Parts of the forth coming book
Author: Toria
Punk Rock Promoter Ron Watts
RON
RON WATTS PUNK PROMOTER | |
Friday 17th November 2006, 30 years since Punk detonated, and I had the pleasure of sharing a few drinks with Ron Watts in my home. Ron promoted many of the early bands, and organised the now legendary Punk Festival at the 100 Club on the 20th and 21st September, 1976. Ron’s just published a great book which documents those heady and (for those lucky enough to have been there) exciting times. I switched on the tape recorder, put some wine on the table and off we went, talking about our mutually favourite subject. Music! I hope people will find this interview as interesting as I did, he’s a top bloke with some great memories. Rob Maddison, Tamworth, 19th November 2006. 100 Watts, a life in Music. Written by Ron Watts and forward by Glen Matlock. ISBN 0-9543884-4-5. Available from Heroes Publishing, the Internet (it’s on Amazon) or even a bookshop! |
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RM) Ron, firstly, why did you write the book?
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RM) Were the early Punks, like Siouxsie, middle class students? If so, how did they feel when Punk was taken up by the masses? Ron) No. The early Punks were solidly working class. There was the art college mob, they weren’t numerically very strong, but they were the most vivid people, because of their appearance. They set the standard, the tone, you know? But immediately behind that, by the time of the punk festival of ‘76, the bulk of the audience was being formed by young, working class people and they took it to their hearts at once. RM) Were the movements roots biased towards the fashion element or more towards the music side, or was it one package?Ron) The fashion and art side, you know, was where Siouxsie was coming from. They took it very seriously, it was a new movement and they only had the one band to start with. It was very arty, but it was an art movement that worked. If you’d been there the first night I put the Pistols on, I think it was March 30th 1976, and you saw the Bromley Contingent coming in! They didn’t all come at once, they come in dribs and drabs. Each time, it was breathtaking and jaw dropping just to see them walk through that door.RM) Were contemporary Londoners shocked by the appearance of the early Punks? Ron) Initially, yeah. They’d got used to it by the end of that year. But initially, like in the early months, absolutely.RM) The summer of ’76 is famous for its heat wave. I bet you’ve great memories of it? RW) In that summer, and remember that it was the hottest, the best summer in living memory, it was the summer, people still talking about it now, and nothing was happening, everybody was asleep, you know. Anyway, this New Zealand film crew turned up to capture London. They’d been dispatched from Auckland to film London, in the summer. They were bright enough to cotton on to the movement, and they were haunting me! I mean, they got so many yards, so many miles of film, some of it’s not even been seen yet. All the main punk films, like the Rock ‘n Roll Swindle, The Filth and the Fury, were relying on their footage. They were amazed when they got their first, full on, Bromley Punk. They could not believe it. They said “You guys are 200 years ahead of New Zealand!” RM) Were you interested about the politics in Punk? Ron) I tried to keep it at arms length. I wasn’t interested in sub-divisions.RM) What about The Clash? Ron) Didn’t know that they were! (political). I think they were just trying to make it, I mean, they latched on to it. The Pistols had got a lot of the market wrapped up with their attitudes, so The Clash had to find some attitude, and they probably cooked it up with their manager, I reckon. What attitude can we have? Well, the Pistols have got this, that and the other and they found the one that they could go for. RM) I’ve read that the purists hated them, but I loved The Jam. They flirted with politics early on, and then really got involved, with Paul Weller joining Red Wedge later. Ron) The Jam were some of the biggest winners out of Punk. There was such a lot of talent in that band. That band was so tight.RM) Did you get more involved with them once they’d started to get bigger? Ron) They wanted me to help them with their American tour, by going ahead from city to city publicising it. But this was ’77, and I was amazed that their manager John Weller had asked me, and I would’ve loved to have done it. But, I was at the height of my promoting career, and I realised that. So I said “No, I’ve got to stick with this.” RM) The Jam always felt like a band that, as a fan, you had a stake in. Ron) I tell you what, they did a show for me at the 100 Club, when they’d been doing really huge venues like the Hammersmith Odeon. They’d always said, when we get there, we’ll come back and do one. They ended up doing three for me. One at Wycombe Town Hall, one at the Nags Head, which is a pub, you know! And, the 100 Club. They were really good like that, and I appreciate what they did for me and I love ‘em to bits.RM) It’s weird that there was all that acrimony between those people, and even stranger that Rick, and now Bruce, are playing in a Jam tribute band. (The Gift).Ron) Good drummer. I think, and this is my opinion, as I’ve no proof of it, that the girls all used to go for Bruce Foxton. The band was great, and they knew the band was great and they loved Paul Weller. But, in their hearts they all fancied that they’d get off with Bruce Foxton. When I did the box office at the 100 Club, there’d be all these girls turning up in school uniforms. I’d be saying “How old are you?” and the answer was always “19!” Am I really going to sell these girls tickets?!RM) I read somewhere, years ago, that Sid Vicious and Paul Weller had a fight after arguing about the Holidays in the Sun/ In the City riff. Did you hear that one? Ron) No. I can’t see that. Paul Weller was from a tough, working class background. A fight between him and Sid Vicious would have lasted about 8 seconds. He would have dealt with Sid in no time at all. It didn’t happen. Sid would need to have been tooled up, and I’ve had to fight him 3 times when he was. And I’m still here. Sid came at me with a chain, once. I confiscated it, and wish I still had all these weapons, as I could put them up for sale at Christies, couldn’t I?! And I saw Sid with a knife, threatening Elle, the singer out the Stinky Toys with it. I took that off him and gave it to Malcolm Mclaren. Wish I’d kept it. RM) Ron, did you have much to do with Rock Against Racism (R.A.R)? Ron) Only in as much as I endorsed it. And, I wouldn’t have any racist behaviour, as it says in the book, in any of my venues. I just wouldn’t. No way, I mean my bouncers were black, a lot of my acts were black, and I wasn’t going to have it. There were a few occasions when it surfaced, and I did the natural thing and let the black guys sort it themselves.RM) Empowerment? Ron) Yeah. At Wycombe Town Hall, the British movement guys were having a go at my bouncer, Gerry. One black guy against twenty or thirty of them, so I said to him “I’ll take your position, don’t be long, go down the pubs and get your mates.” And he come back in with a dozen big black lads. I said to them, “Look, you’re here to look after Gerry, not to kill these white guys.” So, Gerry stood in front of them, and there wasn’t a word out of them again! They moved out of the way, and went down the other side of the hall, these bullies. They saw the odds evening up a bit, and given the other 8 or 9 bouncers I had stood in the hall, we would’ve murdered them. RM) Jimmy Pursey went on-stage with The Clash at R.A.R in Victoria Park. Was this damage limitation on Pursey’s behalf? He seemed to get his fingers burned when the Skins affiliated to Sham 69. Ron) Exactly. And I don’t think he liked that one little bit. See, now, Jimmy Pursey is another guy, like Paul Weller and Joe Strummer, probably all of them at that time. Underneath he was a much nicer person than the media, and the world, would realise and portray. He was an alright geezer and he caught the wrong end of the backlash. People were believing what he was portraying and singing about, and that wasn’t necessarily him!RM) Did Sham 69 dance a bit to close the flame? They could be perceived as “rabble rousing”, if you like. Ron) They were looking for something to hang their stick on, if you like. The Pistols found it in one. Joe Strummer looked around with The Clash and thought about it and did it, you know. The Jam done it through their potent mix of soul and punk, and I think Jimmy Pursey thought he’d go with the hard boys in the East End. The skinheads, and the mobsters and the ruffians, you know. RM) Musically, Sham 69 were similar to the Pistols… Ron) Yeah, closer than some. I liked Sham 69, they were alright. I think Pursey is another guy who hung his hat somewhere, and that hat got on the wrong peg. |
RM) How fast did Punk spread throughout 1977? Ron) Well, it got going in ’76. The Wycombe Punks, because they had me to promote at the Nags Head, got their first Sex Pistols gig there on September 3rd, which was actually 3 weeks before the 100 Club Festival. They were on the case really early. In ’76, Wycombe and the surrounding towns were full of Punks. By the end of that year, they even had a black Punk in Wycombe, a guy called Marmite. He had black hair, with a silver zigzag stripe in it. By ’77, it was all up and running everywhere. By January or February 1977 almost everyone under the age of 18 or 19 was a Punk.RM) When did the press really get hold of it? Ron) Then. But they were on to it before the Bill Grundy Show, the Punk Festival was before that show and from then it was just….you know. I used to get phone calls, from NBC and CBS in America asking if anything’s going on, or coming off, could you let us know. RM) That’s odd, being as the Americans claim to have invented Punk! Ron) They were a year or two ahead. It’s like most things. It’s like the Blues. We had to take the Blues back to America for White America to know about it. Cream, Rolling Stones, Fleetwood Mac, those sort of people. RM) America’s too big and too diverse. It couldn’t host youth movements like Punk and 2-Tone.Ron) No. It had to come from somewhere else. I mean, in New York it was a club scene, in Britain it was a national scene. RM) What did you think of those American bands?Ron) Some of them were really good. I didn’t think New York Dolls were as good as bands like Johnny Thunders and the Heartbreakers. They were probably the best Punk band I ever saw, actually. RM) And Blondie? Ron) Well, Blondie. The bass player, Nigel was a guy from the Nags Head. Tigger, we used to call him. That was his name round Wycombe. He played at the Nags Head before he was in Blondie. I’ve got to say that Tigger and Blondie didn’t get on. Maybe she fancied him, and he didn’t fancy her! RM) He would’ve been the only British male in the late ‘70’s who didn’t, then?! Ron) Perhaps he knew something we didn’t!RM) Back to the serious stuff, Ron. The Clash flew to Belfast, had some nice photos taken near some barricades and murals. Then they flew home. No gigs played. What do you think about all that? Ron) Well, it’s up to them. Sometimes, promotional events can take over. You can be wise after the event, it might have sounded like a good thing at the time. Who knows, I mean, it might have been sincere. I didn’t see them as a band who had very political motives outside of the publicity. I’m not saying they didn’t have a heart, but sometimes publicity sows a life of its own, you know.RM) If they’d played, this would never have been an issue with people over the years. Ron) No, but they would do benefits and things, R.A.R, and one just before Joe died, for a