rights activist. If you're in Lyme Regis, you'll be told about paleontologist Mary Anning, who discovered fossils of the Plesiosaurus in 1823.

The app is available through Google Field Trip, a background app that sends notifications when you approach significant destinations. Just turn on the 'Women on the Map' option and you're ready to start exploring women's history.

Check out Spark's video introducing the app below:

More: This is what politics looks like when women are in charge

More: This picture explains why it took so long for Apple to remember women menstruate

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There's an app that will buzz when you're near a spot a woman made

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Rediscovering fierce and clever women whose contributions to history have been sadly overlooked? Believe it or not, there's an app for that. Spark, a gender equality collective, has designed an app called Women on the Map which does exactly what it says on the tin - every time you are near a place where a woman achieved something extraordinary, your phone will buzz with an alert saying so.

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Complete the Survey | mapping popular music in dublin

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Complete the Survey | mapping popular music in dublin

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It's Only Teenage Wasteland – Voices of East Anglia

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It's Only Teenage Wasteland – Voices of East Anglia

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It's Only Teenage Wasteland - Voices of East Anglia

Remember when true loyalty meant rolling up a ball of blu-tack and applying it to four corners of your favourite poster? When you could show your mates how cool and hip you were with your impressive collection of Athena posters? There was a time when our bedroom walls marked out our true tastes and also helped cover up some pretty minging wallpaper. Here we look back to a time when all that seemed to matter was who was Number One and when the new Jam single was being released.

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It's Only Teenage Wasteland - Voices of East Anglia

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Remember when true loyalty meant rolling up a ball of blu-tack and applying it to four corners of your favourite poster? When you could show your mates how cool and hip you were with your impressive collection of Athena posters?

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BBC - BBC Arts - Big Gold Dream: The story of Scotland's post-punk music scene

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BBC - BBC Arts - Big Gold Dream: The story of Scotland's post-punk music scene

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(1) SOUND SYSTEM CULTURE: BRISTOL – official launch of a new photographic exhibition

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(1) SOUND SYSTEM CULTURE: BRISTOL – official launch of a new photographic exhibition

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到 Facebook 查看帖子、照片和更多内容。

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Shout Out! UK Pirate Radio in the 1980s | Institute of Contemporary Arts

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Shout Out! UK Pirate Radio in the 1980s | Institute of Contemporary Arts

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The OCAD U Zine Library is an ever-growing collection of self-published and handmade publications located in the Learning Zone at OCAD University. The collection was created to inspire, educate and entertain, to encourage collaboration between OCAD U students and to open up the world of zines for readers and creators everywhere!

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Kathleen Hanna, the lead singer of Bikini Kills, Le Tigre, and The Julie Ruin spoke at Bergen Community College about her life, career, as well as her views on culture and empowerment.

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‘Death Is Their Destiny’: Home-movies of London punks 1978-81 | Dangerous Minds

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‘Death Is Their Destiny’: Home-movies of London punks 1978-81 | Dangerous Minds

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'Death Is Their Destiny': Home-movies of London punks 1978-81

London 1977: By day Phil Munnoch was a mild-mannered copywriter working for an ad agency in the heart of the city. He was neat, he was clean, he looked smart in his collar and tie, sharp pressed trousers and bright, shiny shoes. But Phil had a secret that he kept from his colleagues. At the end of each working day, like some postmodern superhero Phil would change out of his work clothes into tight fitting bondage trousers, studded dog collar and badge-covered plastic jacket to become his punk alter ego Captain Zip.

Captain Zip hung out with the other punks who idly wandered up and down the King's Road every evening. He enjoyed the freedom, the camaraderie, the sense of adventure and the sound of punk music blaring out of shop radios. Zip was older than these young punk rock fans and was wise enough to know he was a part of something very, very important.

Being part of the gang allowed Munnoch access to film his friends and acquaintances and between 1978 and 1981, in the guise of Captain Zip, Munnoch documented the street life of punks on the King's Road. In the 1980s, Munnoch collected the first eight of these Super-8 home movies together to make the short documentary film Death Is Their Destiny that captured the subculture of punks in London.

Some background to Phil Munnoch and his Super-8 films from an ITV insert circa 2007, in which he meets up with one of the young punks he filmed, Ann Wobble. Look out for a young mohican-haired Boy George around 1:20 minutes in.

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'Death Is Their Destiny': Home-movies of London punks 1978-81

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London 1977: By day Phil Munnoch was a mild-mannered copywriter working for an ad agency in the heart of the city. He was neat, he was clean, he looked smart in his collar and tie, sharp pressed trousers and bright, shiny shoes. But Phil had a secret that he kept from his colleagues.

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2/5BZ  @ Wire Magazine #341 July 2012  & Interview... at 2/5bz

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2/5BZ  @ Wire Magazine #341 July 2012  & Interview... at 2/5bz

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2/5BZ @ Wire Magazine #341 July 2012 & Interview for The Wire Magazine April 2012
http://2-5bz.tumblr.com/post/30514574044/2-5bz-wire-magazine
2/5BZ @ Wire Magazine #341 July 2012 & Interview for The Wire Magazine April 2012
http://2-5bz.tumblr.com/interviewire http://gozel.tumblr.com/post/30515747692/2-5bz-wire
** NO TOURISTIK ***** ISTANBUL ******* EGZOZiSTİK **

2/5bz @ Koln - 19/10/2012
http://az-koeln.org/ai1ec_event/geheimklub-prasentiert-25bz-aka-serhat-koksal-live-djs/?instance_id=85334 /////////////////////////////////// The idea of Turkish culture resold as ' exotica ' for aural tourists also concerns Serhat Köksal, a dissident multimedia artist and favourite of the late John Peel, As 2/5BZ , Köksal records fascinating electro cut -ups incorporating excerpts from old Turkish films . He claims that some protest singers like formidable Selda Bağcan , who was jailed several times by the military regime after 1980 coup and remains a critical voice, are being ideologically santised as they are remarketed '' Mostly, these works are stripped from their socio-political content /context and diminished to a merely entertaining tune/sound/visual '' Köksal argues .
** NO TOURISTIK ***** ISTANBUL ******* EGZOZiSTİK **

