I don’t care,” she said. “If there was no phone, I wouldn’t be living right now. In my town, there’s nothing to do.” Money Matters Neurodiversity Preparing for University - Subject Reading Lists Reading For Pleasure Stationery A fascinating deep dive into dance music's uneasy relationship with the establishment. * Jeremy Deller *

ABOUT USLouder Than War is a music, culture and media publication headed by The Membranes & Goldblade frontman John Robb. Online since 2010 it is one of the fastest-growing and most respected music-related publications on the net.Then parents saw the bills — their kids had charged hundreds and sometimes thousands of dollars worth of calls in the space of weeks. A passionately argued and intensively researched addition to the ever-evolving narrative of UK dance music culture. * Matthew Collin * Ed Gillett: The canonical texts on dance music were mostly mainly in the late 1990 and early 2000s, from the perspective of people who were there at the time. One of the things I was hoping to do with this book was to re-examine some of that history, taking into account the changes in society and culture that have happened since then. In 1971/72, I lived in a grotty flat on Westbourne Park Road, a couple of streets away from Island’s studios. We bought out veg on Portobello Road, saw films at the Electric Cinema, but rarely ventured further west to Ladbroke Grove or north past the motorway overpass to the nether reaches of the market. For a short while I sold Frendz on the streets - I was very bad at it - but that involved going to the office which was up that way. I recall seeing completely burnt-out saucepans for sale on a market stall, which puzzled me. All of which is to say that we didn’t have really any interaction with the West Indian community and I don’t recall any obvious presence on their part. The place was crammed with hippies and boarded up rows of houses, but squatting was not yet widespread, although there was talk of it.

Notting Hill Carnival is a bigger target. Potentially, it’s eminently exploitable, but it’s probably too diffuse and problematic to attract major investors. Whatever RBKC might like to think, it’s not owned by anyone, so it can’t be bought outright, and attempts to exert overt municipal or corporate control provoke fierce community resistance. Unlike music, Carnival is intimately tied to place and in Notting Hill it is, after 57 years, firmly embedded in a strong community, which is its greatest protection. Share this event Save this event: Cast Your Line: Photographic image-divining (Part of Soft Tissue)You are correct that these are party lines. The letters represent an additional digit dialed after the others in cases where automatic operations was implemented. This article goes into great depth all about how multi-party telephone lines worked, but as a short excerpt: For cost savings, you can change your plan at any time online in the “Settings & Account” section. If you’d like to retain your premium access and save 20%, you can opt to pay annually at the end of the trial. The history of dance music has been hugely mythologised. Were there any particular cliches you wanted to avoid? Good to know. Thanks for the word. I’ll take that as an I-need-it book - just when I swore not to buy any more books until I’d made a substantial dent in the several piles of unread and partially read tomes that I live with.

Welcome to the party line, a group phone call where teens went to meet strangers in the mid 1980s. Think of it like a precursor to the internet chat room. Hard truths and rhythms collide as a controversial and erudite unravelling of UK dance culture, uncovers its secret social and political history.Share this event Save this event: Jazz at George IV - Tim Penn & The Second Line, EFG London Jazz Festival Ed Gillett: Dance music is desirable, it’s alluring, it has a cultural cachet, and I think it’s been very easy for successive generations to mistake that for genuine community. So there’s a risk of dance music becoming tokenistic in its politics. You get quite a lot of shallow, superficial feel-good semi-political activity and there isn’t always the space to have deeper conversations. There’s one festival (I won’t single them out) who were lauded in the press for having a 50/50 gender balance on its bill. That’s good in and of itself, but the festival is run by this huge corporate entity – it’s the same old white men. Nevertheless, Party Lines ends on optimism – the founding spirit of the dance floor, after all. Gillett believes that we don’t need another revolutionary moment like the rave at Castlemorton, but rather “a patchwork of tiny gestures, each of them committed to serving a specific community, each small enough to evade censure, but… knitting together to form something of immense power.” Things, surely, can only get better. Sunday Times A fascinating deep dive into dance music's uneasy relationship with the establishment.