fireman’s benefit. RM) It’s ironic. The Pistols and Strummer/Jones last gigs in England were both strike fund benefits. And the Pistols, apparently, never cashed their cheque from that Christmas Day one. Ron) I wasn’t a party to any of that, but yeah, that was a good gesture. A lesson. A guy came down to interview me, and he lived near Joe Strummer. Lived in the same village and he was a long time journalist. He said that he thought that Joe Strummer had a lot of heart, and it was very typical of him that he’d go out and do a benefit as The Clash, but commercially would only do The Mescalero’s. RM) Back to the Pistols, now Ron. What was their early live sound like? Ron) I’ll tell you something now that I’ve never told anybody before. Musically, when the Pistols started, I thought that they were, or sounded like, a youth club heavy metal band. Not the songs, or the vocals, or even the presentation but the actual sound of the band. It wasn’t a weak sound, but it wasn’t particularly pokey. Within three months, they’d perked it up a lot. RM) How big an influence was Dave Goodman to their sound? Ron) He brought a lot of stuff to them. He gave them a lot of advice. He’d make them sound a lot more pokey, he’d get them to do things. I spent a lot of time with Dave Goodman, as when you’re a promoter, you’re there to open it up. And Dave used to arrive early, you know, he’d arrive at four in the afternoon. I’d give him a hand in with some of the gear, and we’d spend some time together as we’d be the only ones there for a couple of hours. I’d be answering the phone and stuff, doing other things like that, but I got to know that guy. He never actually spoke to me about Punk. He mentioned the Pistols, but he never actually spoke about the Punk movement. I wish I’d recorded all those conversations!RM) Did you always fill the 100 Club? Ron) Well, after the first couple of months, it filled out, yeah. I mean, the Pistols didn’t pull a crowd for about their first six gigs. We’re talking about 50 – 80 people, the Bromley Contingent and a few interested parties! RM) Some people must’ve come in to watch the Pistols out of curiosity? Maybe just walking by the club, then deciding to see what was going on in there, and finding their lives would never be quite the same again? Ron) Yeah, I think that younger people who come down to see it would change. They’d come down the first night with long hair and flares, and by the third night they’d seen them they’d come down in drainpipes and Punk haircut, you know? RM) What about the other clubs, Ron, like the Roxy? Ron) Went to the Roxy, yes, many times. It was a bit of a pokey hole actually. The Roxy didn’t last long. The Vortex I went to. The stories I used to hear about that place! It was more of a disco crowd, actually. Rent-a-Punk, you know? It wasn’t for the faint hearted, not very savoury! RM) Did you get to read many of the fanzines? Ron) Yeah, I did. I used to see them all. We had one out in the Home Counties called the Buckshee Press, which is a piss take of the Bucks Free Press, of course there was Sniffin’ Glue, we used to see that at the 100 Club all the time. There were others, too, I came across them all over the place, actually, some of them were just one issue, you know, and just a couple of pages.RM) Did you know Mark Perry and the music hacks the time? Ron) Yeah, I knew Mark. Caroline Coon, too. Caroline has been very kind to me in her books, and things, you know. In fact she blamed me, or congratulated me for the whole of Punk in one of them, special thanks to Ron Watts, and that’s nice! Caroline was the first dedicated journalist who wanted to see Punk happen. And, I’m glad in a way that it happened for her, too, because she put her money on the table, you know? Same as I did. She ran that Release thing, which got all the hippies out of jail for cannabis. She was ahead of her time, I mean seriously, you can’t lock someone up for 6 months for smoking cannabis! RM) Changing tack again, Ron. What did you think of Malcolm Mclaren? Ron) I like Malcolm personally. No doubt, you know, I’m not just saying that. On first impressions he looked like an Edwardian gentleman. He’d got that off to a tee, I’d never seen anyone look like him, actually. I never had any bad dealings with him, and he was always very straightforward.RM) People either loved or loathed Mclaren. John Lydon isn’t a fan. Ron) Yeah, I think it was more of a financial thing, but I mean, John Lydon should also remember that without Mclaren he probably wouldn’t have been in them. Mclaren set the scene going, I was the first to pick it up, from that, before recording deals, but he never stuffed me like he stuffed the record companies. They made a lot of money, initially.RM) Did the record companies drop the band so willingly because it was Jubilee year? Ron) Well, the Pistols were full on and did it. I mean, “God Save The Queen” become one of the biggest selling British hit singles, didn’t it? It’s still selling now! And they wouldn’t let it on the shelves, would they. Bless ‘em! RM) You were on the legendary ’77 boat trip up the Thames, when the Pistols played and Mclaren got arrested. What was that like? Ron) It was lovely! You should’ve been there, honestly. The band were ok, they just did their normal gig. I enjoyed seeing people that you wouldn’t expect, talking to each other. When you’ve got the boss of Virgin, that business empire, talking to Sid Vicious, can you imagine what sort of conversation they had?! I’d loved to have taken a tape recorder in there! RM) Do you think the police raid on the boat was planned? Ron) I tell you what, I was amazed at that. I was actually on deck, and the boat was going downstream, back towards Westminster Pier. The Pistols were playing, and it got a bit jostley. You know, a bit of charging about in a small space ‘cause it wasn’t very big, the boat, really. So, I went out on to the deck by the railings, and a couple of other people come and joined me. There was plenty of food and drink, and I had a beer and a chicken leg or something, you know. And I’m looking and I can see these two police boats, and they were a way off. Downstream, I could see two more police boats, and they were a way off, too. I carried on eating the chicken and drinking the beer, looked round, and they were all there, together, at the same time! I mean, the degree of professionalism was just amazing! And then they were on that boat, in force, like about twelve or fifteen coppers, in moments. The boat was quite high sided, but they were up there. And you know what they were doing, they were up there and on that boat and we were escorted into the Westminster Pier basin.RM) Then Mclaren was nicked. Do you reckon he did just enough to get the publicity of an arrest without being charged with anything serious? Ron) I saw that. He got a lot of press out of it, yeah. He knew. Everybody turned to me, to try and sort it all out. One of them was a Countess! RM) Ron, you mentioned that no other bands were on the boat. Was there a real rivalry between these new bands at the time? Ron) The Jam were the young upstarts according to the Pistols, you know. The Clash were their biggest rivals at the time. The Damned, they had no time for.RM) Why don’t The Damned get their due credit? In my opinion, they should. Ron) I don’t know. A lot of people say they’re just a Punk cocktail act. You don’t see a lot about them, and yet they were the first to get a single out and they could play. Scabies could play. Brian James come up brilliant, but then he’d have done anything, if they’d have asked him to join Led Zeppelin he’d have done that, and Captain (Sensible), well I like Captain.RM) Buzzcocks were, from what I’ve heard on bootlegs, a bit rough to start with. They really hit a rich seam once they got up and running. Ron) If the Buzzcocks could make it, anybody could. I wasn’t impressed, really. But what’s in the future’s in the future, you never know what is at the time. They blossomed. RM) And Magazine? Did you rate them? Ron) Yeah, I did. Brilliant guitarist, John McGeoch. And Penetration, they were a good band, and X-Ray Spex. RM) Which bands are you the most pleased to have seen play? Ron) Well, I mean, it’s all of them. But where do you start?! Alright, the Pistols and The Clash, definitely, yeah. The Jam – pleased to see them anywhere, anytime. I did enjoy the Damned at an early stage, but they’re not in the top 5. And Sham 69, and The Heartbreakers.RM) I heard “Pretty Vacant” on the radio in my car earlier today, and I got the old goose bumps. Does any of the music from that time affect you the same? Ron) All the early Pistols stuff, yeah!RM) What’s your view on Punk and Reggae getting married? Ron) Yeah, if people want to get together and cross pollinate ideas, then that’s alright. It was the underbelly, twice. You had the white working class and the black working class responding to each other at last! RM) Some Punk bands who had a go at playing Reggae were better than others. Ruts, SLF and of course The Clash all cracked it in their own styles… Ron) The worst Reggae act I ever saw, were The Slits. Actually, probably just the worst act! RM) Do you think that Punk and Reggae blending in ’77 was the root of Two Tone? Ron) Yes. I’m sure it came out of that. I used to have a lot of Reggae acts on in that club, aside from Punk and the Blues and everything. I’d put on Steele Pulse, or an American Blues artist like Muddy Waters, as long as it was what I liked. RM) Your best front men and women? Ron) I’m thinking about this one…The best oddball front man was Wayne County. Best front woman, from what I saw, Faye Fife.RM) You rate Faye Fife over Poly Styrene?Ron) You’re putting me on the spot there! I’d put them equal for different reasons. Faye used to put on a great act. They were perennially at the club and at the Nags Head. Because I had so many venues, when they were coming down again, I needed to know, because that’s three bookings to give them. It was always like, “get your diary out, mate, when you coming down?” If I gave them three bookings, they’d come down, and they could fill it out with other stuff, do the rounds. X-Ray Spex were good, too. Really good band. The Rezillos are still going, actually. RM) I watched a documentary on TV the other night about that Stiff Records tour. The one where they hired a train from BR. Ron) They did the first night for me, at High Wycombe, yeah. There were some funny people there! Wreckless Eric was at the Punk thing I did in Blackpool this year. It took me about an hour to recognise him. I kept looking and looking and vaguely remembered him. Not a nice bloke. RM) Here’s the last one, Ron. Punk lit a fuse for many people. I’m one (albeit two years late), the other people who contributed questions to this interview are others and there’s millions more. As Ed Armchair puts it, his fuse is still burning to this day, and has affected virtually every aspect of his life since it was lit. Do you have the same feelings about Punk as we do? Ron) Yes. I got going through that and it still survives. My first love in music was, and is, Blues. I see a lot of similarities between Punk and Blues. They both come from the underbelly of a society, and they’ve both triumphed against all the odds. They both spoke for their people of that time and place. They’ll reverberate forever. Punk freshened up a stale music scene and the Blues were the bedrock for twentieth and twenty-first century music.RM) Ron, thanks for your time and best of luck with your new projects.END |
MOTÖRHEAD Drummer PHIL ‘PHILTHY ANIMAL’ TAYLOR Dies At 61
Former MOTÖRHEAD Drummer PHIL ‘PHILTHY ANIMAL’ TAYLOR Dies At 61
November 12, 2015
Another Legend goes to the Great Gig in the Sky
Ex-MOTÖRHEAD drummer Phil “Philthy Animal” Taylor died on Wednesday, November 11 at the age of 61.