2/5BZ @ Wire Magazine #341 July 2012

İşitsel turistlere 'exotica' olarak yeniden satılan türk kültürü fikri, John Peel'in son donemlerinin favorilerinden, muhalif/karşit görüşlü multimedya sanatçısı Serhat Köksal'ı ilgilendiriyor. Köksal, 2/5BZ olarak, eski türk filmlerinden bölumler içeren çok etkileyici elektro cut-up'lar kaydediyor. Iddiasi o ki, 1980 darbesinden sonra askeri rejim tarafindan birkaç kez hapse atılmış ve eleştirel duruşundan birşey kaybetmemiş, muhteşem Selda Bağcan gibi protest şarkıcıları, yeniden pazarlanırken, ideolojik olarak sterilleştiriliyorlar. Köksal'a göre, " genellikle, bu işler, sosyo-politik içeriği ve bağlamından sıyırılarak, sadece eğlendirici olan bir melodiye/sese/görüntüye indirgeniyor."
2/5BZ @ Wire Magazine #341 July 2012 2/5 BZ ' THE WORLD's BIGGEST JUSTICE PALACE
** NO TOURISTIK ***** ISTANBUL ******* EGZOZiSTİK **
......
2/5BZ Interview request Wire Magazine - April 2012

Inbox

On 28 March 2012 17:05, Matthew Collin

for The Wire magazine (www.thewire.co.uk). Is it possible to have an interview with you, if you have time?
http://25.media.tumblr.com/tumblr_m9keomcEus1qg200jo1_1280.jpg .........
From: serhatkoksal@
To: matthew.collin@
Subject: RE: Interview request
Date: Mon, 23 Apr 2012 09:46:49 +0000

Hello , Here are answers for your questions .also as a file in attachment . all best , serhat
Tell me about the origins of your work, how did you get started in the 1980s?
S. K. - 2/5BZ is my main project since the 1980s. It started as something that I had scribbled on a school note-pad in the 1980s.

Many years later, I noticed it as I was flipping through the pad, and it has become the name of this project. I designed the logo in 1991

. In 1982 I finished my first work titled "Men playing Ping Pong and Ajda Pekkan vs. Supertrashmen" which was a cartoon made on a notepad.

At the beginning, my aim was to create a project with a name to be recognized on stickers rather than to be pronounced. At that moment there was no other meaning of 2/5BZ, not more than a name given to this project. Within time, this name contained the meaning and purpose of my works. Sometimes, it gained different meanings, depending on how different people pronounced it.

As for the sound experiments, my memory dates back to mid-1970s, when I was 7 or 8 -I used to play different material with my two portable tape players at the same time, and try to record the sound on a third tape recorder, aiming to create a totally different music. In line with such like experimentation, I used a 4-track and some tape loops in the 1980s and early 1990s. My materials were sounds I created, along with 1960s and 1970s movie sounds, found footages, field recordings, television news and traditional to pop music.

In the early 1990s, I started producing works in which sound is thought in relation to visuals and videos. Later on, I started editing video and sound spontaneously and live on stage. What I found exciting was that, I was trying to do what the sound technicians and effect designers of the Turkish movies once did, but live on stage.

Also, it is worth to underline that, most probably, I am influenced by the tradition of humour which operates as a medium of opposition. In this region, since the early ages, the population had faced numerous waves of invasions and oppression, and had developed its own humour, as a reflex of resistance. Indeed, as Turkish humourist Aziz Nesin once put it, "Throughout history, popular humour and humour that is on the side of the public have struggled with oppression and malice, through making fun of the dominant classes, dictators, and bad governors."
http://24.media.tumblr.com/tumblr_m9kexeAAUu1qg200jo1_1280.jpg ................................ What was the situation in society at that time, in the years after the 1980 coup, and how did it influence your work?
S. K. - In the early 1980s, not only in Turkey, but elsewhere in the world, neoliberal transformation was coupled with oppressive regimes, in an attempt to eradicate organized opposition against so-called market reforms. This oppressive turn, parallel to the neoliberal one, happened everywhere, taking different tones with respect to the socio-political, socio-economic dynamics of the countries. Also, in Turkey, post-1980s coup was not the only oppressive period. One can observe similar ones in the late 1940s, late 1950s, throughout the 1970s; and after the 1981 coup, another significant turn is the late 2000s. Although one may think that today's economic climate, bringing the coup generals into court does add up to a less oppressive regime. I believe, the oppressive character of the regime is more subtle, yet stronger nowadays.

As for the immediate aftermath of the coup, it was a period of desertification on many levels, especially with respect to organized opposition, critical thinking, artistic production.It was the late 1980s and in the early 1990s that I happened to collect material I have seen and listened to in my childhood, and re-used them in a puking effect, mixing it with television news and speeches, along with other material, in response to the circumstances of the day. The tone of this puking effect is mostly affected by the tradition of humour I have mentioned above.
Was there an alternative/underground music scene at that time?
S. K. - If you are defining alternative/underground music through its formal similarities to those in Europe and the U.S., it can be said that there was not much as an alternative to pop music. Also, at that time, so-called "alternative" and "underground" were not categorized as such, for easy marketability.

As for my story, it can be said that a few places had started to open in early 1990s in Istanbul and in other cities, where we can put our cassettes and photocopy zines. I had also sent cassettes and zines by mail. Later on, I came to learn that, through making copies, my cassettes and zines have reached to cities that I had never sent stuff to, like Diyarbakir, New York, Manisa, Samsun, Zurich. I think, if the work "works", one may not really need an established "scene".
http://25.media.tumblr.com/tumblr_m9kf1m9U7Q1qg200jo1_1280.jpg /////////////////////////////////// How is your work connected to 1960s/70s elements of Turkish culture, for example cinema?
S. K. - The cinema and music of the 1960s and 1970s is a part of my childhood ( 70's) . In the late 1980s, I had started to collect material of this period (films and music) that I know and remember from my childhood. Those were rarities, available from time to time in the flea market then. As I have already said above, I used this material with a puking effect, mixing it with sounds and speeches, in response to the circumstances of the day. I tried to create a relation between the speeches of politicians and dialogues taken from Turkish movies from the 1960s and 1970s, which had been oozing into the society's subconscious.

I was also impressed by the sound technicians and effect designers of the Turkish pop cinema, from 1950s to 1970s, who usually edited the musical scores for these films by drawing on material ranging from traditional Turkish music to Western Avant-garde tunes using cut-up techniques. I still believe that these people, who affected my subconscious when I was a child, were highly creative. Tuncer Aydinoglu, Yorgo Ilidais, Suudi Yilmaz are some of these sound technicians and effect designers. I also published the interviews I made with these people in my photocopy zine "Gözel Mecmuasi" (Gözel Zine) in the early 1990s. Later, I started editing video and sound spontaneously and live on stage. What I found exciting was that, I was trying to do what these sound technicians and effect designers once did, but live on stage. If the relation between video and sound develops on stage during the performance, the humorous and political statements that I use are passed to the audience. This is what I want to do. But, of course, sometimes unexpected things out of my control happen.

