United Glasgow F.C.’s Fantasy 1119th November, 2014


Anti-discrimination and financial inclusion are the dual principles of United Glasgow Football Club. They’ve already worked with hundreds of young people in Glasgow to realise their ambitions of a true community football club which represents all of Glasgow; regardless of background or financial position. They’ve selected their ultimate starting 11 ahead of the club’s fundraiser this Friday with Oi Polloi, AlbaRoma, The Wakes and Scottish footballing legend Pat Nevin.

Volker Ippig
Goalkeeper for the Radical German football club of St. Pauli in Hamburg during the 80’s and 90’s. Ippig was known for his love of the radical left-wing political ideas and action. Ippig interrupted his career as a player on a few occasions, once to go and work in a kindergarten for disabled children. Now a dockworker in Hamburg, Ippig was quoted as saying, ‘Everything I am, I am because of football. My heart beats left. I cherish social and communal values, and this is still the big asset of St Pauli.’

Lilian Thuram
He has won all there is to win in world football and now a great man off the pitch! Thuram is a staunch supporter of the rights of ethnic groups, using his position to tackle racism and highlight the plight of his country’s ignored minorities. He famously once took 70 homeless immigrants expelled from a squat in Paris to France’s game with Italy as a stand against then President Chirac’s immigration policies. Thuram is a migrant himself – born in Caribbean island Guadelop.

Javier Zanetti
Supporter of the struggles of indigenous peoples of Mexico. Zanetti wrote of the radical Zapatista Movement in Mexico; ‘We believe in a better world, in an unglobalised world, enriched by the cultural differences and customs of all the people. This is why we want to support you in this struggle to maintain your roots and fight for your ideals.’ What a guy!

Paul McGrath
Ex Manchester United and Ireland Star supported the Vita Cortex workers in Ireland who occupied their workplace in protest to unpaid redundancy. McGrath visited the factory and urged workers all over Ireland to support them. McGrath is also an active anti-rascism campaigner.

Fabrice Muamba
Fabrice Muamba was a professional footballer at BoltonWanderers and is one of England’s most capped players at Under-21 level. He came to the UK in 1999 as a refugee, aged 11, from war-torn Democratic Republic of Congo (DRC). Suffered a heart attack during a game and was forced to retire early. He spoke no English when he arrived in the UK, he made all his friends playing football.

Probably one of the greatest and an incredibly good looking lad. Pirlo wrote in his autobiography on racists ” They’re a truly horrendous bunch, a herd of frustrated individuals who’ve taken the worst of history and made it their own”.

Casey Stoney
Former England captain and capped 117 times by her nation. Stoney came out as gay in 2012. She is the most high-profile active gay footballer in the UK and an inspiration to a generation of footballers who want to be accepted for who they are.

Fara Williams
England’s most capped player ever with 136 caps. Williams was homelss for 7 years. Trains homeless girls now in her spare time,’ Football never allowed me to (give up hope). I had that focus and belief I was good at something. That’s an incredible thing when it feels like you’ve got nothing else.”

Islam Feruz
Scotland Youth International. Moved from Celtic to Chelsea and currently on loan in Greece. Born in Somalia in 1995, he arrived in Glasgow with his family as a refugee aged 6. They were fleeing the
conflict in Somalia, in which two of his grandparents had been killed. Two quick feet and lightening pace make this guys really quite difficult to play against!

Shefki Kuqi
The big target man famous for his flying celebration has played for numerous clubs in the UK including Newcastle and Blackburn. Kuqi is a Kosovan Albanian who grew up in Kosovo when it was part of the former Yugoslavia. When he was 12, his family moved to Finland to escape the conflict between Serbs and Kosovans, ‘When you have been through what my family has been through, nothing in football gets you down”.

The Italian target man took 50% pay cut in order to play for his home town Left wing club of Livorno. To make his dream move happen Lucarelli did something almost unheard of in modern professional football, ‘some players buy themselves a Ferrari, or a yacht, for a billion lira. I bought myself a Livorno shirt.’ Big respect!

Brain Clough
The legendary Nottingham Forest manager was a red off the pitch as well as on it. A committed socialist, Old Big ‘Ead could often be found campaigning on picket lines during the miners’ strike, and donated large sums of money to trade union causes. He also signed the founding charter of the Anti Nazi League.

Luke Drozd – Space Dimension Controller Artwork12th November, 2014

Flyer concept for Space Dimension Controller’s live laser show. Check his website For more of his work.