Taylor‘s former MOTÖRHEAD bandmate “Fast” Eddie Clarke posted the following tribute to his colleague: “My dear friend and brother passed away last night. He had been ill for sometime but that does not make it any easier when the time finally comes.
“I have known Phil since he was 21 and he was one hell of a character. Fortunately, we made some fantastic music together and I have many many fond memories of our time together.
“Rest in peace, Phil!”
Taylor played in MOTÖRHEAD from 1975 to 1984 and again from 1987 to 1992.
In a 1983 interview with Artist magazine, Taylor stated about his drumming approach in MOTÖRHEAD: “Well, once [MOTÖRHEAD bassist/vocalist] Lemmy starts playing, he’s sort of out there on his own, in a way. It’s something that came naturally; but when Robbo [Brian Robertson, guitar] joined the band, we started working it out a bit more. When Eddie was with the band, I played more with the guitar than I did with Lemmy, because he’s not really a bass player. Lemmy always plays so fast that it’s always been down to the guitarist and me to keep the rhythm and melody going. Lemmy is just non-stop playing all the time, so for the highs and lows of the numbers, the ups and downs, light and shade — whatever you want to call it — it’s basically down to Robbo and myself. I’d never played much before, so it’s probably a lot more difficult for Robbo than for me. He’d always played in bands that had a proper bass player, so to speak.”
Pictured in his early days as a 1960’s Skinhead
Clarke and Taylor rejoined their former bandmate Ian “Lemmy” Kilmister on stage on November 6, 2014 at National Indoor Arena in Birmingham, England before Clarke, Lemmy and current MOTÖRHEAD drummer Mikkey Dee ripped through a blazing rendition of the MOTÖRHEAD classic “Ace Of Spades”.
Asked in a 2011 interview with Guitar International if he had any plans to ever reunite with Taylor and Clarke, Lemmy said: “No, because these two guys with me now have been with me longer than the original two. They played ‘Ace Of Spades’ more often than those two. They played ‘Overkill’ more often than those two. Why should I put Phil [Campbell] and Mikkey on hold to go off with guys who probably can’t play them as well? They’ve been out of practice. It’s ridiculous to think of it. Then I would be a nostalgia act. I’m all for the now and the future.”
Regarding whether he still talks with Phil and Fast Eddie, Lemmy told Guitar International: “Now and then. I like Phil, he was my best mate. Eddie was kind of a friend except he was always complaining about something. It got kinda tedious. Last time he left, we laid low. Before, one of us would go off and bring him back. It was a shame he shouldn’t have done that, we had a lot going for us back then. He should have stuck though it. It was the Wendy O. Williams thing and I couldn’t understand that (reference: recording ‘Stand By Your Man’, a cover version of the Tammy Wynette with Wendy O. Williams). He just gave up on it because Wendy wasn’t immediately perfect on it, she just needed to go through it a few times and he left the band over it. I couldn’t fucking believe it. I think he was expecting to be talked back in. Phil came in the room and said, ‘Eddie‘s left again.’ I said, ‘Whose turn is it to go talk to him?’ [Laughing]. I said, ‘Fuck it, I’m not doing it.’ That’s the way it went. Wrong decision on his part.”
Tony Van Frater of The Cockney Rejects dies.
Tony Van Frater, the guitarist with Sunderland punk band Red Alert, has died, reportedly of a heart attack. He was 51.
He was a mainstay of the group, who were formed in Sunderland back in 1979 and went on to tour nationally and internationally.
He also played with the Angelic Upstarts and Cockney Rejects, and was one of the most respected figures in the North East punk scene.
Tony – real name Anthony Frater – was a founder member of Red Alert, who made three studio albums and released several singles which reached the UK Indie Charts Top 30.
Red Alert broke up in 1985, reformed four years later and continued touring and occasionally recording.
Meanwhile, Tony, who was known as ‘Tut’, played with South Shields band Angelic Upstarts, and, since 1999, with the reformed Cockney Rejects.
Away from music, he used to have an ice cream van, and it is believed he had recently been working as a taxi driver.
Tributes started flooding in today on social media sites.
Official announcement from the Cockney Rejects.
Dear friends and supporters worldwide, most of you are probably aware of the tragic circumstances of this past week in which we lost our beloved brother and friend Tony Van Frater. Due to this catastrophic event we have no option other than to cancel the forthcoming UK tour forthwith as a mark of respect for the man and his family.
none of us knows what the future holds at present, we wish to enter a period of mourning and reflection on the massive contribution and impact that Tony made on all our lives.
All tickets will be refunded and we apologise for this, and we hope that we have your understanding and co operation in these difficult times.
Thank you one and all. The Cockney Rejects.
Tony played for us at Concrete Jungle Festival for us in 2007, and has been a big part of the Cockney Rejects band since he joined
“The founding member of Red Alert and Cockney Rejects bass player was one of the scene’s true gentlemen.
“His talent and friendship will be missed by many. RIP big man – our thoughts are with your family and friends.”
Red Alert singer Steve ‘Castiron’ Smith wrote on his Facebook page: “Best mate, brother, legend, thanks for the memories son, see u up there.”
I was actually to be seeing Tony tomorrow, as i am DJ’ing a festival in Bavaria. we are all deeply shocked by this, and our thoughts go out the the Rejects and all Tony’s friends and family, it makes you realise once again, how short this life is, and we have to keep on keeping on. Stop the negative infighting, and enjoy the life we have. We are all brothers and sisters in our old punk and skinhead subcultures. Symond
The show will go on, and a pint of two will be drank in Tony’s name. Big respect will go out to Tony ifrom Bavaria, and across the Punk and Oi! world
Monty Neysmith Reggae Legend
Symarip (also known at various stages of their career as The Bees, The Pyramids, Seven Letters and Zubaba) were a ska and reggae band from the United Kingdom, originating in the late 1960s, when Frank Pitter and Michael Thomas founded the band as The Bees. The band’s name was originally spelled Simaryp, which is an approximate reversal of the word pyramids.[1] Consisting of members of West Indian descent, Simaryp is widely marked as one of the first skinhead reggae bands, being one of the first to target skinheads as an audience. Their hits included “Skinhead Girl”, “Skinhead Jamboree” and “Skinhead Moonstomp“, the latter of which was based on the Derrick Morgansong, “Moon Hop“.
They moved to Germany in 1971, performing reggae and Afro-rock in Germany under the name Zubaba. In 1980, the single “Skinhead Moonstomp” was re-issued in the wake of the 2 Tone craze, hitting #54 on the UK Singles Chart.[2][3] The band officially split in 1985 after releasing the album Drunk & Disorderly as The Pyramids. The album was released by Ariola Records and was produced by Stevie B.
Pitter and Ellis eventually moved back to England, where Ellis continued performing as a solo artist, sometimes using the stage name Mr. Symarip. Mike Thomas, who had moved to Switzerland and met a Finnish girl there, moved to Finland where he worked as a musician, doing the groundwork for the Finnish reggae culture through his band Mike T. Saganor. Monty Neysmith moved to the United States, where he toured as a solo artist.
In 2004, Trojan Records released a best of album that included a new single by Neysmith and Ellis, “Back From the Moon”. In 2005, Neysmith and Ellis performed together at Club Ska in England, and a recording of the concert was released on Moon Ska Records as Symarip – Live at Club Ska. In April 2008, they headlined the Ska Splash Festival inLincolnshire as Symarip, and later performed at the Endorse-It and Fordham Festivals. Pitter and Thomas now perform in a different band as Symarip Pyramid. Their Back From The Moon Tour 2008-2009 was with The Pioneers. In 2009, to celebrate the rebirth of the band and the reunion of the two original members, Trojan Records released a compilation album, Ultimate Collection. Pitter holds all copyright and trademark rights for the name Symarip Pyramid.