Another influence on my subconscious is Abdurrahman Palay, one of the most important dubbing artists of Turkish cinema since the 1950s. We did some recordings together for my 2/5 BZ project in the 1990s, and I used these sounds in my Peel Session tracks.

Also, I find the directors of the period, such like Cetin Inanc and Cevat Okcugil highly impressive. They were able to keep and express their creativity under difficult conditions. I also published interviews with Cevat Okcugil, for example, in my photocopy zine "Gozel Mecmuasi".

In that sense, my relation to the music and cinema of the 1960s and 1970s is different from the recent trendiness of these elements.

My criticism is that, the recent trendiness of 1960s and 1970s cinema and sounds parallels, in a way, the rise of so-called Anatolian tigers, the small and medium size enterprises in the production process. They are sub-contractors of the larger production process as they are more likely to minimize costs (especially labour costs). Yet, these enterprises dream of becoming a multinational company one day, as their labourers dream of becoming a CEO. This illusion operates on two levels: an Anatolian pop fetish parallels (and in a way romanticizes) this rise, most likely, to co-opt another class, and on the other hand, most of the musicians sampling and covering these sounds, are like these small and medium size enterprises, with the same dream of making the "alternative" spaces integrated to the mainstream or becoming headliners themselves. Yet, the rule of success, as in the production process, is adaptability (to the global production process). Otherwise, it is hard for you to play in these clubs along with the headliners.

This entire interaction as sampling and covering may seem enriching, yet it is not really reciprocal in a balanced manner. Mostly, these works are stripped from their (socio-political) content/context and diminished to a merely entertaining tune/sound/visual, and quite an adaptable one.

Also, there is the copyright issue: the 'trendy' (or likely to become 'trendy') pieces from the 1960s and 1970s one can sample, are owned, mostly by major "alternative" companies, and at the face of the trendy artists using these sounds who align with these companies, it becomes harder to produce your own sounds, or mash-ups.
http://24.media.tumblr.com/tumblr_m9kf4qR6c51qg200jo1_1280.jpg ......... You also have an interest in Arabesk music, why this is interesting to you?
S. K. - I have been listening to arabesk music since my childhood, and use samples and tunes from arabesk music in my works. As for what it is, and why it is interesting to me, I should say that I find arabesk music sincere as an expression of people's pain and rebellion. I find it misleading that in understanding arabesk, focusing only on censorship, or creating a snapshot of identity over the drama of migration to the cities, or the struggle of people living a difficult life in, misses the bigger picture. Although these singular focal points have some truth to them, in such a piecemeal line of thinking, it becomes easier to eviscerate arabesk, and then fill it up with the ingredients the power elite sees fit, label it as exotic, and market it in the relevant cultural goods market.

In the 1950's and 1960's, when it first appeared, arabesk was an honest expression of people's pain and rebellion. And it managed to reach the public, despite all limitations. Yet, the honest feelings of the people, then become a issue of marketing, especially pain has been commercialized.
The exploitation of pain and the honest feelings of the people in arabesk is very much related to the neoliberal turn of the 1980ies. As soon as it was realized that this exploitation brings economic gain, they worked on it. Even the Prime Minister of the period, Turgut Ozal, was using arabesk in his political campaigns. Some arabesk stars were glorified as stories of upward mobility, as an example of spreading the hope that "you can do it too". The seeds, put in the 1980s, have grown into what we see more clearly today.
Today, the injustices of the economy, and the pain and suffering in the lives of people are even more aggravated; arabesk is less and less an expression of these difficult lives, and the voice of the urban poor. Arabesk today, has created its own elite audience, and is producing for them more and more. The arabesk music we see today is much of an upgraded class-arabesk. In this sense, it is hard to discuss arabesk, in a limited framework where it was banned (or looked down on) by the country's power elite once, but now saved through some developments towards democracy. Most of the well-known figures of arabesk adapted well to the changing economic conditions of the post-1980s. And now, they are not really distant from the interests and the likes of the new power elite. They can also be integrated to the global market. Or, in the same line of thinking, their success stories are spread to create "optimism", not only for the urban poor, but for the small enterprises as well.

One exception that I should quote here comes from an important living, and active figure of arabesk, Hakki Bulut. In the raw recording of the documentary 'Arabesk - Massenpop und Gossensound' I have seen him speak. Addressing one of the most important labour protests (of Tekel factory workers) in 2009-2010 against neoliberalism, against the flexibilisation and insecuritisation of labour, Hakki Bulut says 'Arabesk is Tekel resistance'. This exemplifies one of the ways how I relate to arabesk.
http://24.media.tumblr.com/tumblr_m9kf8qXCO81qg200jo1_1280.jpg ////////////////////////// What are the connections between your musical work and written/art projects?
S. K. - The formal part of establishing a connection between my musical work and written/art projects is not my main concern. My main concern is what I want to say. Depending on what I want to say, sometimes the visual language precedes music, sometimes what I want to say comes through sound, and continues as such, and I add the visuals as needed. Again, depending on what I want to say, or in terms of sharing a common agenda, sometimes I collaborate with others. These collaborations can be as big as the "Roaming Biennial of Tehran". With a do-it-yourself approach, me being one of the organizers, we established a free and independent "Roaming Biennial Tehran" in order to avoid being a part of a shop window. With the participation of more than 650 artists from all around the world, it was a big DIY organization. The organizations in Istanbul, Berlin, and Belgrade have been supported by friends who made these biennials happen, without accepting the support of global companies and institutions. Lately, there was "Urban Lousy" -a three-day performance programme with (performance) artists from Biennial Tehran. It was realized as a part of independent, self-sponsoring performances undertaken in an actual circus tent, "Circus Charivari". These circus performances were questioning the relationship of freaks to the city; and there was a text questioning who the new freaks are in today's cities. We realized "Urban Lousy" performance program, with the participation of artists from different countries in June 2010 in Berlin. Also, since 2010, we are producing visual/written works in monthly political/art magazines.
Please explain your slogan 'No Touristik No Exotik'. Is this specifically about Turkey and the Western view of Istanbul as an exotic consumer product, or West-East relations in general?
S. K. - I understand it as a part of a wide history of geographic explorations, and hence as a part of an ongoing dynamic, rather than an issue peculiar to Turkey, the Western view of Istanbul as an exotic consumer product, or West-East relations in general. Beirut can be the new Istanbul, or Masdar can be the new Beirut, but the logic stays the same.

