Skip to main content

'Michael Eavis didn't know what dance music is': a history of rave at Glastonbury

At some point in the late 80s – though no one remembers exactly when – Glastonbury festival became a nexus of the traveller, free party and acid-house scenes, and the festival was never the same again

Giant rubber duckies; tunnels of flowers; bassbins disguised with gingham tablecloths; sitting in upturned burning cars as entertainment. As if it weren’t enough of a struggle trying to get people to untangle their first Glastonbury raving memories from three decades ago, the things they do remember feel pretty hallucinatory on their own.

Nobody can be quite sure when raving first started in Glastonbury. Obviously all-night dancing predates acid house, but through the 80s that meant dub reggae: Youth of Killing Joke and the Orb remembers Saxon and Jah Shaka soundsystems as “the only music you could go dance to all night long that wasn’t acoustic around a bonfire”. The Mutoid Waste Company’s dystopian wreckage sculptures hosted pagan-industrial metal-banging dances throughout the night. Dance music as such wasn’t unknown, though. Mark Darby of Exeter’s Mighty Force collective says: “The first traveller soundsystem playing dance music I personally heard was Crazy Dave’s Record Bus – an old green coach with huge speakers – going through a disco phase, one afternoon at Stonehenge 83!”

Continue reading...

from Culture | The Guardian https://ift.tt/2FGVp1i

Comments

Popular posts from this blog

Knives Out review – Daniel Craig goes Columbo in Cluedo whodunnit

Craig grills an all-star lineup of suspects when a wealthy novelist is found dead in Rian Johnson’s sharp, country-house murder mystery R ian Johnson unsheathes an entertainingly nasty, if insubstantial detective mystery with his new film, Knives Out. Back in 2005, his debut movie Brick (a high-school thriller) paid tribute to the hardboiled noir genre. Now he does the same thing for cosy crime, although there is nothing that cosy about it. Knives Out has a country house full of frowning suspects, deadpan servants and smirking ne’er-do-wells and an amusing performance from Daniel Craig as Benoît Blanc, the brilliant amateur sleuth from Louisiana who annoys the hell out of one and all by smiling enigmatically, occasionally plinking a jarring high note on the piano during the drawing-room interrogation and pronouncing in his southern burr: “Ah suh-spect far-wuhl play!” Continue reading... from Culture | The Guardian https://ift.tt/2L0NKO4

Tracey Emin decorates Regent's Park and a celebration of Islamic creativity – the week in art

Emin and others survey the state of sculpture, Glenn Brown takes his decadent imagination to Newcastle and artists offer northern exposure – all in your weekly dispatch Frieze Sculpture Park Tracey Emin, Barry Flanagan and John Baldessari are among the artists decorating Regent’s Park with a free survey of the state of sculpture. • Regent’s Park, London , 4 July until 7 October. Continue reading... from Culture | The Guardian https://ift.tt/2IDCpPV

Elena Ferrante: ‘Solaris is not Tarkovsky’s best film, but it made the greatest impression on me’

Solaris is astonishing because the book that inspired it doesn’t seem to contain Tarkovsky’s film A film that I watch at least once a year is Andrei Tarkovsky’s Solaris . I’ve loved all of Tarkovsky’s works, even the most difficult. Some I’ve seen in the cinema, others on television. I saw Andrei Rublev at the cinema, and on the big screen it was astonishing, its black-and-white extraordinary: I’ll probably never see it again in a cinema, but I hope that young people will have the opportunity. I also saw Solaris on the big screen – not Tarkovsky’s best film, but the one that made the greatest impression on me. I remember that it was advertised as the Soviet answer to 2001: A Space Odyssey – a completely misleading slogan. To see in it a cinematic contest between the US and the USSR was as silly as it was misleading. Kubrick’s marvellous film, with its imaginative force, would certainly win. But it doesn’t have even a hint of the desperation, of the sense of loss, that dominates Sol...