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interesting - shows public reactions to movement (feared by society/government)

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I wanna give you devotion, I wanna give you devotion
I wanna give you devotion, Hooh-hooh-ooh-hooh-ooh-hooh-ooh-ooh...
I wanna give you devotion

I wanna give you a place to release your feelings, A starbeat rhythm with a standard meaning
A word and a message with a lot of emotion, With total dedication and a lot of devotion
And a lot of devotion, I wanna give you devotion

Well let's start here at the beginning of my lyric, To be too bad to rhyme is not a merit
To rock to roll for soul is what I aim for, Wait till I hit the goal and that's a top score
Some tunes are long others with an ease, To write my rhyme in line when there's a cool breeze
Keepin' on and on and on and on till you get the job son, job's nearly done

Hooh-hooh-ooh-hooh-ooh-hooh-ooh-ooh...
I wanna give you devotion, I wanna give you devotion
Total dedication and a lot of devotion, Hooh-hooh-ooh-hooh-ooh-hooh-ooh-ooh...

Well magical moments, moments are magical, Starcall, mystical, logical, lyrical
Magical moments are meant to be kept, Don't erase them from your brain I need to inject
I have a dream, but there's a nightmare inside, It's getting me uptight for the sight is a fright
'Cause the night creeps in, creepin', creepin', Slowly gassin', frightnin', spooky
'Cause a frightnin' nightmare can terrorise, Poll tax came and up went the rise
Open your eyes and realise I'm a truly disguise, Like hawk the slayer he came and caught me
Maggie came but now she's slaughtered

I wanna give you devotion
So don't use abuse or lose you're like flotex, Rock the mike to the disc and don't get upset
Rhyme in time to the finest quality, That's the time when you know that you're a MC
M I K double E, Takin' it down now

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https://mixmag.net/assets/uploads/images/_fullX2/acidhouseflyerslead.jpg

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Back in 1979, in a Chicago nightclub called The Warehouse, DJ Frankie Knuckles helped incubate the nascent genre of house music. Taking its name from The Warehouse, house music spread through the US underground and around the globe, and in London, it transformed into something entirely new. The acid house movement combined the hippie spirit found on the island of Ibiza with the sensation of taking a trip, be an ecstasy pill, a hit of acid, or a plane ticket to a faraway land.

By 1987, acid house had taken UK by storm with an irrepressible, revolutionary energy that evoked the utopian vibes of the Summer of Love. Peace, love, respect, and unity were the order of the day, albeit within the confines of illegal parties that were cropping up across the country, drawing thousands of revelers from all walks of life who wanted nothing more than to dance through the dawn. But the acid house scene was more than a cosmic display of hedonism. It was a movement that subverted the racial and class boundaries of Margaret Thatcher's seemingly endless premiership. Although its political impact is often overlooked, acid house united a deeply segregated society, and what's more, it empowered those who have been written out of history to rise and come to the fore.

In celebration of the 30th anniversary of acid house, Sky Arts are broadcasting The Agony & The Ecstasy, a three-party documentary series that tells the story of the rave revolution through 40 seminal figures on the scene including superstar DJs Norman Jay MBE, Goldie MBE, Paul Oakenfold, and Dave Pearce, as well as producers, promoters, club owners, former police officers, and the unsung heroes of the scene.

Norman Jay MBE, one of the original godfathers of warehouse parties, first got his start at the tender age of eight, when he DJed a tenth birthday party. The Notting Hill, London native was born to Grenadian parents and came of age during the 1970s when collaborating with his brother with a reggae sound system they called Great Tribulation. A visit to New York City changed everything and they renamed the system Good Times, with a nod to Nile Rodgers' disco band Chic. Good Times led the way as acid house came up, helping to spread the culture through the creation of London pirate radio station Kiss FM in 1985.

Norman Jay MBE spoke to Dazed about the political implications of acid house, and how the music forever changed the British landscape.
I love that in The Agony & The Ecstasy, you bookend the 1970s with your mode for transporting the sound system (trolleys in 74, removal van in 79) in order to set the stage for the intense racial and class divisions in Britain that existed when Margaret Thatcher came to power. How did she make things go from bad to worse?
Norman Jay MBE: It was a time of great unrest, social deprivation, and a country trying to recover from its loss of empire. It was all about the government asserting more control over the trade unions. When the government went to close down the coal mines, it was almost close to civil war. It was also about oppressing and controlling minorities as well. In 1968, Enoch Powell - a Conservative MP - made a speech called 'The Rivers of Blood', which really affected blacks and Asians, immigrants and kids like myself who were born here. That was a profound moment. That came in the same year that Martin Luther King was assassinated, coming right around the same time Robert Kennedy was killed as well; he almost assassinated us by words.
I think of the 1970s and early 80s as a DIY period: because you had nothing, you made something. You were the first black DJ to be interviewed in . How did this play into your consciousness?
Thatcher's Britain in the late 70s/early 80s I remember because I was unemployed. It was hard times and compounding that was the police's overt oppression of black youth. It was akin to Apartheid being practiced on the streets of the UK where large Afro-Caribbean and African-American communities were based. It was a depressing time actually ( laughs), but quite a good time as well because it meant that we had to take advantage of that situation to create and carve something for ourselves.
While watching The Agony & The Ecstasy, I realised it's so interesting how times change. The impact of pirate radio and the significance of starting Kiss FM in an age where there was nothing - versus today, where we're overloaded and have to keep the stuff out because it's bombarding us. As I was thinking about Kiss FM, a Martin Luther King quote from 'Letter from a Birmingham Jail' came to mind, where he says: 'One has a moral responsibility to disobey unjust laws.' Could you talk about the importance of pirate radio and essentially transforming British culture by subverting the system?