"NO Touristik NO Egzotik" became one of my concepts in 2000. I wanted to criticize people who evaluate you not according to the quality of your work but as an exotic object that comes from Istanbul or any other similar place. In the visual / audio performances, I aimed to break, demolish these exotic images and discourses in a sarcastic way. I performed them during 2/5BZ's first European tour in 2001, which included 6 countries and 19 cities. Later, I based my work on the relations between this exoticism issue and global economy.
As I see it, this relationship, by and large, empties the content/context of the artists' work, and makes it as a part of marketing to the end of rendering new markets legible/intelligible, and hence adaptable. One can follow it through the similarity of language of ministries of economic affairs, global companies, big cultural events. All of them are using standard artificial phrases in their publication, web sites, interviews etc. such as "dialogue", "bridge". These standard expressions are supposed to be used from branding any city or product, to help promote them, and also integrate them to the global economic systems. Nowadays these phrases are commonly used also in cultural environments, almost as a cliché.
In the 2000s, I also used slogans such like "Gegen die Bridge", "NO Cultural Pipeline (NO Energy) Dialogue", "NOptimism", "(Let Us Not Be Fooled by) Destiny in a Palaverel Universe", "Kill Freedomsday before It Kils You", and lately, "NOttoman" -in response to the dreamperialistic Neo-Ottoman project of Turkey.
http://25.media.tumblr.com/tumblr_m9kfb4bxhR1qg200jo1_1280.jpg You are also critical of the cliché concept 'cultural bridge'. Why?
S. K. - As I have told above, since 2007, it became one of the standard expressions of branding a city or product, or exoticising and commodifying an artist or an artwork, and integrating it to the global economic system. It is a term used by economic actors and big cultural organizations (and their smaller sub-contractors) alike. Through this term/concept, a neat and attractive shop window is created where the artists are rendered adaptable to economic decisions.

I made a solo exhibition in Berlin in 2007 on what these bridges are exactly for -with special reference to energy pipelines and cultural "dialogue". I think it is more honest when ministries and energy companies use the word "bridge".
Are the ideas of foreign writers/artists such as William Burroughs important for you?
S. K. - No, I have not read William Burroughs.
What is your opinion of the alternative/underground music scene in Turkey now?
S. K. - There is a marketable alternative/underground music scene. In a way, the increasingly fake or adaptable alternatives are also produced and marketed for this scene. It is pretty much the same in the political realm as well. The new generation (or the foreigners that come to Turkey (often take these fake or adaptable alternatives as given, or do not bother to take a critical stance. Yet, in the climate which is getting more oppressive in the last years, the sincerely critical and alternative organizations, journalists, places, artists, formations are under enormous pressure. It is funny that, as Istanbul gets trendier, the coverage of this pressure expands.

Both my recent music (in progress) and my recent written/art work is in criticism of this oppression, as well as its fake alternatives. For example, in our recent project, "Kozmic Opua" organization is resisting against this system, getting a foothold in the Narduk NOttoman countryside. It messes with measures of securitization, electronic surveillance, as well as the fake opposition.

..................................
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2/5BZ Interview request Wire Magazine - April 2012
http://25.media.tumblr.com/tumblr_m9kfevCPtG1qg200jo1_1280.jpg ........
2/5BZ Interview request Wire Magazine - April 2012

> > On 28 March 2012 17:05, Matthew Collin <matthew.collin@ >
> > wrote:
> >
> >> Dear Berbat Zoksal,
> >>
> >> I am a British journalist and I have been listening to some of your
> >> excellent music on Soundcloud.
> >>
> >> I will be in Istanbul next month (April 20-23) to write a short article
> >> about (good) music in the city for The Wire magazine ( www.thewire.co.uk).
> >> Is it possible to have an interview with you, if you have time?
> >>
> >> I look forward to hearing from you.
> >>
> >> Best wishes, Matthew
> >>

> Date: Wed, 4 Apr 2012 11:17:08 +0300
> Subject: Re: Interview request

>

> Dear Matthew ,

> thanks for your interest and comment ,

> i will be in istanbul in those days, and we can meet. and can you

> please give some short information about what you have in mind as for

> the content/direction of your article, or which specific type of music

> will you be writing about, and which other artists will you be

> interviewing? it will also be very helpful (during the interview) if

> you write me in short advance what you want to ask or know about 2/5

> BZ.
http://25.media.tumblr.com/tumblr_m9kfhp8JAP1qg200jo1_1280.jpg
2012/4/5 Matthew Collin <matthew.collin@

>Hello Serhat, many thanks for the email.

I am interested in the content and history of your music and its relation to your ideas about social issues which are expressed in your other artworks and sites. I can send some more specific questions in about a week if tha is helpful. ..... Date: Sat, 7 Apr 2012 20:48:26 +0300 Subject: Re: Interview request

Hello Mathew , yes, hearing some more specific questions would be helpful. if you want , i can also put the answers in written form and give it to you when we meet . .....

2012/4/17 Matthew Collin <matthew.collin@ > Hello again, I will send some questions tomorrow or Thursday, sorry for the delay.

We can meet on 22 or 23 April, whichever is best for you.

Best wishes,

Matthew ....... From:
Matthew Collin
<matthew.collin@ >

Date: 18 April 2012 16:25
Hello! Here are some questions. I will probably think of more when I meet you. Best wishes, Matthew. Tell me about the origins of your work, how did you get started in the 1980s? What was the situation in society at that time, in the years after the 1980 coup, and how did it influence your work? Was there an alternative/underground music scene at that time? How is your work connected to 1960s/70s elements of Turkish culture, for example cinema? You also have an interest in Arabesk music, why this is interesting to you? Are the ideas of foreign writers/artists such as William Burroughs important for you? What are the connections between your musical work and written/art projects? Please explain your slogan 'No Touristik No Exotik'. Is this specifically about Turkey and the Western view of Istanbul as an exotic consumer product, or West-East relations in general? You are also critical of the cliché concept 'cultural bridge'. Why? What is your opinion of the alternative/underground music scene in Turkey now? .................... http://24.media.tumblr.com/tumblr_m9kfkyYlEA1qg200jo1_1280.jpg ..........
From: serhatkoksal@
To: matthew.collin@
Subject: RE: Interview request
Date: Wed, 6 Jun 2012 19:27:29 +0000

Hello Matthew , while we were making the interview last month, you said that the article, in relation to the interview you made with me, will be published in june in wire. is't it out ? best , s

From: matthew.collin@
To: serhatkoksal@
Subject: RE: Interview request
Date: Fri, 8 Jun 2012 12:14:37 +0000

Hello Serhat

Yes the article was published this week, but it is not online. I have not seen it yet.