Monty Montgomery was born In Port Antonio, Jamaica. This talented and charismatic singer started to write and create music in his early years. While studying in London, England, Monty met with fellow Jamaican musicians on the weekends.
This led to the creation of the worldwide known
SYMARIP / PYRAMIDS
With hits like: Skinhead Moonstomp, Traintour To Rainbow City, Skinhead Girl, Mexican Moonlight,
All Change On The Bakerloo Line, Must Catch A Train to Night, etc.
This band reached the British Charts and toured all over Europe. Monty collaborated with the legendary “Godfather of SKA” Laurel Aitken and Eddie Grant.
Monty holds numerous awards and is listed in the Guiness Book Of British Hit Singles. Voted as one of Top Reggae Artists of all times by Billboard magazine. Monty’s versatile songwriting genius is his biggest asset. His many years of performing all over Europe, USA, Africa and the Caribbean, including the annual Sun -Splash in Jamaica, has given him the experience and skills that makes him the ultimate professional that he is today. Several of his songs have become staples on the list of many young SKA bands around the world. Sharon Woodward’s “Thank you, Skinhead Girl”, a documentary film made in the UK, includes Monty’s penned “Skinhead Girl”. Monty Montgomery’s albums: Seeds, Massive Are You Ready , Crucial Vibes and Back To Jump Street established him as a solo artist in the reggae world.
Miss Goosy (Audio and Video) is an ideal party mix and the video is very funny. It is now available @ CDBaby.com
Monty also was a finalist in 2008 Jamaica’s Festival with the song “My Jamaica”.
Now his latest work “Yah Mon” ranges from SKA to Reggae, and will with no doubt stand out. Songs like “Yah Mon”, Sweet Suzie”, “It’s time again” and “Kingston City”, just to name a few.
Monty’s latest single “The Freak In Me” was produced and arranged by Grub Cooper, from the number one band in Jamaica, known as FAB 5.
Monty and Jump up Records teamed up to release four new titles on vinyl. “Spirit Of 69 ” is a must to listen and dance to.
Monty’s live shows are engaging and energetic, and he always leaves his audiences feeling positive and happily skanking, begging for more.
FORTIS FOREVER
Monty is now a stand alone artist playing both the Symarip classics and his own work written over his years as a reggae legend
for bookings please contact Symond at subcultz@gmail.com
Great Skinhead Reunion Brighton, Big 6. 2016
Tickets for 2016 are available HERE
CONFIRMED ACTS
INFA RIOT Punk – Oi! 1982 Legends
ROUGH KUTZ
FECKIN EJITS
THE HACKLERS – SKA
GRADE 2
CROWN COURT
TEAR UP from Watford, A brand new young oi! act
Dekkertones a leading British Ska Tribute act, to get the party started
PISTONES (Finland)
SPECIAL GUESTS WILL BE ANNOUNCED AT THE EVENT
Bands and DJ’s wishing to perform, all info and enquiries, contact Symond at subcultz@gmail.com
Video made in 2013
The Great Skinhead Reunion, Brighton, www.subcultz.com
The Great Skinhead Reunion Brighton Every Year, the first weekend of June, Skinheads come from across the globe to Brighton seafront. for full event details go to www.subcultz.com
Posted by Skinhead Reunion Brighton on Saturday, 2 April 2016
FULL 3 DAYS EVENT, YOUR WRISTBAND IS VALID THROUGH OUT, YOU CAN USE IT FOR AS LITTLE, OR AS MUCH AS YOU WANT. THE EVENT WILL SELL OUT, AND THERE WILL BE NO ADVANCE DAY TICKETS AT A REDUCED DAILY RATE , IN ADVANCE.
The line-up maybe subject to change, as so many band members and dj’s are involved. Babies coming along, alcohol, world wars and famine can be unforeseen, but the Great Skinhead Reunion, is more about coming to Brighton to see all your friends and making some more, for 3 full days of mayhem.
SKINHEAD ONLY HOTELS .
Add to your experience, by getting a room in our Skinhead only hotels. Conveniently located, with a short walk to the venue, and no moaning neighbours to worry about. The rooms vary in size and cost, to fit your needs. all within an easy walk to the skinhead reunion venue. We have hotels exclusive to the Great Skinhead Reunion guests and bands. Party party !! please email subcultz@gmail.com with your requirements, to be booked into the Skinhead Hotels
For those on a low budget, its worth checking Hostels and campsites, but my advice, is to get in the reserved hotels, for a nice stress free, clean and comfortable holiday in Brighton.
TRAVEL INFORMATION
Brighton is situated on the south coast of England, approximately one hour from London. London Gatwick is the nearest airport. There are regular direct trains and National Express buses. The next nearest is Heathrow, There are also direct trains from Luton Airport . Its advised not to fly to Stansted, as this is a long way, and you risk losing valuable drinking time
The nearest ferry port serving mainland Europe is Newhaven -Dieppe . Newhaven is about 20 min drive to Brighton. Dover is about 2 hours to Brighton
PARKING ZONES – one of the worst aspects of Brighton, is a lack of affordable parking. my advice is to use street parking on the suburbs of Brighton, its a reasonably safe place. a good bus service will take you into brighton centre (churchill square) and a short walk from there to the sea front. worth allowing the extra hours work, to save yourself serious parking charges
All Event Enquiries email Symond at subcultz@gmail.com. phone (uk) 07733096571
The Facebook community group Facebook group
Continue reading Great Skinhead Reunion Brighton, Big 6. 2016The Hipster
Last week, anti-gentrification protesters took to the streets of London’s East End as part of a series of parades organised by the anarchist group Class War.
One of their targets, the Cereal Killer Cafe, was bombed with paint and scrawled with graffiti that read “scum”. While businesses such as this one are a symptom of the city’s extreme gentrification, rather than its cause, they have – in the eyes of some – become symbolic of this rampant and unwelcome redevelopment.
The subsequent media coverage, whether earnest or cheeky, drew attention to the establishment’s hirsute and tattooed proprietors, Gary and Alan Keery. Why were the bearded brothers subjected to such ire? Apparently because they’re hipsters.
It has become fashionable to hate the hipster. They are blamed not only for big issues such as gentrification, but also for the style crime of donning distinctly unhip fashions (at least in the eyes of other current or former subculturalists).
However, in this instance, many commentators rightly highlighted the fact that while hipsters and their quirky businesses – cafes that charge A$11 per bowl of cereal, for instance – are easy targets of scorn, they are only symptomatic of larger socio-economic realities and problems.
Following this story, I could not help but think what future cultural historians might make of the early twenty-first-century hipster.
Is the introduction of the long beard into mens fashion a deliberate attempt to normalise the religious muslim man into Europe
Historicising youth subcultures
Over the last decade, in both popular media and scholarly work, there has been a surge of interest in the historicising of post-war youth subcultures. TV documentaries celebrating these narratives, such as the recent Street, Sound & Style (2015) and films like This is England (2006) and Northern Soul (2014), exemplify this growing trend.
On the academic front, the Interdisciplinary Network for the Study of Subculture, Popular Music and Social Change (currently based at the University of Reading) is made up of scholars from around the world who work on projects highlighting young people’s contributions to history. Many of these academics are interested in constructing narratives that attempt to make sense of why youth subcultures or lifestyles arose when they did.
Youth cultures characteristically embody the various sensibilities of an era. For instance, my own work on Mod culture depicts the original British subculture of the early 1960s as one that firmly wanted to put the trauma of war behind it by adopting all that was ultra-contemporary and up-to-the-minute. Instead of necessarily trying to reinvent neighbourhoods (though, to be fair, some Mods were also ambitious entrepreneurs), Mods focused on reconceptualising themselves.
The first iteration of the subculture saw male Mods cut dashing figures across London’s grey East End in their European-style suits and atop sleek, Italian scooters. For them, reaching for the “now,” the “new” meant looking beyond Britain’s shores.
The more commercialised, mid-sixties “Swinging London” version of the culture embraced pop art and space-age motifs. Female Mods wearing paper dresses or white and silver miniskirts jauntily reflected this forward-thinking.
Numerous authors have described the advent of punk in 1970s Britain, with its “no future” ethos, as a reaction to the economic crises of the decade. Recent ruminations on the 1980s New Romantics position them as make-up-laden yuppies – Thatcherites in disguise.
While it’s important to recognise nuance and variation within all youth subcultures or trends – and not paint any of them with one, totalising brush – it is also an intriguing exercise to consider how young people’s interests, sensibilities, and actions are symbolic of their times.
The hipster as a reaction to neoliberal values
Since reading about the London protests, I have thought about what future historians might make of the hipster. Attention has already been paid to the hipster as a possible manifestation of and/or reaction to the neoliberal values that have come to dominate contemporary life in the developed world. While some academics and cultural commentatorshave critiqued the hipster more generally, others also have discussed the group’s neoliberal sensibilities more specifically.
While some might see hipsters as “progressive”, this tag may be limited to their appearance alone. They are far from radical. Hipsters, as purveyors of pricey artisanal goods, are not trying to buck the system or advocate for social change. They are not “angry youth”.
If anything, their ardent embrace of entrepreneurialism and D-I-Y craftiness suggests that they have wholeheartedly accepted the fact that “the market” rules one’s lot in life. If living and thriving in hyper-expensive cities like London or New York requires opening a business that charges A$11 for a bowl of cereal, so be it.
