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Created 3rd March 2014 by Abigail

Exhibition

Moss Side Stories

Moss Side Stories: The Hidden History of Hulme and Moss Side Club Culture Curated by: Abigail Ward

Thanks to: Dubwise-er, Commonword, Ashley Kennerley, Al Baker, Dorothy Jasper, Franklin Jackson, Hewan Clarke, Irene Wilson-Brown, Kenny Williams, Lee Jasper, Martin De Mello, Michael Pye, Persian, Ursula Ackah, Yvonne McCalla

www.exhulme.co.uk
www.mancky.co.uk

Welcome to Moss Side Stories – the Hidden History of Moss Side and Hulme Club Culture.

This online exhibition was inspired, in part, by Manchester Digital Music Archive’s most profilic contributor, ‘Dubwise-er’, who has uploaded almost a thousand artefacts to our website in under two years. A great many of Dubwise-er’s flyers, photos, press articles and absorbing recollections relate to his time as a reggae-obsessed gig-goer in Moss Side and Hulme during the 1980s. We thought it was time to group together these fascinating uploads and let them tell their own tale. Dubwise-er (who wishes to remain anonymous) has also supplied an evocative personal history of the area, shot through with his trademark wry humour and encyclopaedic knowledge. His musical memories include Desmond Dekker at Hulme Hippodrome; Prince Far-I at The Ardri (cancelled due to ‘mental instability’) and Barington Levy at the PSV:

“…with ear- piercing whistles blowing, cans, bottles, anything and everything banging against walls and tables, it was a cacophony of deafening appreciation in a sweat -dripped room, to a man at his unique peak."

Dubwise-er, we salute you!

We have also been supported on this project by Commonword Writers’ Development Agency, who have kindly donated audio interviews with a number of pioneering Moss Side scenesters, including Reno Club DJs Persian and Hewan Clarke; flamboyant Caribbean Club compere Franklin Jackson; Jah Music soundsystem builder Owen Townsend and writer Yvonne McCalla. Many topics are touched upon in these candid oral histories, but recurring themes include: shebeens and blues - why they sprung up as a response to stifling UK drinking culture; the sense of community that was generated by the clubs of Moss Side and Hulme (particularly the Nile and the Reno); and the strained relationship between the Black community and the police, which culminated in the July 1981 Moss Side riot. These spoken-word snapshots reveal a culture of defiant partying in the face of hardship and oppression - a thread that runs through Manchester music as a whole. They highlight how clubs can unite communities and shape lives. In his interview DJ Persian states: “In The Reno the music took over everybody. The music took care of everything. This is why people still talk about it today. Their romantic lives were formed from that; their kids were born from that. Everything that happened in their life came from that experience and they still talk about it in those terms today.”

As with our main site, this exhibition is a work in progress put together by volunteers. There are still many gaps, which we hope you will be inspired to fill. If you have any artefacts or recollections that you would like to add, please email them to info@mdmarchive.co.uk.
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Hulme Crescents
Video, 1978
Uploaded to YouTube by 'Fastforward' Oct 8, 2008.

A en edited documentary on The Crescents from 1978.

A piece on The Crescents taken from Wikipedia:

At the end of World War II, the United Kingdom had a need for quality housing, with a rapidly increasing "baby boomer" population increasingly becoming unhappy with the prewar and wartime "austerity" of their lives, and indeed, their living space.

By the start of the 1960s England had begun to remove many of the 19th century slums and consequently, most of the slum areas of Hulme were demolished. The modernist and brutalist architectural style of the period, as well as practicalities of speed and cost of construction dictated high rise "modular" living in tower blocks and "cities in the sky" consisting of deck-access flats and terraces.

In Hulme, a new and (at the time) innovative design for deck access and tower living was attempted. This consisted of curved rows of low-rise flats with deck access far above the streets, known as the "Crescents" (which were, with unintentional irony, architecturally based on terraced housing in Bath). In this arrangement, motor vehicles remained on ground level with pedestrians on concrete walkways overhead, above the smoke and fumes of the street. People living in these new flats were rehoused from decaying Victorian slums which lacked electricity, running water, bathrooms or indoor toilets, and were mostly overcrowded.