The editors cut it very short so only one of your quotes was used. Apologies. But your time was not wasted, because I will also use some of the interview in my next book.

Best wishes from Tiflis, Matthew ....................................................................................
http://2-5bz.tumblr.com http://2-5bz.com
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2/5BZ - DÜNYANIN EN SARAYI BÜYÜK ADALET (2012)
2/5BZ - DÜNYANIN EN SARAYI BÜYÜK ADALET (2012)‏ http://soundcloud.com/2-5bz/justice-palace-2012 https://vimeo.com/47918501
//////////////////////////
' Turkish Pop: B-Side of Glocal Security ' Presentation @ Sonic Theory , General Public , Berlin 20.3.2011 http://2-5bz.tumblr.com/post/4004746378/serhat-koksal-turkish-pop http://sonictheory.com/?p=437
http://www.generalpublic.de/nc/current/events/article/19/oscillation-series-sonic-theories-and-practices-6-aesthetics-of-failures-and-hybridization-in-t.html sinematik //////////////////////////////
http://2-5bz.tumblr.com/post/30514574044/2-5bz-wire-magazine http://gozel.tumblr.com/post/30515747692/2-5bz-wire http://2-5bz.tumblr.com/interviewire yeşilçam ...
Matthew Collin

.

Pop Grenade From Public Enemy to Pussy Riot - Dispatches from Musical Frontlines

.

interview with 2/5BZ aka Serhat Koksal in APRIL 2012 & JUNE 2013

.

Matthew Collin

.

Pop Grenade From Public Enemy to Pussy Riot - Dispatches from Musical Frontlines

.

...

interview with 2/5BZ aka Serhat Koksal in APRIL 2012 & JUNE 2013
http://reboot.fm/2014/02/22/gozel-radio-30-ultra-berlin-palace/ https://soundcloud.com/radiogozella/g-zel-radio-30-ultra-berlin http://www.mixcloud.com/gozel/gozel-radio30_ultra-berlin-palace-2014-02-22/
** ULTRA BERLiN PALACE ***** Gözel Radio #30 ULTRA BERLIN PALACE (2014-02-22)

..

istanbuldaki dünyanın en büyük adalet sarayı binasına kardeş geliyor .. berlinin merkezine kocaman kale gibi istihbarat binası

brother of the biggest justice palace in the world where is in istanbul, to the right in the middle of Berlin, Giant concrete castle like intelligence palace!

Golden New Age scientific discoveries, hardcore ultra modernism's new strategies of future developments and their effects on the economic and political situation of individuals, new security measures and the indisputable acceptance of volunteering triggered by these circumstances & working on some topics such as: "New Age Toolerance Imperialism ", " DNA Fascism ", "Avatar Liberalism" in "Palaverel" and Parallel Universes as well as "Cosmic NOptimism.

..

......

2/5 BZ - COURTHOUSTEP (2012)

..

..
This is called uncontrolled power & ultra berlin palace

2/5BZ - ÖKÜZ iSTANBUL (Peel Session II - 2004)

2/5BZ - ŞAKA ETMiYORUM - JOHN PEEL 26.11.1994

https://youtu.be/N-TSnef9GM8

..
https://vimeo.com/129999431
---

2/5BZ "Gezilla" @ Wire Magazine / Pop Grenade Portal

Writer Matthew Collin presents a selection of links based around his new book Pop Grenade:
//////////// http://2-5bz.tumblr.com/post/30514574044/2-5bz-wire-magazine
From Public Enemy To Pussy Riot: Dispatches From Musical Frontlines

@ GEZI

..

2/5 BZ - GEZiLLA DESTROYS ISISTANBUL

Focused on Golden New Age scientific discoveries, hardcore ultra modernism's new strategies of future developments and their effects on the economic and political situation of individuals, besides new security measures, this is a completion of revolting sounds, from Gezi protests to Kobane resistance, among many others, against exoticism of the new ISIStanbul and its every kind of Reinforced Glocal Governments, which hang together with above mentioned concepts of Global Hologram Doctrine.

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2/5BZ @ Wire Magazine #341 July 2012 & Interview for The Wire Magazine April 2012 http://2-5bz.tumblr.com/post/30514574044/2-5bz-wire-magazine 2/5BZ @ Wire Magazine #341 July 2012 & Interview for The Wire Magazine April 2012 http://2-5bz.tumblr.com/interviewire http://gozel.tumblr.com/post/30515747692/2-5bz-wire ** NO TOURISTIK ***** ISTANBUL ******* EGZOZiSTİK ** 2/5bz @ Koln - 19/10/2012 http://az-koeln.org/ai1ec_event/geheimklub-prasentiert-25bz-aka-serhat-koksal-live-djs/?instance_id=85334 /////////////////////////////////// The idea of Turkish culture resold as ’ exotica ’ for aural tourists also concerns Serhat Köksal, a dissident multimedia artist and favourite of the late John Peel, As 2/5BZ , Köksal records fascinating electro cut -ups incorporating excerpts from old Turkish films .

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For more than two decades it charted the grassroots feminist movement, its eye-catching covers railing against sexism and racism, promoting good orgasms or debating the tricky question of just what to do with unwanted body hair.

Spare Rib was radical, a magazine of its time. From the early 1970s through 21 years and 239 editions, it summed up an era still regarded as important for women's liberation.

Now, thanks to an ambitious project by the British Library, the magazine is confined to the library shelf no more, but available online and for free to anyone after the digitisation of its entire run.

The project has been time-consuming, not least because of the very ethos of a publication which was run by a collective and accepted work from thousands of contributors. Copyright laws demanded that the British Library locate and gain permission from the majority of them, which was achieved after a callout to anyone who had ever had anything published in its pages and was highlighted in the Guardian.