"I was trying to make my mark as a black Briton... I was determined not to be written out of the history of club culture if ever it was documented in this country" - Norman Jay MBE

Norman Jay MBE: On one side I was trying to make my mark as a black Briton in a society that was trying to ostracise me and, at the same time, the dichotomy was British youth culture has always fed on the diet of African-American music. Anyone who knows rock'n'roll history knows that all the rock & rollers learned their trade from the original blues musicians. In the 60s, a lot of the fantastic records that I loved on the radio were by white pop bands. You know, I loved these pop songs. Then ten, 20 years later I discovered these songs were originally written and performed by black artists and I was kind of shocked by that, but I learned to accept it as a truism, as a fact.
I totally get that. Acid house was like a return to the idealism of the 1960s hippie era, or even the 1970s disco scene in New York, which brought people together at places like The Loft. Why do you think music has the power to transcend?
Armed with that information and knowledge, I was determined not to be written out of the history of club culture if ever it was documented in this country. That was a conscious decision by me, to not let them airbrush us out of the rich British culture tapestry.
Music has a power I don't really see in other forms of art: the ability to create unity. With acid house, it seems as though subverting the system to create your own world is incredibly liberating and powerful.
Norman Jay MBE: You've encapsulated it perfectly there. My whole raison d'etre when I became a DJ was to break the UK's national radio monopoly. I knew radio and television are much more powerful mediums at reaching people, which is why governments fear them. In Britain, thankfully, they were a little more lenient when it came to starting things like a pirate radio station. Of course it was illegal but in countries like America, it was a capital offense. You only have to look at South American countries in recent history. When there's a revolution, what's the first place they take over? Radio and TV stations.

"(The government) were very nervous about (pirate radio) stations controlled by black people because they feared the ramifications if we turned political" - Norman Jay MBE

Britain had a strict law but it was quite relaxed to the point where we didn't face 50 years in jail if we were caught. As long as we didn't interfere with the bands that the emergency services operated on, the government was prepared were to tolerate it - provided we weren't overtly political. They unofficially turned a blind eye to music. That was okay for white pirate stations but they were very nervous about stations controlled by black people because they feared the ramifications if we turned political. We were quite intelligent and quite clever about the way we operated with Kiss. We had black DJs, white DJs, Asian DJs: we represented the community. We had a mix of people, which was quite democratic.

My raison d'etre when I got involved with Kiss was to play black music from the black man's perspective in England. Up until then it had been almost the exclusive reserve of white DJs. I deliberately set out to break that on my own terms. We broke a lot of barriers. We were the generation that rewrote the rulebook when it came to DJs and club culture. All I was ever striving towards was equal opportunity: to be judged fairly on merit, not because of race.
Coming full circle, the very government that tried to shut down your parties awarded you an MBE in 2002. That's wild to me.
Norman Jay MBE: It's because the only criteria you need to listen to music is that you're human. It doesn't matter than you're black, white, straight, gay, Jew, Muslim - wherever you come from, it's a universal language understood by all. My dad always used to say to me when I was a kid, 'Never trust a person that doesn't like music.'

Norman Jay MBE: Acid house followed the elite London in-crowd, which was largely driven by music, fashion, and style. At that time, Soho was like a village. There was no middle ground: it was the elite, stylish, cool, funky, fashionable end from which I came. I was one of those people - hold my hand up - (who was) quite snobbish about not letting certain types of people in because we didn't really want their vibe to be ruining a really cool vibe that we had nurtured ourselves.
The Agony & The Ecstasy airs this Friday (August 11) at 9pm on Sky Arts Norman Jay MBE plays Good Times Goes East at Mick's Garage, London on August 27
The acid house scene came as a reaction to that elitist London scene. Those kids would travel from the suburbs, sometimes 20, 30 miles out, and would travel into town with a big gang of girls, a big gang of guys: high street kids. They were getting held back from a party where there's only 160 people inside and there's a massive queue outside and no one would get in - and what was all the fuss about?