Luke Drozd - Space Dimension Controller

Night of the Jaguar meet Mister Saturday Night7th November, 2014


Mister Saturday Night is a party and record label based in Brooklyn, their New York loft parties and outdoor day-time parties are an integral part of the New York party scene. Night of the Jaguar have invited Justin Carter from the label to The Art School on Wednesday. Ahead of the night, they asked Justin a few questions about how Mister Saturday Night deliver their vision, how their synonymous record label is run, what it is like living and throwing parties in New York and what he thinks of Glasgow.

How did you start out?
I grew up in a house of music. My dad is a guitar player and songwriter and I grew up playing the guitar and writing songs and singing. We grew up listening to a tonne of music. We lived in south-western Virginia on the North Carolina Border and my Dad, who is also a teacher would always have a job that was 30 minutes away. Everything was like 30 minutes away. So we were constantly sitting in the car together, just the two of us, listening to music. There was always a different kind of music that was playing in the car and in many ways we related to each other through this music.. So a lot of how I relate to people is by playing music for them and because I was exposed to a lot of different kinds of music as a kid, I felt like it was a pretty natural thing for me to become a person who goes and finds music and then plays it to people in by way of relating to them.

Do you think that your approach to listening to music has changed since you’ve begun to play music to a lot of people on a regular basis?
It’s always changing. Just like any craft or art, however you want to define DJing. Playing outside, in the venue where we’ve been doing Mister Sunday this summer, has lent itself very much to playing ebullient, warm and festive music. As it has gotten darker outside and the sun is going down earlier, I’ve found that Eamon and I have been able to get into harder and headier spaces, this past week in particular. So things like that can really affect the way that you are thinking about music at any given moment. I’m sure that when we come on tour at clubs at night time in Europe, that it is going to lend itself to playing in a different kind of way and I’m sure I’ll start to think about things in a different way. That’s always the way it happens, which is one of the really nice things about going on tour: it changes your frame of reference. If you’re like Eamon and I and you’re playing in the same place every week, it gives you a chance to step out of that and to look at things from a different perspective and to engage with people in a different way.

Was that vision that you were talking about (the vision behind the Mister Saturday Night & Mister Sunday parties) something that came together pretty quickly and naturally or did you and Eamon sit down and figure it out before you started Mister Saturday Night?
The vision is cemented in some ways but it is also totally evolving. When we started the parties, we started in a club. We had ideas about what it was that we liked and wanted a night to be. But it was only through doing the party that we realised that “alright, ok, if we want it to be this, then this doesn’t really work”. We knew we always wanted it to be a warm inviting place. That was the point of the name in the beginning. But we realised through doing the party at this club in the city that there were all these things that went along with traditional clubs that didn’t really work for us and so we ended up in the lofts, which gave us more control and we started to see certain things happening. We started to see people reacting in a certain way, which made us do that more. Its’ like DJing and it’s the same thing with trying new things at the party, you try things out and see how people react. Sometimes you change things and they don’t work and you just switch things back to the way they were before. But sometimes you set things up in a certain way and its like “Oh wow, that really did it!” and it makes the party better and it becomes part of your identity as a party, you know.

You guys take a lot of care to outline what exactly a Mister Saturday Night or a Mister Sunday Party is, for example on your website you have set out some “rules” for the party and in interviews you make it quite clear. Do you think that because people know where they are with you that they keep coming back?
The rule thing is a good example of this. We toyed with the idea of rules for a while. I think before we posted them on our site and made them a thing, we might have posted some sort of sign at the door when people walked in. And by doing that, I think we realised “ok wait, people weren’t really reading them. We can’t really expect that they’ve seen them.” If they get there and there’s no line outside then why are they going to stop and read a sign? If they’re in a line with their friends, why are they going to stop talking to their friends? So then we decided to put them up on the website and we were really thoughtful about how we did that. But then we got all these responses when we actually posted them and made it a very public thing and because of that, it’s really defined who we are. So this is another good example of trying things out and seeing how they work and I predict that that will continue to happen with the parties. One of the things that we’ve started to experiment with here now is to create a membership system because the party has gotten really popular. The party right now is quite big on Sundays but when we move inside, the places that we can hold parties in are much smaller and so we need to figure out a way where we can make sure that the people that have been with us for a long time, the people that are our regulars, the people that we see on the dance floor every single week; How can we make sure that if we post tickets or if we post a party up, that they actually have access to those tickets before it sells out? So we’ve started to experiment with the membership thing, we haven’t really even defined what it is to be a member yet but we’ve started to do this thing so we’re moving into the next phase of defining what we are as a party.