Polly Russell, curator of politics and public life at the British Library, said: "Funny, irreverent, intelligent and passionate, Spare Rib was a product of its time which is also somehow timeless. Detailed features of feminist issues such as domestic violence and abortion, and news stories about women from the UK and around the world sit side-by-side with articles about hair care [including the unwanted kind], how to put up a shelf and instructions on self-defence.

"Just as varied were the breadth of voices in the magazine; early editions of Spare Rib involved big-name contributors including Betty Friedan, Germaine Greer, Margaret Drabble and Alice Walker, but alongside these were the voices of ordinary women telling their own stories.

"By making this part of our intellectual heritage available online, we hope it will attract new and returning generations of readers to the magazine for research, inspiration and enjoyment."

Until now, the magazines have been available only in paper form at the British Library's reading rooms and a few other specialist libraries and archives.

The new curated Spare Rib website features 300 selected pages, with a link to the website for Jisc, a charity supporting digital technologies in UK education and research, where the entire run will be available to view.

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Spare Rib was famous for its provocative covers. Photograph: Angela Phillips

The magazine sought to provide an alternative to traditional gender roles, tackling subjects such as "liberating orgasm", "kitchen sink racism", anorexia and the practice of "cliterectomy", now called female genital mutilation. Cover headlines included "Doctor's Needles not Knitting Needles" and "Cellulie - the slimming fraud" and articles featured women such as country and western singer Tammy Wynette and US political activist Angela Davis.

With so many different threads of feminism being explored, the ensuing debates were often acrimonious, and the magazine reflected the sometimes "painful" discussions between the collective on how best to tackle issues such as sexuality and racism. It ran from 1972, with the final edition being published in 1993.

Marsha Rowe, co-founder of the magazine, said she was thrilled by the project: "It is as if the magazine has been given a new lease of life. By making the magazine freely available over the internet, it can encourage women round the world to act together to change and be a resource in support of their struggle for rights and freedoms."

Sue O'Sullivan, a former member of the collective who worked at the magazine from 1979-84, said: "Spare Rib was a highly visible part of the Women's Liberation movement, and a tool for reaching thousands of women every single month for over 20 years. The digitised magazines will be a wonderful resource for younger historians and feminist activists, researchers and all the women (and men) who wonder what their mothers, aunts, grannies and older friends got up to all those years ago."

The digitisation was welcomed by Debra Ferreday, from Lancaster University's centre of gender and women's studies. "The importance of the Spare Rib archive can't be overestimated. It's a unique record of the Women's Liberation movement which will be of huge value to feminist researchers, scholars, students and activists everywhere," she said.

Topics

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Spare Rib goes digital: 21 years of radical feminist magazine put online

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For more than two decades it charted the grassroots feminist movement, its eye-catching covers railing against sexism and racism, promoting good orgasms or debating the tricky question of just what to do with unwanted body hair. Spare Rib was radical, a magazine of its time.

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Techniken Jugendlicher Bricolage - Techniken Jugendlicher Bricolage

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Diese Techniken der Bricolage in Jugendkulturen untersucht der interdisziplinäre Projektverbund in insgesamt fünf Projekten. Die Studien beziehen sich dabei auf den seit 1998 im Archiv der Jugendkulturen e.V.

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Interference Archive | Call for Writing on Music & Politics

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Please send us your thoughts (250 - 1000 words is perfect) in an email to music@interferencearchive.org by June 5, 2015. We hope to incorporate a number of your responses into our exhibition design, along with the music that inspired your writing.

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As a lame atonement for the late-summer hiatus I'm posting this chunky bugger - the 40 riotous pages of Acts of Defiance #7. Yes, 40! True, Sned's already made AoDs available on The UK Zine Archive , but here's an opportunity to point you in that direction if you've yet to discover the place. Raf, Russ and Mike at the helm with: interviews - Famous Imposters, Annie Anxiety, Faction, Poison Girls; issues - veganism, Territorial; Army, Militarism, voluntary unemployment, In The City (capitalism), battery chickens, Nuclear Power Fades Your Genes (nuclear accidents), Youth Opportunity Programme; a liberal sprinkling of fanzine round-ups; updates on The Station; tape reviews - Youth in Asia, Napalm Death, Political Asylum, Autumn Poison, Passion Killers, Flowers in the Dustbin, The Committee, Self Abuse, Chumbawamba; a notice on 91 Products; Grangetown Anarcho Punk Gang cartoon; a mini feature on The Stoned Rayzens; and poetry from Edible, Annie Anxiety, Wilfred Owen, and Andy T....and speaking of the lovely fellow...

Sheffield Marples 1983 pic Andrew Medcalf

...it's well worth noting the recent release of Andy's long player,. Yes! Some 32 years since his first appearance on Bullshit Detector we take delivery of this delightful lolloping slab of Andy at his seething 'n' bristling best. Generally I'm not really an advocate of reviews, rather, an adherent of the popular dictum; "writing about music is like dancing about architecture". Suffice to say, there's much to admire in Andy's approach to kicking-up a stink about social injustice and the venality of the political class. Certainly his has been a welcome return to the fray in recent years. As with recent live outings, LaTE sees Andy presenting the poetry in a musical setting interspersed with purely spoken elements. Whilst there's preference here for the highly affective raw ranting, there are some gems amongst the musical offerings, notably the clarion call of the scathing broadside, I Still Fucking Hate Thatcher (itself released as a very attractive records by way of a benefit single for the venerable Club), and the wonderfully depressive Wooden Curtains. Alongside the many excellent new excursions, the CD handily compiles many of the classics first showcased LaTE is the debut release on the resurrected All The Madmen records, and it's got to be said that ATM have set the bar bloody high for future releases. The sturdy package houses a 96 page booklet featuring Andy biographised and interviewed by Richard Cubesville and a rake of ace agitart and illustrations accompanying the poetry and lyrics. Easily worth a tenner!

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As a lame atonement for the late-summer hiatus I'm posting this chunky bugger - the 40 riotous pages of Acts of Defiance #7. Yes, 40! True, Sned's already made AoDs available on The UK Zine Archive , but here's an opportunity to point you in that direction if you've yet to discover the place.

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The SWP's Socialist Review on the Brixton riot, 1981.

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1983 Islington Squatter Punk Documentary

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Misty In Roots, The Ruts, anti-fascism, Blair Peach, Hambrough Taven... there was a lot happening in Southall , west London in the late 70s and early 80s. http://www.youtube.com/watch?v=OGWX233kHPg You can read the the Metropolitan Police's internal report to the Home Office on the trouble and death of Blair Peach on the 23rd May, 1979 here.