"In that scene, you saw the make-up of the community. Everybody - black, white, rich, poor, straight, gay - and the whole soundtrack that underpinned that was New York/Chicago house. New music for a new era" - Norman Jay MBE

When acid house came along, those kids realised they no longer needed to subscribe to situations that largely oppressed them and they were able to create their own scene, which as bigger than anything going on in cool, funky London. You'd drive around the M25 on a convoy, hundreds of cars - the excitement of that! Not knowing where this place was and suddenly emerging from the woods or a big clearing, there's a circus big top or an aircraft strip, tens of thousands of kids there. You couldn't make that up! ( laughs) It was absolutely unbelievable. And the edge of it was, it was absolutely illegal. Bring your own drink, bring your own drugs, if you were that way inclined, hear a soundtrack - and nobody was telling you weren't good enough to come in. In that scene, you saw the make-up of the community. Everybody - black, white, rich, poor, straight, gay - and the whole soundtrack that underpinned that was New York/Chicago house. New music for a new era. It was our Woodstock.

Norman Jay MBE: Yeah, that is crazy. They say you eventually become part of what you one rebelled against; that's how the mainstream works. Parts of counterculture always get assimilated but only certain elements of it. You grow up, you become respectable, you become a bit older and you're less inclined to challenge things. But when you're young and fearless all you want is change. All you want is good in the world. That's why young people and music are so important.

Long after these old warmongers are dead and gone, hopefully there's a generation that comes afterwards that has a completely different light on things. The one good thing about Donald Trump is that one day, he'll die. Somebody young and energetic with ideas that befits the age that they live in will get voted in. Similar thing here. Once kids realise they do have the power to vote... Today's young people are the first generation to teach older people, because of their handle of the internet and technology. For generations, from time immemorial, elders always taught youngers. Not this time.

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Dissecting the political impact of acid house

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Back in 1979, in a Chicago nightclub called The Warehouse, DJ Frankie Knuckles helped incubate the nascent genre of house music. Taking its name from The Warehouse, house music spread through the US underground and around the globe, and in London, it transformed into something entirely new.

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Lists

A list of classics hand-picked by Nina Kraviz, DJ Pierre, Greg Wilson and more

Patrick Hinton

27 April 2018

We're in full acid house mania mode at Mixmag HQ this month in celebration of the 30 year anniversary of the Second Summer of Love. The movement and its associated sounds changed the course of dance music history. To this day we can't get enough, so we hit up some of our favourite DJs to talk about their favourite cuts linked to acid house or the late-80s rave scene.

''I'm always asked this question and it's nearly impossible to pick only one, and when I do pick only one the answer seems to change between Armando '151', Tyree Cooper 'Acid Over', and Fast Eddie 'Yo-Yo Get Funky"' Funny thing is that I can never consider any of my own productions for this (rightly so) because in general I've always had a greater appreciation for other artists and producers' music. I'm always so fascinated with how they came up with their ideas and how inventive they are as opposed to how I create or invent. So with that said, this year I'm flowing with the supa producer Tyree Cooper 'Acid Over' featuring the late, great keyboard genius Peter Black on the keys adding the dopest jazz piano imaginable at a time when no one would have even dared or imagined a piano on an acid track let alone the jazz flavor that he laid down. I gotta give Tyree the credit for creating and always bringing the 'funk' to the 'Acid', no one does it better.''

"In keeping with the UK roots of the Second Summer of Love, and to highlight Brits' massive contributions to acid house, I picked a UK record that never leaves my bag: 'A Place Called Acid' by Thursday Club, aka Mr. Potato Head, a.k.a. Rennie Pilgrem. It's interesting how much of modern acid has found its place in the more serious, ominous side of dance music, when honestly I've always preferred acid that's a bit sillier, cheekier, and a little mad. According to YouTube comments, this record was big in the Florida and SoCal breaks scenes of the 90s, likely on account of the lovely electro bass breakbeat. Most acid tracks are in minor key, so I like that this one is in major key, as it gives the track a jauntiness missing from so many other acid tunes out there. Played at the right time, this track has been known to make folks break out into big smiles."
[Photo credit: Joel Lee]

"I knew Gerald via my Manchester connections - a teenage Gerald Simpson had attended my nights at Legend and, in 1988, I'd tipped off EMI about 'Voodoo Ray', but they weren't interested. By complete coincidence it was originally released on Rham! Records, based in my Merseyside hometown of New Brighton. Twenty years on from its 1989 UK chart run, this seminal UK track featured on my second 'Credit To The Edit' compilation.

