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how
were
you
involved
in
the
acid
house
era
around
Blackburn
I
got
asked
to
do
some
photography
to
show
the
general
situation
when
we
first
started
from
what
I
understood
the
police
didn’t
really
know
what
they
were
dealing
with
and
they
were
having
to
put
in
vast
amounts
of
manpower
and
there
were
a
lot
of
I
think
a
lot
of
senior
officers
questioning
what
was
going
on
and
we
were
asked
if
we
could
turn
up
we’d
helped
them
out
on a
football
job
about
two
months
earlier
where
the
police
had
been
accused
of
sort
of
not
doing
a
good
enough
job
and
our
photographs
had
bailed
them
out
and
they
were
sort
of
very
keen
to
use
us
in
public
order
settings
partly
after
the
Hillsborough
disaster
I
think
they
believed
that
they
would
be
exonerated
if
all
this
was
shown
which
when
you
look
at
what’s
actually
happened
at
the
Hillsborough
disaster
has
proved
not
to
be
the
case
so
we
were
asked
to
go
along
and
the
first
sort
of
the
initial
briefing
…
was
to
get
a
general
overview
of
what
was
happening
so
we
can
show
that
they
wanted
to
show
there
were
like
spotters
sort
of
people
sitting
on
junctions
the
convoys
the
sheer
number
of
people
that
were
turning
up
to
it
so
it
was
just
a
general
thing
which
was
quite
a
nice
project
because
I
was
sort
of
interested
in
photography
from
a
more
artistic
perspective
I
ended
up
working
for
the
police
somebody
I’ve
been
unemployed
for
three
years
when
I
left
school
and
they
just
need
a
printer
and
I
went
from
starting
doing
that
moved
up
moved
up
and
gradually
with
this
type
of
work
they
figured
it
was
easier
to
teach
someone
like
me
how
to
get
out
and
do
the
photography
than
it
was
teach
policemen
how
to
work
a
camera
so
so
that
was
how
it
sort
of
started
and
like
I say
to
begin
with
it
was
quite
good
because
you
were
were
were
sort
of
looking
at
the
bigger
picture
rather
than
just
trying
to
identify
people
get
them
arrested
so
it
was
pretty
enjoyable
to
begin
with
Full Transcript:
how
were
you
involved
in
the
acid
house
era
around
Blackburn
I
got
asked
to
do
some
photography
to
show
the
general
situation
when
we
first
started
from
what
I
understood
the
police
didn’t
really
know
what
they
were
dealing
with
and
they
were
having
to
put
in
vast
amounts
of
manpower
and
there
were
a
lot
of
I
think
a
lot
of
senior
officers
questioning
what
was
going
on
and
we
were
asked
if
we
could
turn
up
we’d
helped
them
out
on a
football
job
about
two
months
earlier
where
the
police
had
been
accused
of
sort
of
not
doing
a
good
enough
job
and
our
photographs
had
bailed
them
out
and
they
were
sort
of
very
keen
to
use
us
in
public
order
settings
partly
after
the
Hillsborough
disaster
I
think
they
believed
that
they
would
be
exonerated
if
all
this
was
shown
which
when
you
look
at
what’s
actually
happened
at
the
Hillsborough
disaster
has
proved
not
to
be
the
case
so
we
were
asked
to
go
along
and
the
first
sort
of
the
initial
briefing
…
was
to
get
a
general
overview
of
what
was
happening
so
we
can
show
that
they
wanted
to
show
there
were
like
spotters
sort
of
people
sitting
on
junctions
the
convoys
the
sheer
number
of
people
that
were
turning
up
to
it
so
it
was
just
a
general
thing
which
was
quite
a
nice
project
because
I
was
sort
of
interested
in
photography
from
a
more
artistic
perspective
I
ended
up
working
for
the
police
somebody
I’ve
been
unemployed
for
three
years
when
I
left
school
and
they
just
need
a
printer
and
I
went
from
starting
doing
that
moved
up
moved
up
and
gradually
with
this
type
of
work
they
figured
it
was
easier
to
teach
someone
like
me
how
to
get
out
and
do
the
photography
than
it
was
teach
policemen
how
to
work
a
camera
so
so
that
was
how
it
sort
of
started
and
like
I say
to
begin
with
it
was
quite
good
because
you
were
were
were
sort
of
looking
at
the
bigger
picture
rather
than
just
trying
to
identify
people
get
them
arrested
so
it
was
pretty
enjoyable
to
begin
with