In the RA, New york real scenes video, the rest of the people in the interview make it look like New York is a very difficult places to exist in as an artist or a Dj or a musician. Why do you think it is that you guys have managed to craft that has now become integral to the New York and global clubbing and party scene.
Well, what I would say is that a lot of what was being said in that real scenes video is true. A lot of it comes down to the fact that New York is a very very expensive place to live. Now what I will say is that Eamon and I are also both very optimistic about the world and about New York. Sometimes that optimism is definitely challenged but you know, we just choose to focus on the things that are good and look around and try to figure out solutions to the problems that we have. We’re always trying to be a step or two ahead of whatever is coming. While we’ve got a space that we are using, we are always looking for other spaces that we can be using next. It’s probably the most difficult and therefore most important part of making sure that we can throw our party successfully. We’ve never said “oh we wish it was like this back then” we’ve just looked at the situation and said “this is where it is, this how it is, this is where we are in this context, what are we going to do to make sure that we’re prepared for, what is almost a certainty: us losing a venue?” I think that that’s just a good way to look at life. Just be prepared for whatever is coming next ad don’t get bogged down with stuff that you really can’t change.

What do you think of Glasgow as a place?
I absolutely love it. One of the reasons why I’m coming up to play for you guys is that I want to spend time in Glasgow. I make great friends there, I like the town itself. Playing a party in Glasgow is fantastic. Just, the level of knowledge from what seems to just be the average person at a party is pretty astounding. You’ll play a song that you think is not a song that many people would know and people kind of cheer for it like “YES! I’m so glad they played this!” It’s pretty cool and the energy in general is amazing. Even when people don’t know songs, there’s just an openness to music and an excitement about music and being social and going out and hanging out with each other is pretty unmatched. I mean I love New York city and I think there are things about New York that are also unmatched but Glasgow is a very special place that offers things that New York doesn’t offer and so I’m Always, Always happy to go and play there.
The thing about Glasgow that I just love is how excited everybody is. People are PSYCHED! And it’s funny, I don’t find that anywhere. They’re not excited in a way where it’s just like overwhelming and strange. It’s a total genuine passion. You live in a good place man.

Is it just you and Eamon that run the Mister Saturday Night Label?
There is TJ who is in the office with us. He acts as the label manager. He manages production and he also acts as a sounding board for everything else that goes on and at this point he’s one of the people that we trust most with the parties. The parties and the label go together in many ways and so the responsibilities lie on both sides. But as far as who gets signed and all that, that’s Eamon and I. we are the ones who listen and make the decisions on what we’re putting out.

And are you constantly searching for new material to release or do you find that the music seems to come to you? How do you define what is going to be a Mister Saturday Night Record?
We both just have to like it. That is the only definition. But it varies how we find music. Sometimes it has been somebody at the party who has just given us music and sometimes it’s just a demo that has come in straight through the email. That’s how the more recent releases have been going. I think Keita Sano and Melja were both just people that emailed us and then we had dialogue with over a long period of time and then we released their records. But then, for example, Gunnar Haslam has been coming to our parties since the very beginning and he’s a friend that lives in the neighbourhood with Eamon and me. So we’ve been talking to him about putting stuff out for a very long time. There’s no one set way.

Introducing… DJ Benetti6th November, 2014

DJ Benetti is one of the unsung Italo pioneers. In recent times, he has played at the legendary Cocadisco in London a record 6 times, in addition to countless nights all over Europe, USA, Far East and even Australia, delivering magical musical odysseys that have enchanted both first-timers and hardcore Italo and hi-nrg cognoscenti.

His first gig was at a Mafia-controlled pizza restaurant in Vigevano (Northern Italy) in 1980, a restaurant famed for its special aphrodisiac “spaghetti a la slinguata”. He’s also big in China, especially in cities like Shanghai and Hang Zhou —where he lived for 18 months as paid guest of the Communist town council.

As the title of this mix suggests, he does have another obsession aside from the enormous collection of rare Italo disco CDs and vinyl, that fill three huge rooms and a basement in his house. More than 50% of his income is spent on his beloved D&G clothes and accessories.

Get to know the enigma DJ Benetti before he graces The Art School on Friday for ItaloBLACK.

You’re on a date, out to impress, but the person you’re with admits to ‘not really knowing what italo-disco is’, what record do you play to bring them into the fold?
I have a special record for every special person, on the last date it was a rare edit of Boys Boys Boys by Sabrina, BOOM!

Italo vocals are often wonderfully ‘bad’ in conventional pop terms, but are there any that you find actually unbearable?
This style of ‘naif’ singing was a big influence on a lot of minimal wave and Euro dance pop for the last 3 decades, for me the only unbearable vocals in Italo Disco are those sung without that uniquely innocent Rimini passion.

How do you feel about such wonderfully cheap sounding records now becoming expensive collectors items? Do you care?
The pressings were sometimes very small and made uniquely for DJs and to sound great in a club environment so the originals were never intended to be collectable. Most of my collection was acquired during the 80s and 90s so I didn’t have to pay so much.