"Piccadilly Radio DJ Stu Allan inadvertently gave Gerald his artist name when, on playing a cassette he'd been handed, announced it as "by a guy called Gerald from Hulme'. The title also came about by accident: the limited sampling time available to Gerald cut off the g at the end of 'voodoo rage' (lifted from Derek & Clive), so it came out as 'Voodoo Ray'."
[Photo credit: Nick Mizen]

"Uwe Schmid produced one of the very few acid albums in existence. He made up a bunch of fake artist names and imitated the styles of the many eras of acid. (Acid keeps coming back in waves with new ideas.) I loved this concept, because acid is so often inspired by its originators and innovators."

"Acid is an ever evolving key element in electronic music for me since day one. After many years of record digging I keep discovering acid that I have never heard before. It is such a large term that goes far beyond the typical sonic side of it. It's quite useless and unfair to give preference to just one track so I picked the first one that popped up in my head. And it's quite a special one."
[Photo credit: Dan Medhurst]

"I love odd, twisted acid lines and this is one of the greatest for sure! The elements are so simple but the track is instantly recognizable and just irresistibly danceable."

"This track by Gene Hunt goes so hard. I think it's a remake of his acid classic 'Living In A Land' which I have played many nights at 3:45am. The groove just has the most funky feel to it. Most of the new acid stuff coming out can't compare. I use this as a tool mostly. Play it over a sparse vocal track or put an acapella over it and the dancefloor really goes off!"

"I love a little nostalgia in my sets. This timeless track was written in the late 80s and has three of my favourite basic elements: the 303, a ride cymbal and claps. It might seem simple but it's the perfect combo to peak out the club and get the crowd jumping, not to mention it gets my blood moving. For me playing an acid track is like drinking a cup of coffee. The recording of the 16th note acid line here is super deep and sets things up for a nice trip, and when mixed properly in a techno set it can be a game changer."

"The way this track develops feels cinematic. It's got a brooding harmony starting off, then when the kick bursts through its so cathartic, I get emotional. Minimal Violence are so good at amplifying emotion and energy together, not compromising either. I love the acid that begins halfway through the track, you have to wait for it-it's just sitting on its 303 throne like 'yes, my time to shine!'."
[Photo credit: Eleni Stefanou]

"This is one of my absolute favourite original acid house tracks which appeared on the 'No Vocals Necessary' mini album and featured the legend "Warning! Farley's Album Contains Deep House & Acid House Music". That sentence sums up the track beautifully as this raw groove is quite possibly the deepest piece of acid ever. It's easily the funkiest too, and it builds and builds with its distorted drums and glorious, squelching rhythms. Of course Technotronic lifted part of the intro and turned it into their worldwide smash 'Pump Up The Jam', but don't let that put you off what is ultimately a monster of a tune that hits you hard and takes you deep, deep into the acid life."

"It's dirty, and raw as fuck. What more do you need? Ron Hardy always used to play it at the Muzic Box."
[Photo credit: Ricardo Gomes]

"The reason why I love this record so much is because at the time 'acid house' was emerging on the scene in Chicago and overseas, I personally wasn't into it so much in the beginning, I just wanted to make an acid track like no one had done before."

[Photo credit: Marie Staggat]

"The truest and most raw 303 fills in the history of acid. With the original Roland TR-707 and Roland TB-303 acid bass machine it's all just plain and simple, stomping and grooving that sets the tone. Hence this track's release in the late 80s, showcasing what real acid is supposed to sound like. Today it will still rock every dancefloor on the planet."

"This tune by Vibert was part of the Acid 88 comp put together by DJ Pierre a few years back (check out the whole thing!). I'm a sucker for a steady, funky bassline and the way the lead creeps its way in and then ties all the elements together... that's the magic. It is something I work really hard to achieve in my own productions and Luke does it effortlessly here."

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14 DJs tell us their favourite acid house record

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Lists A list of classics hand-picked by Nina Kraviz, DJ Pierre, Greg Wilson and more Patrick Hinton 27 April 2018 We're in full acid house mania mode at Mixmag HQ this month in celebration of the 30 year anniversary of the Second Summer of Love.

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need to log in to watch

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Spanning 30 years, this eye-opening three-part documentary series explores the history of rave culture and dance music in the UK.

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could be cool

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"A new scene grew up around it that changed the social and cultural habits of a generation. It was the biggest youth revolution since the 60s and, as with the mods and rockers before, fell victim to what sociologist Stanley Cohen called "moral panic" in his landmark 1972 study, Folk Devils and Moral Panics. As the media sensationalised the dangers of acid house and ecstasy, the movement became a challenge to authority, prompting parliament to pass new laws aimed at curbing the revolution and the police to establish a unit dedicated to stopping unlicensed parties. A movement that had been pro-hedonism rather than anti-authority became political by default."

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not sure how relevant it is to our topic tho

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Learning on Screen - The British Universities and Colleges Film and Video Council

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https://en.wikipedia.org/wiki/The_Haçienda