Seemingly inherent to the hipster’s philosophy is the pragmatic acceptance that one’s possibilities are determined by the economic and political systems in place.
The fact that the hipster’s mode of operation has inspired such disdain – often among those who identify with more traditional youth subcultures such as punk – is likely because hipsters are seen as selling out (or buying in) rather than trying to resist or subvert mainstream realities.
While a full sleeve of tattoos may suggest more historically familiar notions of “rebellion”, the much-ridiculed Amish-style beard alludes instead to an austere, old-world sensibility. It is more than likely that many of those youths involved in the London protest would perceive hipster identity as the antithesis of their own.
In thinking through the existence of the hipster – and why he (see footnote) has become the target of such ire – it is important to ask ourselves this: Why is there still an underlying expectation that any seemingly “non-mainstream” group of young people are rebellious or want to “question the system”?
In a more pessimistic response to such a question, those who dislike the hipster may say that we have entered into an age where many young people are just happy to accept what is; that hipsters see themselves as living in a world that is both post-subculture and post-rebellion.
It is certainly easy to see how precarious employment, inflated costs of living, and heightened levels of surveillance would prompt capitulation on all fronts – making even the supposedly “hip” not quite what they seem.
A less damning and more supportive reading of the hipster would argue that young people do not have to “fight the power” or “system” because they are the system (and are reinventing it). The agency and empowerment offered to the millennials through their mastery of digital media has not only provided the world with Silicon Valley Wunderkinds, but hipster entrepreneurs, too. They are two functions of the same app.
While I am not the first to speculate on why the hipster has come to be a part of our contemporary world, I will certainly not be the last. What will the hipster come to symbolise about life in the early twenty-first century when historians of the future reflect on this era?
Note: Yes, “he”. The hipster is most always perceived as male, though there are certainly many millennial women who take part in this subculture or lifestyle (minus the Amish-style beards).
The Beard, Jihad or Hipster
Is the Hipster a naturally organic manifestation of fashion, or was it a planned style to normalize the beard, not seen in mens fashion since the pre-punk days of the early 1970’s ?
More than 10 years later, the consequences of the September 11 attacks are still being felt by Muslims all over the world. There are still stories about Muslim Americans having to hide their religion, by changing their names or appearance, or by practising their faith discreetly. A cloud of distrust still hangs over many ordinary Muslims, not only in the United States, but around the globe.
In one terrible moment, the disgraceful attacks of 2001 tarnished the name of Islam. What was once known as a peaceful, loving religion is now mistakenly identified by some as a backward faith that promotes aggression and oppression.
Friends returning from studies in the US describe their experiences as filled with caution. The change in attitudes towards Muslims was almost simultaneous with the attacks. For the prejudiced, Muslim identity is no longer a statement of faith but an insult or an accusation.
One of the most identifying feature of the Muslim man, in the west is the facial beard
Hipster Beard, a coincidence?
Undoubtedly, media have played a major role in the misrepresentation of Muslims in the subsequent 10 years. Video, print and online content disseminates images such as those of Muslims pumping their rifles in the air in Afghanistan. This has little to do with faith. Images depict Muslim men as being uneducated, dangerous extremists while Muslim women are shown as oppressed.
September 11 was a sad day for all faiths, but Muslims in particular continue to feel the repercussions.
For Hollywood, we have become the bad guys. Movies, TV series and even comedy shows write “the Muslim terrorist” stock character into the script as the main villain. News reports play up the images of Islamist training camps and suicide bombers, enforcing the stereotype that Muslims are extremists by nature.
Having a long beard, wearing a hijab or headscarf, or praying in a mosque is now grounds to be harassed, and in some cases attacked, by ignorant groups or individuals. Many Muslims, including American citizens who had spent years building their lives in the US, have begun practising their faith more discretely or have even returned to their countries of origin out of fear for their safety.
In the UAE, we have the advantages of a rich, multicultural society that allows religious and cultural tolerance in our daily lives, at work, in schools and in public. Yet that is not to say that we don’t have our own fair share of stereotypes. It is only natural to draw conclusions about a faith, nationality or group characteristic, sometimes based on superficial traits.
Whether we like it or not, everyone’s subconscious automatically makes assumptions and builds them into stereotypes, regardless of how open-minded we believe we are.
And while we can fairly condemn discrimination against Muslims in the United States and Europe it cannot be denied that we have inherited our own stereotypes, in the UAE and in many other Arab and Muslim countries, directed towards people based on how they practice their faiths.
By 2015 beards have become a very normal part of Hipster Europe
An easily visible manifestation of this relates to men who choose to grow out their beards. Many times, I have overheard sniggering comments made about long-bearded men. Behind closed doors, accusations of extremism are made, perhaps in jest, but these ideas take root and can become damaging innuendo and rumour.
I saw this firsthand when a colleague of mine decided to grow out his beard. He was on the front line of our organisation and dealing with customers, and so his beard – bizarrely – became an issue of concern for colleagues and management. At first, it was a few harmful jokes about its length; later, a “friendly” suggestion to shave was passed down from management; and, in the end, an indirect threat was made.
My colleague, being one of the most peaceful and patient men I know, decided to stay the course. And his efforts paid off. After exhaustive efforts, he was able to convince management of his ability to do his job, and even outperformed most of his colleagues to prove that he was an asset. Even with a beard.
This is what many fail to understand about men who choose to demonstrate their faith by growing out their beards. Just as with other faiths, piety in Islam does not imply extremism, but rather a commitment to peaceful existence with everything and everyone around you. In the UAE, a Muslim country and also a tolerant one, we must not allow ourselves to fall into the trap of stereotyping religious men and women.
Quite the opposite in fact, we must continue to promote the truth about Islam as a peaceful religion and its powerful benefits for a person’s life at work, at home and as a part of a community. In that way, we can persuade the rest of the world that the harmful stereotypes that followed September 11 have nothing to do with Islam.
Taryam Al Subaihi is an Abu Dhabi-based political and social commentator who specialises in corporate communications
On Twitter: @TaryamAlSubaihi
added content ‘The Hipster’ by subcultz
Stomper 98 Confirmed for The Great Skinhead Reunion, Brighton, England 2016
Stomper 98 are confirmed for the great skinhead reunion in Brighton England june 3-4-5th 2016. Brighton is seen as a birthplace of the skinhead subculture, with mods and rockers fighting on the beaches in 1964, by 1967 the skinhead had spread across the uk, a solid British working class subculture. Saturday afternoon saw mobs of skinheads fighting for their territory and team on the football terraces, by night, Stomping to Jamaican reggae, wearing the cutting new clothing of quality British design and cloth, handmade leather shoes and boots. After a dip came the rebirth, with the aggro Boot Boys and explosion of Punk Rock from 76, the Sham Army. 79 saw the 2tone revolution, bringing the Punk and Reggae sounds together. By 1980, the largest number of skinheads in history were on the streets of Britain. Then came a backlash against the middle class system, which had controlled the people for centuries, this music was known as Oi! Music. Direct action through music. As riots spread across the UK skinheads scared the government, an army of angry disenfranchised street kids, ready to Ruck. Margaret thatcher put a ban on oi music, clubs and pubs refused skinheads entry, record shops took the vinyl from the shelves. The SPG ( police) Attacked Skinheads across the country . But we refused to die. We went underground, created our own scene, our own clubs, promoted by fanzines and word of mouth. ‘skinheads, a way of life’ like martyrs through the centuries. a faith, which is stronger than any latest fashion. So by the mid 80’s Skinheads were popping up across the planet, fed by the media scare stories, of the anti Christ. By photographic images and books. But also by skinhead bands playing around the globe, for a few beers and a hot dog. Gone are the days of territorial violence and racial conflict. The political infighting designed to divide and destroy, thrown aside. What’s now, is a world wide community, living A skinhead way of life. Every year we celebrate the skinhead subculture, in all its positive eras. From 60’s ska to 21st century oi! And with that, We invite Selective bands each year to come represent their country and scene. We are very pleased to announce Stomper 98 from Germany will be performing at the Great Skinhead Reunion, Brighton, England for 2016. tickets are already 1/3 sold out for 2016, so dont miss out, on what is set to be a sell out event www.subcultz.com
Stomper 98 sind für die Great Skinhead Reunion in Brighton/England bestätigt, die vom 3.-5. Juni 2016 stattfindet.
Brighton gilt als eine der Geburtsstätte der Skinhead-Subkultur, denn im Jahr 1964 war es eben genau in Brighton, wo sich Mods und Rocker ihre ersten Schlachten an den Stränden und in den Straßen ablieferten. 1967 hatte sich die Skinhead-Bewegung bereits über das gesamte Vereinigte Königreich ausgebreitet und war fester Bestandteil der Subkultur der britischen Arbeiterklasse. Samstag nachmittags sah man Skinhead-Banden im Umfeld von Fußballspielen für ihre Städte und Vereine auf den Straßen kämpfen und nachts konnte man die Skinheads dann zu jamaikanischem Reggae tanzen sehen. Bei all dem achteten sie darauf stets smart gekleidet zu sein. So trugen sie qualitativ hochwertige Stoffe im typisch britischen Design, sowie handverarbeitete Lederschuhe und Stiefel.