High-density housing was balanced with large green spaces and trees below, and the pedestrian had priority on the ground over cars. The 1960s redevelopment of Hulme split the area's new council housing into a number of sections. Hulme 2 was the area between Jackson Crescent and Royce Road. Hulme 3 was between Princess Road and Boundary Road based along the pedestrianised Epping Walk, Hulme 4 was between Princess Road and Royce Road and Hulme 5 - the "Crescents" themselves were between Royce Road and Rolls Crescent. The names of the "Crescents" harked back to the Georgian era, being named after architects of that time: Robert Adam Crescent, Charles Barry Crescent, William Kent Crescent and John Nash Crescent, together with Hawksmoor Close (a small straight block of similar design attached to Charles Barry Crescent). At the time, the "Crescents" won several design awards, and introduced technologies such as underfloor heating to the masses. They were also popular because they were some of the first council homes in Manchester to have central heating. The development even had some notable first occupants, such as Nico and Alain Delon.

However, what eventually turned out be recognised as poor design, workmanship, and maintenance meant that the crescents introduced their own problems. Design flaws and unreliable 'system build' construction methods, as well as the 1970s oil crisis meant that heating the poorly insulated homes became too expensive for their low income residents, and the crescents soon became notorious for being cold, damp and riddled with cockroaches and other vermin. Crime and drug abuse became significant problems in Hulme, as police did not patrol the long, often dark decks, due to the fact that they were not officially considered streets. The decks made muggings and burglary relatively easy, as any crime could be carried out in almost total privacy, with no hope for quick assistance from police below.

The crescents became troublesome very shortly after their construction—within a decade, they were declared 'unfit for purpose', and several plans were drawn up that suggested various differing types of renovation and renewal for the blocks, including splitting the buildings into smaller, more manageable structures by removing sections. In the 1980s and 1990s many of these vacant deck-access flats were squatted and the area acquired a 'Bohemian' reputation for its many punks, artists and musicians.

During the late 1980s Viraj Mendis, an asylum seeker from Sri Lanka, sought the right of sanctuary in the Church of the Ascension in Hulme. He was an active supporter of Sri Lanka Tamils and claimed danger of death if he was sent back to Sri Lanka. He stayed in the church for two years until the church was raided by police on 18 January 1989.
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Buzzcocks, X-O-Dus (Exodus)
Alexandra Park
Poster, 1978
Poster: Northern Carnival Against the Nazis designed by Dave King, 1978.

It was on the train home from the Carnival in London that Geoff Brown (ANL) and Bernie Wilcox, who had already been promoting small RAR gigs across Manchester, decided that together they would organise the Northern Carnival Against the Nazis.

Ten weeks of intense work followed with many volunteers and sympathetic organisations lending a hand. Hundreds of people made special banners, placards and badges, and helped to book coaches from outside Manchester.

There weren't as many of these posters available as hoped because the Anti Nazi League office in London had been firebombed. Moss Side band Exodus (X-O-Dus) were added to the bill after this poster was printed, recommended by reggae DJ and future RAR organiser Debbie Golt.

This item was featured in Manchester Digital Music Archive's 'We Are Dynamite! Northern Carnival Against the Nazis 40th Anniversary' exhibition, held at Niamos (old Nia Centre) in Hulme in September 2018.

Co-organised by Geoff Brown of the Anti-Nazi League (ANL) and Bernie Wilcox of Rock Against Racism (RAR), the Carnival featured incendiary live performances by pop-punk superstars Buzzcocks and Steel Pulse, the UK's leading reggae band of the period. Support came from Moss Side reggae band Exodus (later X-O-Dus) and China Street from Lancaster, who had released a single on EMI called ‘Rock Against Racism’.

You can find out more in our online version of the exhibition here:
www.mdmarchive.co...

Special thanks to our funders Heritage Lottery Fund and Futura.

Thanks also to all our wonderful volunteers.