Shoom was usually tightly packed with an above-capacity number of attendees. Writer David Cavanagh describes an atmosphere dominated by "heat and crush",3! while Richard Norris (later of the electronic dance group The Grid) said that when he attended, "there was no oxygen. We were lighting our lighters and the flames were going out."(33) By January 1988, Shoom was using smiley face graphics in promotional flyers and posters. Widely used during the Summer of Love, Shoom re- popularised the image, leading to i ‘tual widespread use as an iconic emblem for the UK acid house movement.(34] From the beginning, the Ramplings sought to maintain the club's Shoom was one ofthe frst clubs to: UNderground status, and so tried to minimise attention from the adopt the Smiley face in their music and general press. So as to avoid mainstream notice, Jenni promotional material l19K23) started a free periodic hand-out newsletter promoting the club's “peace and love" ethos soon after their move to Tottenham Court Road. It was filled with cartoon drawings, smiley faces,19] poetry4] and extracts from fan letters containing exuberant and hippyish praise such as "Shoom creates the freedom to be ourselves."28) She consulted with public relations companies to help promote the nights, but ensured that any publicity was kept low key, and Jenni personally asked journalists not to write about it.{35] Club Music Until Shoom, house music in the UK was regarded as an imported, derivative form of either Hi-NRG or disco. Few clubs (mostly Black) played the music, notably Noel and Maurice Watson's Delirium events at the Astoria,!32//34] and Heaven's Pyramid and Jungle nights, where house was played alongside electro music./37![381[39] ghoom’s first two nights attracted a funk, soul and rare groove audience, many of whom came dressed in retro 1970's style clothes, including bell-bottoms and large collared shirts.{13] Danny Rampling and Farley were the resident DJs, Farley usually playing the back room_5] Frequent guest DJs included Carl Cox,/4°! Colin Faver,!4*ll42] Mark Moore!48] and Andrew Weatherall.[42[441 Rampling's DJ box was positioned level with the dance floor, rather than, as was then usual, in a booth above the crowd. {451 His style was praised by several early Chicago house producers, including Marshall Jefferson.!46] Chicago DJ Bam Bam played at Shoom in 1988, and was impressed enough to compare it to the Muzic Box club made famous by Ron Hardy.[35! As acid house music spread in popularity across the UK during 1988, the summer became known as the Second Summer of Love, named after the 1967 Californian Summer of Love. But whereas the earlier scene was inspired by the psychedelic drug LSD, the 1988 movement was based on the widespread availability of ecstasy.'47] The writer Matthew Collin notes how both movements shared beliefs around the idea of "collective consciousness", but because eestasy is a stimulant rather than a psychedelic drug, in stark contrast to the earlier summer, the acid house scene was rarely intellectualised, placed in historical context, and there are only a handful of published contemporaneous accounts and very little surviving video footage.!481 Farley said that contemporary UK house DJs chose electronic records that "made...sense on E."/4] Shoom developed a reputation for playing innovative and modern acid house music; they introduced Phuture's seminal 1987 Roland TB-303 based "Acid Tracks" to a UK audience,'49! and helped popularise Humanoid's 1988 crossover single "Stakker Humanoid" [5°] Weatherall had been a regular