Die Zeit verging und durch die Boot Boys und und den nicht mehr aufzuhaltenden Punk Rock erlebte dieser Kult eine Wiedergeburt im Jahr 1976. Drei Jahre später braucht der 2Tone zusammen, was zusammen gehört und kombinierte die Klänge von Punk und Reggae.
Es war in 1980, als man so viele Skinheads wie nie zuvor in den Straßen von Großbritannien finden konnte und als eine bestimmte Musikrichtung die Leute aus ihrem Mittelschicht-Winterschlaf reisen sollte. Diese Musik war bekannt unter folgendem Namen: Oi! Mit dieser Musik gingen viele Unruhen und Krawalle einher, sodass die Skinheads bei Staat und Polizei ein Gefühl der Angst verbreiteten. Margaret Thatcher verbot Oi! in Clubs und Kneipen, veranlasste gar ein Hausverbot für Skinheads und sorgte dafür, dass keine Oi!-Platten mehr in den Plattenläden zu finden waren. Die Polizei griff uns Skinheads scharf an, aber wir ließen unseren Kult nicht sterben! Die Bewegung verschwand zunehmend in den Untergrund. Wir betrieben unsere eigenen Clubs, veranstalteten eigene Konzerte, brachten eigene Fanzines heraus und lebten unseren “Way Of Life” abseits der Masse. Wir waren wie Märtyrer. Der Stolz auf diesen unseren Kult war und ist stärker als jeder Trend und wird überleben!
In den Medien verteufelt verbreitete sich der Skinhead-Kult über den ganzen Globus. Doch nicht nur den Medien gelang es Diesen Kult zu verbreiten, sondern auch Bands, die die wahren Werte dieser Subkultur in die Welt hinaus trugen.
Fernab von territorialen Auseinandersetzungen, jeglichem Rassismus und unzähligen Versuchen der Politik die Bewegung zu Spalten oder gar zu zerstören, lebt der Skinhead-Kult unbekümmert weiter wie eine weltweite Gemeinde am Rande der Gesellschaft.
Und genau deshalb feiern wir jedes Jahr unsere Subkultur in all ihren positiven Epochen. Vom Ska der 60er Jahre bis hin zum Oi! der heutigen Tage.
Jedes Jahr laden wir wohl ausgesuchte Bands ein, uns die Szene in ihrem jeweiligen Land zu präsentieren und wir freuen uns ganz besonders im Jahr 2016 die Band Stomper 98 https://www.facebook.com/Stomper98?fref=ts aus Göttingen/Deutschland in Brighton begrüßen zu dürfen.
Ein Drittel der Karten ist bereits verkauft und wir rechnen auch in 2016 wieder mit einer ausverkauften Great Skinhead Reunion.
Enoch Powell, Rivers of blood speech
Enoch Powell stood in British Parliament, and made one of the most famous speeches in history. This speech has been debated ever since. Was is a genuine warning, or did it actually make immigration a ‘Race’ issue. To date its estimated there are around 10 million immigrants and their descendants now living in the UK, with hundreds of thousands joining every year. No longer from just ex British colonies. making up around 15% of the UK population as a whole, but a much higher percentage of younger generation.
This is the full text of Enoch Powell’s so-called ‘Rivers of Blood’ speech, which was delivered to a Conservative Association meeting in Birmingham on April 20 1968.
The supreme function of statesmanship is to provide against preventable evils. In seeking to do so, it encounters obstacles which are deeply rooted in human nature.
One is that by the very order of things such evils are not demonstrable until they have occurred: at each stage in their onset there is room for doubt and for dispute whether they be real or imaginary. By the same token, they attract little attention in comparison with current troubles, which are both indisputable and pressing: whence the besetting temptation of all politics to concern itself with the immediate present at the expense of the future.
Above all, people are disposed to mistake predicting troubles for causing troubles and even for desiring troubles: “If only,” they love to think, “if only people wouldn’t talk about it, it probably wouldn’t happen.”
Perhaps this habit goes back to the primitive belief that the word and the thing, the name and the object, are identical.
At all events, the discussion of future grave but, with effort now, avoidable evils is the most unpopular and at the same time the most necessary occupation for the politician. Those who knowingly shirk it deserve, and not infrequently receive, the curses of those who come after.
A week or two ago I fell into conversation with a constituent, a middle-aged, quite ordinary working man employed in one of our nationalised industries.
After a sentence or two about the weather, he suddenly said: “If I had the money to go, I wouldn’t stay in this country.” I made some deprecatory reply to the effect that even this government wouldn’t last for ever; but he took no notice, and continued: “I have three children, all of them been through grammar school and two of them married now, with family. I shan’t be satisfied till I have seen them all settled overseas. In this country in 15 or 20 years’ time the black man will have the whip hand over the white man.”
I can already hear the chorus of execration. How dare I say such a horrible thing? How dare I stir up trouble and inflame feelings by repeating such a conversation?
The answer is that I do not have the right not to do so. Here is a decent, ordinary fellow Englishman, who in broad daylight in my own town says to me, his Member of Parliament, that his country will not be worth living in for his children.
I simply do not have the right to shrug my shoulders and think about something else. What he is saying, thousands and hundreds of thousands are saying and thinking – not throughout Great Britain, perhaps, but in the areas that are already undergoing the total transformation to which there is no parallel in a thousand years of English history.
In 15 or 20 years, on present trends, there will be in this country three and a half million Commonwealth immigrants and their descendants. That is not my figure. That is the official figure given to parliament by the spokesman of the Registrar General’s Office.
There is no comparable official figure for the year 2000, but it must be in the region of five to seven million, approximately one-tenth of the whole population, and approaching that of Greater London. Of course, it will not be evenly distributed from Margate to Aberystwyth and from Penzance to Aberdeen. Whole areas, towns and parts of towns across England will be occupied by sections of the immigrant and immigrant-descended population.
As time goes on, the proportion of this total who are immigrant descendants, those born in England, who arrived here by exactly the same route as the rest of us, will rapidly increase. Already by 1985 the native-born would constitute the majority. It is this fact which creates the extreme urgency of action now, of just that kind of action which is hardest for politicians to take, action where the difficulties lie in the present but the evils to be prevented or minimised lie several parliaments ahead.
The natural and rational first question with a nation confronted by such a prospect is to ask: “How can its dimensions be reduced?” Granted it be not wholly preventable, can it be limited, bearing in mind that numbers are of the essence: the significance and consequences of an alien element introduced into a country or population are profoundly different according to whether that element is 1 per cent or 10 per cent.
The answers to the simple and rational question are equally simple and rational: by stopping, or virtually stopping, further inflow, and by promoting the maximum outflow. Both answers are part of the official policy of the Conservative Party.
It almost passes belief that at this moment 20 or 30 additional immigrant children are arriving from overseas in Wolverhampton alone every week – and that means 15 or 20 additional families a decade or two hence. Those whom the gods wish to destroy, they first make mad. We must be mad, literally mad, as a nation to be permitting the annual inflow of some 50,000 dependants, who are for the most part the material of the future growth of the immigrant-descended population. It is like watching a nation busily engaged in heaping up its own funeral pyre. So insane are we that we actually permit unmarried persons to immigrate for the purpose of founding a family with spouses and fiancés whom they have never seen.
Let no one suppose that the flow of dependants will automatically tail off. On the contrary, even at the present admission rate of only 5,000 a year by voucher, there is sufficient for a further 25,000 dependants per annum ad infinitum, without taking into account the huge reservoir of existing relations in this country – and I am making no allowance at all for fraudulent entry. In these circumstances nothing will suffice but that the total inflow for settlement should be reduced at once to negligible proportions, and that the necessary legislative and administrative measures be taken without delay.
I stress the words “for settlement.” This has nothing to do with the entry of Commonwealth citizens, any more than of aliens, into this country, for the purposes of study or of improving their qualifications, like (for instance) the Commonwealth doctors who, to the advantage of their own countries, have enabled our hospital service to be expanded faster than would otherwise have been possible. They are not, and never have been, immigrants.
I turn to re-emigration. If all immigration ended tomorrow, the rate of growth of the immigrant and immigrant-descended population would be substantially reduced, but the prospective size of this element in the population would still leave the basic character of the national danger unaffected. This can only be tackled while a considerable proportion of the total still comprises persons who entered this country during the last ten years or so.
Hence the urgency of implementing now the second element of the Conservative Party’s policy: the encouragement of re-emigration.
Nobody can make an estimate of the numbers which, with generous assistance, would choose either to return to their countries of origin or to go to other countries anxious to receive the manpower and the skills they represent.
Nobody knows, because no such policy has yet been attempted. I can only say that, even at present, immigrants in my own constituency from time to time come to me, asking if I can find them assistance to return home. If such a policy were adopted and pursued with the determination which the gravity of the alternative justifies, the resultant outflow could appreciably alter the prospects.
The third element of the Conservative Party’s policy is that all who are in this country as citizens should be equal before the law and that there shall be no discrimination or difference made between them by public authority. As Mr Heath has put it we will have no “first-class citizens” and “second-class citizens.” This does not mean that the immigrant and his descendent should be elevated into a privileged or special class or that the citizen should be denied his right to discriminate in the management of his own affairs between one fellow-citizen and another or that he should be subjected to imposition as to his reasons and motive for behaving in one lawful manner rather than another.
There could be no grosser misconception of the realities than is entertained by those who vociferously demand legislation as they call it “against discrimination”, whether they be leader-writers of the same kidney and sometimes on the same newspapers which year after year in the 1930s tried to blind this country to the rising peril which confronted it, or archbishops who live in palaces, faring delicately with the bedclothes pulled right up over their heads. They have got it exactly and diametrically wrong.