What Italo lyric would deem most vital to your personal philosophy?
‘Give Me The Night’

In Luther Blissett’s novel Q, the protagonists go from anarcho-revolutionaries taking over an entire German town, to Venetian swindlers operating a brothel, do you think this is valid a metaphor for the political and artistic journeys we all take?
I went from being an anarcho-swindler to becoming a Venetian revolutionary, I’ve never operated a brothel but I DJ’d in a sex club.

Have you ever been to Marcellas in Edinburgh, the little Italian bakery / pizza place? It’s really good. He plays these incredible Italian versions of old pop songs. Why do you think we take such pleasure in hearing Italians sing in English?
For me, Italians have an historically exquisite sense of musical harmony. I don’t know Marcella’s (yet) but I do recommend Taste Of Italy!

From it’s early days of Easy Going and Little Macho Music, what became known as ‘Italo-Disco’ straddled that thin line between prowling machismo and gay sexuality pretty brilliantly, yet a lot of contemporary italo influenced music seems far more arch and self-conciously cool. Do you think, as DJ Sprinkles argues, club music has steadily forgotten / sidelined its own Queer roots? Why?
Yes, I agree with that and for me it’s a shame. It happened probably because a wider straight culture managed to co-opt it and other subcultures so effectively.

You’re on a date, its going terribly, and the person you’re is trying to seem hip by professing a love of to ‘you know, like… italo-disco’, what record do you play to scare them away for ever?
That happened once (accidentally) when I played ‘Tarzan Boy’ by Baltimora, even though it’s an awesome song.

Hieroglyphic Being4th November, 2014

Creating an untraceable sphere where intersections of searing Chicago House, Astral Jazz and Noise meet, Hieroglyphic Being’s singular sonic palette is both baffling and compelling. His prolific work rate (30 full lengths in 8 years) has allowed him to explore marshy, primitive dissonances and straight-up acid belters in equal measure. Evident with psychedelic techno decrees like Return 2 Saturn, or something altogether different, like the astral suites of Le Jardins Des Chemins Bifurquants. His searching, unstuttering commitment to entwining the human and the mechanical into an improvised lucid clarity is second to none.

Although some of his music has its strands, or roots, clearly embedded in the traditions of his hometown Chicago and the early tutelage of acid house pioneer Adonis, they cannot be strictly held within the cities boundaries. They have a cyclical, elemental perplexity about them, akin to Pekka Airaksinen’s flowing New Age moments, microsonic mutations are often paired with phased 4/4 kicks or interchanging cambers of a motorik beat. However, this exploration is better experienced than described.

Ahead of his 4 hour takeover of the Vic Bar on Saturday for FOAM. We spoke to Jamal Moss, aka Hieroglyphic Being about his connection with Sun Ra, his everyday and being a “rhythmic cubist”.

What extent would you consider your work to be, associated with or coined Afrofuturistic?
Only in the aspect that I am of African Descent and that I am not as primitive as some would like believe. And that I’m way more Modern in my approach of creativity that’s ahead of the curve than most –that would come of as more futuristic .

What are some of the most significant learnings or methods that Adonis bestowed to you?
Patience in creativity. Learning thy self. Nurturing others and giving back —and don’t get caught up in other peoples delusions.

What is it about Sun Ra’s work that’s most important to you?
Sun Ra carved and manifested his presence sonically and esoterically without hesitation upon this realm after traveling to the next.

What recordings of his do you hold closest?
Not so much his works but his work ethic and abstract creationism.

If music is a medium used to talk to people, as Sun Ra claimed, how do you think you would respond to its language?
Through Sound and Noise with whatever I can get my hands on, and have a conversation back. Like anyone would when they wish to communicate in Music as you would in linguistics/phonics/visualization.

Could you expand on what you meant by the term “rhythmic cubist”, is there something about the approach or practise of the cubists that you relate to? Are there any particular artists or works from that movement that you privilege?
What you do visually as a painter, muralist or sculptor, I do it sonically. It’s a term I came up with because people kept asking, so I gave them an answer.

What are some of the most enlightening experiences you’ve had in a club?
Where people cried and screamed and made love romantically on the floor to what was played it’s far and few when that happens. The universe was properly aligned for it to be that way.

In Chicago, where do you spend your time when you’re not in the studio?
At University or in my home, or I just walk about —nothing monumental.

How has the way you produce music changed over the past ten years?
It only changes by natural selection and emotional engagement of life circumstances. I try not to analyze it too much because it becomes to self propagating so I wanna keep the myth or hype to a minimum.

What do you think is the biggest danger facing the planet today?

What gives you hope?
Finding, developing and nurturing in life with that special Energy.

For more: Mathematics Recordings, or Groovedis.com