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Skinheads in the News 1988 - The New York Hardcore Chronicles Page | Facebook

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Bus Shelters and Graffiti
The concrete bus shelter was, during the 1970s, a communal space. Always reeking of the stale stench of piss, the bus shelter - as well as providing a rendezvous for late-night, fumbled sexual encounters - was a shared canvas for the marginalised to inscribe their identities upon, through that most proletariat of means, graffiti. Thus, bus shelter walls - both inside and outside - were often awash with not only the miss-spelt aggressiveness of youthful frustrations and subcultural allegiance, but the desperate outpouring of young love. So, arguably, the 1970s proved to be the decade where an increasing level of social decay coincided with excessive levels of vandalism in its most aesthetically displeasing form - that of graffiti-daubed brick walls, corrugated metal fencing, and so on. Many cultural texts of this time - especially those aimed at, or concerned with, youth and 'youth issues' - collectively positioned Britain's young as both the victims and cause of such decay and vandalism by incorporating graffiti-daubed walls, fences, etc., as central motifs: motifs, that, in turn, placed emphasis upon the street-wise nature of those cultural texts.

For the title sequence of 4 Idle Hands (ATV, March to April 1976, and starring a very young Phil Daniels and Ray Burdis), after a sepia montage of manual labour and factory work, shows a young black male in front of a towering brick wall, with the upper floors of a high-rise housing estate just about visible, through a low mist, beyond. Significantly, the credits themselves appear as paint-brush graffiti upon the wall. So, little surprise, then, that this series - as made explicit on the back of the Network-released DVD release - was aimed at teenage viewers, and followed "the unsteady progress of Mike and Pete, two 16-year-old school-leavers who are suddenly forced to ponder the bewildering but urgent question: what are they going to do for a living? As Mike and Pete's efforts to avoid the dole queue land them a succession of disastrous jobs, 4 Idle Hands humorously details the unremitting difficulties of adolescence".

Graffiti, as both a social and cultural signifier of troubled (and troublesome) youth and, in turn, social decay, remained - in fact, intensified - as the 1970s progressed, to the point where so-called 'youth TV' proved harder-hitting than most of its adult equivalent. Southern's Noah's Castle (broadcast across April and May, 1980), despite being set in a 'near future', where law-and-order was at breaking point, was a series that proved very close to the bone, socially speaking, in relation to the day-to-day experiences of its young, urban audience. Indeed, the series' credits open dramatically, with camera at street level, as armed youths run in slow-motion towards the viewer, with the series' title, Noah's Castle, appearing as gaudy, spray-can on-screen graffiti. Followed by scenes (again, in slow-motion, with the camera virtually on the tarmac) of mass rioting - with the army barely instilling order - this was a scare-the-crap-out-of-you TV moment, whereby everyday urban vandalism was equated with complete societal disintegration.

However, rather than being solely a characteristic of social ills, some Left-wing thinkers of the time saw graffiti in terms of the empowerment of disenfranchised (albeit criminal) youth. As the sociologist Stanley Cohen, in Colin Ward's book Vandalism (1973), highlighted the significance of such technological advances as the aerosol spray: "Aerosol sprays are much quicker and easier to apply than paint, and fairly long slogans can be sprayed on posters in a matter of seconds. This decreases the chances of detection even in busy public settings and allows a number of offences to be committed in a short time" (p.221). Furthermore, Colin Ward (himself an anarchist thinker and writer) insisted, in Vandalism (1973), that "any open-minded student of graffiti will agree that this particular medium has improved the form, if not yet the content, of graffiti, since it raises the standard of lettering simply because it imposes a bold, free-flowing line on the user, by the comparison with the effect of dripping paint or hesitant chalk" (p.305).

Phone Booths and Vandalism
In order to both commemorate the 25th anniversary of the establishment of the Samaritans and to provide young people with a collection of short stories that, it was hoped, would inspire those experiencing the loneliness of youth to engage in communication, Monica Dickens and Rosemary Sutcliff, in 1978, published Is Anyone There? The book's cover comprised of, in the main, a stark, black-and-white photo of a dark, run-down end of town, with two daunting tower-blocks, standing as massive, silent sentinels over this bleak backdrop. However, what dominates the cover, both front and back, in its Post Office Red livery (which, along with the matching red lettering of the title and editors' names, is the only colour to be found on the cover) is a phone booth. With a blurred image of someone inside (their back to the reader, as they use the phone), this red booth is, quite clearly, the only haven amid this barren, alienating urban landscape. Furthermore, the book, the first short story is - at a single page in length - Brian Patten's 'Making a Call':

Alone in a red phone booth ... All over cities people standing alone in red phone booths ... relating back to their own reflections in misted-up windows ... I dreamt one night the whole world slept together in a red phone booth (p.9).

The Post Office Red phone booth was, certainly by the 1970s, a common sight across Britain. Yet, as with the piss-stench, graffiti-plastered bus shelter, the vandalised and, thus, out-of-order phone booth - especially by the late 1970s - came to epitomise a decaying social order.

Vandalism - of which, of course, graffiti was a major, and highly visible, proportion - was an environmental scarring which, by the very start of the 1970s, was not only widespread, but subject to considerable academic debate and media scrutiny. Indeed, Colin Ward, in his introductory chapter to Vandalism (1973), was at pains to provide a portrait of the public's stereotypical perception of the vandal: "We all know the vandal. He is somebody else. In general terms he is someone whose activities in the environment we deplore ... a working-class male adolescent, and his act is the 'wanton', 'senseless', or 'motiveless' destruction of property, usually public property of some kind. He and his behaviour constitute a 'social problem'" (p.13). Significantly, Ward's book (again, published at the very start of that dreary decade that was the 1970s), was accompanied by a shit-coloured cover of a brick wall covered in both black and white paint lettering - lettering that, simultaneously, provided both the book's title and, with "Up Yours!", "Bovver", and the like, typical examples of the era's graffiti. Both the stereotype and the scarring as one-and-the-same then.