The discrimination and the deprivation, the sense of alarm and of resentment, lies not with the immigrant population but with those among whom they have come and are still coming.
This is why to enact legislation of the kind before parliament at this moment is to risk throwing a match on to gunpowder. The kindest thing that can be said about those who propose and support it is that they know not what they do.
Nothing is more misleading than comparison between the Commonwealth immigrant in Britain and the American Negro. The Negro population of the United States, which was already in existence before the United States became a nation, started literally as slaves and were later given the franchise and other rights of citizenship, to the exercise of which they have only gradually and still incompletely come. The Commonwealth immigrant came to Britain as a full citizen, to a country which knew no discrimination between one citizen and another, and he entered instantly into the possession of the rights of every citizen, from the vote to free treatment under the National Health Service.
Whatever drawbacks attended the immigrants arose not from the law or from public policy or from administration, but from those personal circumstances and accidents which cause, and always will cause, the fortunes and experience of one man to be different from another’s.
But while, to the immigrant, entry to this country was admission to privileges and opportunities eagerly sought, the impact upon the existing population was very different. For reasons which they could not comprehend, and in pursuance of a decision by default, on which they were never consulted, they found themselves made strangers in their own country.
They found their wives unable to obtain hospital beds in childbirth, their children unable to obtain school places, their homes and neighbourhoods changed beyond recognition, their plans and prospects for the future defeated; at work they found that employers hesitated to apply to the immigrant worker the standards of discipline and competence required of the native-born worker; they began to hear, as time went by, more and more voices which told them that they were now the unwanted. They now learn that a one-way privilege is to be established by act of parliament; a law which cannot, and is not intended to, operate to protect them or redress their grievances is to be enacted to give the stranger, the disgruntled and the agent-provocateur the power to pillory them for their private actions.
In the hundreds upon hundreds of letters I received when I last spoke on this subject two or three months ago, there was one striking feature which was largely new and which I find ominous. All Members of Parliament are used to the typical anonymous correspondent; but what surprised and alarmed me was the high proportion of ordinary, decent, sensible people, writing a rational and often well-educated letter, who believed that they had to omit their address because it was dangerous to have committed themselves to paper to a Member of Parliament agreeing with the views I had expressed, and that they would risk penalties or reprisals if they were known to have done so. The sense of being a persecuted minority which is growing among ordinary English people in the areas of the country which are affected is something that those without direct experience can hardly imagine.
I am going to allow just one of those hundreds of people to speak for me:
“Eight years ago in a respectable street in Wolverhampton a house was sold to a Negro. Now only one white (a woman old-age pensioner) lives there. This is her story. She lost her husband and both her sons in the war. So she turned her seven-roomed house, her only asset, into a boarding house. She worked hard and did well, paid off her mortgage and began to put something by for her old age. Then the immigrants moved in. With growing fear, she saw one house after another taken over. The quiet street became a place of noise and confusion. Regretfully, her white tenants moved out.
“The day after the last one left, she was awakened at 7am by two Negroes who wanted to use her ‘phone to contact their employer. When she refused, as she would have refused any stranger at such an hour, she was abused and feared she would have been attacked but for the chain on her door. Immigrant families have tried to rent rooms in her house, but she always refused. Her little store of money went, and after paying rates, she has less than £2 per week. “She went to apply for a rate reduction and was seen by a young girl, who on hearing she had a seven-roomed house, suggested she should let part of it. When she said the only people she could get were Negroes, the girl said, “Racial prejudice won’t get you anywhere in this country.” So she went home.
“The telephone is her lifeline. Her family pay the bill, and help her out as best they can. Immigrants have offered to buy her house – at a price which the prospective landlord would be able to recover from his tenants in weeks, or at most a few months. She is becoming afraid to go out. Windows are broken. She finds excreta pushed through her letter box. When she goes to the shops, she is followed by children, charming, wide-grinning piccaninnies. They cannot speak English, but one word they know. “Racialist,” they chant. When the new Race Relations Bill is passed, this woman is convinced she will go to prison. And is she so wrong? I begin to wonder.”
The other dangerous delusion from which those who are wilfully or otherwise blind to realities suffer, is summed up in the word “integration.” To be integrated into a population means to become for all practical purposes indistinguishable from its other members.
Now, at all times, where there are marked physical differences, especially of colour, integration is difficult though, over a period, not impossible. There are among the Commonwealth immigrants who have come to live here in the last fifteen years or so, many thousands whose wish and purpose is to be integrated and whose every thought and endeavour is bent in that direction.
But to imagine that such a thing enters the heads of a great and growing majority of immigrants and their descendants is a ludicrous misconception, and a dangerous one.
We are on the verge here of a change. Hitherto it has been force of circumstance and of background which has rendered the very idea of integration inaccessible to the greater part of the immigrant population – that they never conceived or intended such a thing, and that their numbers and physical concentration meant the pressures towards integration which normally bear upon any small minority did not operate.
Now we are seeing the growth of positive forces acting against integration, of vested interests in the preservation and sharpening of racial and religious differences, with a view to the exercise of actual domination, first over fellow-immigrants and then over the rest of the population. The cloud no bigger than a man’s hand, that can so rapidly overcast the sky, has been visible recently in Wolverhampton and has shown signs of spreading quickly. The words I am about to use, verbatim as they appeared in the local press on 17 February, are not mine, but those of a Labour Member of Parliament who is a minister in the present government:
‘The Sikh communities’ campaign to maintain customs inappropriate in Britain is much to be regretted. Working in Britain, particularly in the public services, they should be prepared to accept the terms and conditions of their employment. To claim special communal rights (or should one say rites?) leads to a dangerous fragmentation within society. This communalism is a canker; whether practised by one colour or another it is to be strongly condemned.’
All credit to John Stonehouse for having had the insight to perceive that, and the courage to say it.
For these dangerous and divisive elements the legislation proposed in the Race Relations Bill is the very pabulum they need to flourish. Here is the means of showing that the immigrant communities can organise to consolidate their members, to agitate and campaign against their fellow citizens, and to overawe and dominate the rest with the legal weapons which the ignorant and the ill-informed have provided. As I look ahead, I am filled with foreboding; like the Roman, I seem to see “the River Tiber foaming with much blood.”
That tragic and intractable phenomenon which we watch with horror on the other side of the Atlantic but which there is interwoven with the history and existence of the States itself, is coming upon us here by our own volition and our own neglect. Indeed, it has all but come. In numerical terms, it will be of American proportions long before the end of the century.
Only resolute and urgent action will avert it even now. Whether there will be the public will to demand and obtain that action, I do not know. All I know is that to see, and not to speak, would be the great betrayal.
Jeff Turner and Gary Bushell on Oi!
The Cockney Rejects’ 1980 performance at Birmingham’s Cedar Club remains unnoted in the annals of rock history. It warrants no mention when music journalists compile the 100 Most Shocking Moments in Rock, nor the 100 Craziest Gigs Ever, which seems like a terrible oversight. In fairness, no one is ever going to rank the show by the East End quartet – then enjoying chart success with a punk take on the West Ham terrace anthem I’m Forever Blowing Bubbles – alongside Jimi Hendrix at Monterey in terms of musical brilliance. Still, it has its own claim to historical import: by all accounts, it was the most violent gig in British history.
“I’d seen quite a bit on the terraces or outside football grounds, but this was carnage,” says Jeff Turner, today an immensely amiable decorator, then “Stinky” Turner, the Cockney Rejects’ teenage frontman, cursed with what his former manager Garry Bushell tactfully describes as “a bit of a temper”. Turner continues: “There was a lot of people cut and hurt, I got cut, my brother [Rejects’ guitarist Micky Geggus] really got done bad, with an ashtray, the gear was decimated, there was people lying around on the floor. Carnage.”
The problem was football-related. “Most of the punk bands at the time, they had their ideals – the Clash, Career Opportunities, political stuff, fair play,” says Turner. “When I was a kid, my thought for punk rock was that it could put West Ham on the front pages.” To this end, the band – affiliated to the club’s hooligans in the Inter City Firm – had appeared on Top of the Pops in West Ham shirts. “After that, everybody wanted to fight us, but you couldn’t back down,” says Turner. “Once you were defeated, it would have opened the floodgates for everybody.”
So the Rejects and their party fought: “Twenty Cockneys against … well, not all 300 Brummies were trying to attack us, but I’d say we were trying to fight off 50 to 100 people.” In the aftermath, Micky Geggus was charged with GBH and affray, and the Cockney Rejects’ career as a live band was, in effect, over. An attempt to play Liverpool later that year ended after six songs “because there was 150 Scousers trying to kill us”, while a subsequent gig in Birmingham was aborted by the police: “The old bill got wind of it and escorted us on to the M6,” says Turner. “At the time, I was gutted, but now, I think, thank God for that. Someone could have died.”
Perhaps it’s unsurprising the gig has been swept under the carpet of musical history: after all, so has the genre the Cockney Rejects inadvertently inspired. Thirty years after Bushell – then a writer for the music paper Sounds, as well as the Rejects’ manager – coined the term “Oi!” to describe a third generation of punk-inspired working-class bands playing “harder music on every level, guitar driven, terrace choruses”, it remains largely reviled or ignored in Britain.