Vandals in the Garden
On the 21st of March 1974, accompanied by two of the Blue Peter presenters (John Noakes and Peter Purves), the gardener Percy Thrower dug out a plot in the small, secluded green space in front of the BBC restaurant block, Broadcasting House, London. Indeed, the plot was, thereafter, known simply as 'the Blue Peter Garden'. Yet, in order to instill a sense of constant excitement in this gardening malarkey (with its often laborious focus upon planting, weeding, digging, and so on), significant new projects had to be eventually entered into, with the design and building of the Blue Peter 'Italian sunken garden' (with its paving stones, ponds, benches, urns, mini cypress trees, and the footprints and handprints of the pets and presenters of the day) being the show's major gardening project of 1978. Although, on the 17th of April of that year, the programme's presenters announced rather solemnly that the garden had been vandalised (with the garden, in fact, eventually being damaged by vandals three times over the next few years).

So, vandalism - a perennial, societal 'youth problem' - arguably reached its peak come the late 1970s. To the extent that, in Colin Ward's Vandalism (1973), those that produce social spaces (amongst others) were asked to provide contributions on how vandalism could be prevented. Thus, Alan Leather and Antony Matthews' chapter, 'What the architect can do: a series of design guides', offered advice on how vandals can be dissuaded from conducting their wanton acts of seemingly mindless destruction. One rule laid down by Leather and Matthews, with regards the building of particularly vulnerable, high-profile public places, was that "[c]are should always be taken over the provision and design of anything which may be considered to be of a novel, pretentious or prestigious nature" (p.166). Thus, the Blue Peter Italian sunken garden was not only 'novel', but, arguably, 'pretentious' as well. Indeed, being one of the most oft-seen public places on 'youth TV' at the time, it could not have been of a more 'prestigious nature' to wanna-be vandals in search of their fifteen minutes of infamy.

The Rat and Rubbish Alley
The rat (individually) and a plague of rats (as a writhing, unified mass) became synonymous with a Britain of the 1970s. A nation blighted by economic, social, and cultural downturn that, taken together, brought about a self-referencing of the nation as nothing but a putrid pile of rubbish teetering upon collapse. Indeed, as Alwyn W. Turner - in Crisis? What Crisis? - Britain in the 1970s (2008) notes - bearing in mind the Stranglers' debut LP, entitled Rattus Norvegicus (1977), and the modest success of the Bob Geldof-led Boomtown Rats - that "[t]he rat soon became a common shorthand for social decline, particularly in rock & roll" (p.45). No surprise, then, that 'the rat' took on a starring role in both TV and pulp fiction texts of the 1970s. For example, the second of the six-episode series of plays by Nigel Kneale, Beasts (ATV, broadcast on the 23rd of October, 1976), entitled 'During Barty's Party', portrayed the degeneration of a middle-class couple's idyllic life in the country, as a result of - and, according to Turner, symbolised by - "the marauding terror of a tribe of super-rats with a taste for human flesh" (p.45). Cleverly never showing a single rat, the viewer's growing perception of the couple's increasingly terrifying plight was suggested by sound only, with the incessant noise of the rats' unceasing gnawing and scratching audibly increasing as the play drew to its bloody, scream-drenched climax.

'We're never gonna change a thing / And the situation's rapidly decreasing'
The Jam, 'Sounds From The Street', 1977.
Part Two Here

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i’m in aggravation place / where the pressure takes the smile off every face’
jook

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1978

bus shelters and graffiti
the concrete bus shelter was

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a communal space. always reeking of the stale stench of piss

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the bus shelter – as well as providing a rendezvous for late-night

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fumbled sexual encounters – was a shared canvas for the marginalised to inscribe their identities upon

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bus shelter walls – both inside and outside – were often awash with not only the miss-spelt aggressiveness of youthful frustrations and subcultural allegiance

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but the desperate outpouring of young love. so

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the 1970s proved to be the decade where an increasing level of social decay coincided with excessive levels of vandalism in its most aesthetically displeasing form – that of graffiti-daubed brick walls

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and so on. many cultural texts of this time – especially those aimed at

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youth and ‘youth issues’ – collectively positioned britain’s young as both the victims and cause of such decay and vandalism by incorporating graffiti-daubed walls

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placed emphasis upon the street-wise nature of those cultural texts.

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Bish, Bash, Bosh - Growing Up in 70s Aggro Britain, Part One of Two

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'Yes, I'm in Aggravation Place / Where the pressure takes the smile off every face' Jook, 'Aggravation Place', 1978 Bus Shelters and Graffiti The concrete bus shelter was, during the 1970s, a communal space.

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All 25 episodes of 'New Wave Theatre' are online

A generous and kind soul uploaded all 25 episodes of New Wave Theatre the incredible local TV show that extensively covered the Los Angeles punk scene. The show ran from January 1981 to March 1983, and was abruptly stopped in its tracks when its host, Peter Ivers, was found beaten to death in his apartment. Within a few months of its premiere, the crucial USA Network program that aired late at night on Fridays and Saturdays, Night Flight, provided a national showcase for the show.

The show was created and produced by David Jove, who also wrote the program with Billboard magazine editor Ed Ochs. Ivers's murder is officially unsolved, but according to this page the prime suspect for the crime was Jove.

Peter Ivers

Ivers was a very interesting guy-among other things he wrote "In Heaven (The Lady in the Radiator Song)," which appears in David Lynch's 1977 movieEraserhead and many years later was covered by the Pixies. Among the bands that appeared on New Wave Theatre are the Angry Samoans, Dead Kennedys, 45 Grave, Fear and The Plugz, X, and Circle Jerks.

In Josh Frank's book In Heaven Everything is Fine, Ken Yas, a friend of David Jove, memorably called New Wave Theatre "Ed Sullivan on acid meets American Idol on cocaine."

Here's the series in its entirety. Enjoy it before someone yanks it off of YouTube!

Thank you Annie Zaleski!

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All 25 episodes of 'New Wave Theatre' are online

# data[].attributes.attachment_link.description
A generous and kind soul uploaded all 25 episodes of New Wave Theatre the incredible local TV show that extensively covered the Los Angeles punk scene. The show ran from January 1981 to March 1983, and was abruptly stopped in its tracks when its host, Peter Ivers, was found beaten to death in his apartment.

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Michael Baxter is on Facebook. Join Facebook to connect with Michael Baxter and others you may know. Facebook gives people the power to share and makes the world more open and connected.

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30 shows containing almost 400 video clips exploring the role women have played in Punk music from the 70 s to today with rare interviews and concerts videos documentaries and feature films

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What We Wore is a project initiated by Nina Manandhar to create a people's style history of Britain from 1950 to the present day. It's about people and their personal stories: why they wore what they...

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Page not found - School of Social Sciences - The University of Manchester