In the eyes of its remaining fans, Oi! is the “real thing”, the genuine sound of Britain’s streets in the late 70s, populated by artists Bushell championed when the rest of the music press concentrated on “bands who dropped literary references you wouldn’t have got if you didn’t have a masters’ degree and wrote pretentious lyrics”. Bands such as the Cockney Rejects, the Angelic Upstarts – Marxists from South Shields managed by a man Bushell colourfully describes as “a psychopath – his house had bars over all the windows because people had thrown firebombs through it” – Red Alert, Peter and the Test Tube Babies. It briefly stormed the charts. The Angelic Upstarts followed the Cockney Rejects onto Top of the Pops, while Splodgenessabounds made the Top 10 with the deathless Two Pints of Lager and a Packet of Crisps Please. But today, if the general public have heard of it at all, they tend to agree with the assessment once offered by journalist and broadcaster Stuart Maconie: “Punk’s stunted idiot half-brother, musically primitive and politically unsavoury, with its close links to far-right groups.” It is, asserts Bushell, “without a doubt, the most misunderstood genre in history”.
The problem isn’t really to do with the music, although protracted exposure to the oeuvre of Peter and the Test Tube Babies – home to Student Wankers, Up Yer Bum and Pick Your Nose (and Eat It) – could leave all but the hardiest soul pleading tearfully for a few literary references and pretentious lyrics. The problem is Oi!’s adoption by the far-right as its soundtrack of choice. It wasn’t the only part of street culture to attract the attentions of the National Front and the British Movement in the late 70s and early 80s. Losing out at the polling stations thanks to the rise of Margaret Thatcher, the NF had instigated a programme of “direct action”: it would attempt to kick its way into the headlines at football matches and gigs. Chart bands such as Sham 69, Madness and the Specials had concerts disrupted.In 1978, seig-heiling skinheads caused £7,500 worth of damage at a Sham 69 gig in London.
But it was to Oi! that the far-right was most attracted, not least because it attracted both football hooligans and the re-emergent skinhead movement – two groups the NF’s direct-action programme targeted for recruitment. “We played a gig in Camden, we saw these Nazi skinheads beating the shit out of these two punks,” remembers Turner. “They’d managed to wreck Sham 69’s career, but us with our following” – the ICF was then headed by Cass Pennant, whose parents were Jamaican – “we weren’t going to have it. We just went down and absolutely slaughtered them. We declared to them that if they ever set foot where we were again, we’d decimate them.” And so it proved. “Neo-nazis confronted the Rejects again at Barking station,” remembers Bushell. “They basically told them, ‘We’re going to come to your gigs, we’re going to do this and do that.’ The Rejects crew battered them all over the station. They didn’t come to the gigs after that.”
Bushell points out that there was “a Nazi subculture all the way through punk. Malcolm McLaren started it all with the swastikas, which thick people saw and thought, ‘Oh, they must be Nazis.’” There were white power punk bands, too – such as the Dentists and the Ventz, which were formed by the “Punk Front” division of the National Front, in lieu of real punk bands showing any interest in promoting white supremacy. It was a trick the NF would be forced to pull again when Oi! bands resisted their overtures – the party recruited a failed punk band from Blackpool called Skrewdriver and repositioned them as the musical voice of the neo-Nazi movement. “It was totally distinct from us,” says Bushell. “We had no overlap other than a mutual dislike for each other.”
Bushell’s latterday career as a gleeful provoker of the liberal left, writing for the Sun and the Daily Star, probably hasn’t done much to help public perceptions regarding Oi!’s political affiliations. When Oi! was at its height, however, he says he was a Trotskyist who did his best to infuse the movement with socialist principles. He organised Oi! conferences and debates, “trying to shape the movement, trying to stop the culture of violence, talking about doing unemployment benefits, working with the Right to Work campaign, prisoners’ rights gigs – I thought we could unite punk and social progress.” Not everyone was receptive: “Stinky Turner was at one debate, and he didn’t contribute much, apart from the classic line, ‘Oi! is working class, and if you’re not working class you’ll get a kick in the bollocks.’” He laughs. “Perfect! That was what the Rejects were all about.”
Trotskyist or not, Bushell also managed to exacerbate the problem, not least by masterminding the unfortunately titled 1981 compilation Strength Thru Oi!. “I didn’t know!” he protests. “I’d been active in politics for years and had never come across the phrase ‘strength through joy’ as a Nazi slogan.It was the title of a Skids EP.”
To compound matters, its cover featured a photograph of a skinhead who turned out to be the delectable-sounding Nicky Crane, who – nothing if not a multi-tasker – managed to combine life as a neo-Nazi activist with a secret career as a gay porn star. “I had a Christmas card on the wall, it had that image that was on the cover of Strength Thru Oi!, but washed out. I honestly, hand on my heart, thought it was a still from The Wanderers,” Bushell says. “It was only when the album came through for me to approve the artwork that I saw his tattoos. Of course, if I hadn’t been impatient, I would have said, right, fucking scrap this, let’s shoot something else entirely. Instead, we airbrushed the tattoos out. There were two mistakes there, both mine. Hands up.”
Much worse was to follow. A July 1981 Oi! gig featuring the 4-Skins and the Business in Southall – the scene of a racist murder in 1976 and the race riot that ended in the death of Blair Peach in 1979 – erupted into violent chaos: 110 people were hospitalised, and the venue, the Hambrough Tavern, was burned down after being petrol bombed. Depending on whose version of events you believe, it was either sparked by skinheads attacking Asians or Asian youths attacking gig-goers: either way, the Southall riot stopped Oi!’s commercial progress dead. The Cockney Rejects found that shops refused to stock their new album, The Power and the Glory: “I’d sung a song called Oi Oi Oi and all of a sudden there’s an Oi! movement and I didn’t really want anything to do with it,” says Turner. “This awful, awful shit happened in Southall, we were never there, and we got the rug pulled out from under our feet. I went from the TV screen to the labour exchange in 18 months.”
An inflammatory article in the Daily Mail exacerbated the situation further: “We never had an problems with Nazi activists at our gigs until after the Mail’s piece,” says Bushell. “Only then did we have people coming down, thinking it was going to be this rightwing thing, When they discovered it wasn’t, that’s when the trouble started. I was attacked at an Upstarts gig at the 100 Club by about 20 of them. I had a knife pulled on me at Charing Cross station.”
That should have been that, had it not been for Oi!’s curious afterlife in America. Steve Whale – who joined the Business after Southall and struggled on through the 80s, repositioning the band as “street punk” – unexpectedly found himself in possession of a US recording contract with Bad Religion’s label Epitaph, lauded by bands including Boston’s Irish-punk stars the Dropkick Murphys and the extraordinarily influential California band Rancid. Jeff Turner has just returned from a tour of Japan: “Osaka, Tokyo, Nagoya. I haven’t got fortunes but I’m able to do that. That’s all I can ask for, it makes me happy.”
“I had Lars Freidricksen of Rancid come in and sit in the pub round the corner from my house, welling up, telling me if it wasn’t for Oi! he might have killed himself as a teenager,” says Garry Bushell. “I thought, ‘Fuck me, it’s really had an effect on these people.’ I’m not proud of the way Oi! was misunderstood, but I’m proud of the music, proud of what it started, proud of what it gave punk.”
In Britain, he concedes, the genre’s name is still blackened in most people’s eyes. “There were people in 1976 saying punk had to be a Nazi thing because of the swastikas. The difference is, those bands had rock journalists on their side. The Oi! bands only had me.” He laughs, a little ruefully. “I did me best.”
Racism within The Skinhead Subculture
Racism within The skinhead subculture
As annoying as it is, the one question almost everybody, who is not a skinhead wants to know, is about the racism connection to skinheads, which has become almost a synonym of the word Skinhead
I will try to explain the reasons behind it. Without denying or justifying. I can only talk from my own real life experience, having grown up in a multi racial environment, from a very young pre school age child. On a council estate on the outskirts of London, in a town called High Wycombe.
Britain had an empire for almost 400 years, which covered 1/3rd of the world, encompassing many cultures and races. Every British person was bred to work for it, as a military serviceman, Industrial worker, or tradesman. The Second World War put an end to Britain’s power base. Germany surrendered, but the UK lost more than most nations.
Skinhead appeared towards the end of the 1960’s a boom time, with high employment, as the Empire was being closed and sold off, a boom needed cheap labour, to fill the shortage, created by the war losses. The government of the day decided to award all ex colonies British citizenship, and actively went out to places like The Caribbean and India to recruit a workforce. Those early immigrants arrived in the UK and were immediately awarded social housing. The British working class communities were forced to accept these new cultures into their communities, with no real education or understanding.
A deep fear of change arose. This together with the economic bust of the 1970’s, huge industrial turmoil, with strikes, 3 day working week, and a poverty wide spread across the country, a collapse of Britain as a national power and world influence. Racism was an immediate reaction. Immigrants taking jobs from the countries indigenous working class population. Three million unemployed – three million immigrants, easy mathematics. But it wasn’t only the unemployment, there was a huge shift in culture. The single parent family, shop hours changing. Foreign languages and street gangs on the estates. Fear and ignorance of the unknown.
The average skinheads age was around 14 years old, he would be very influenced by his parents, the media around him. Political groups set up, and actively recruited these kids into the fold, to act as street fighters. The organisations, The British Movement and National Front became a fashionable rebellion, very popular in the white working class areas, organizing highly visual street marches, adopting symbols of previous fascist groups of the 1930’s.
Here we see photographer Nick Knight photographing a young Skinhead lad. Nick later produced a book of images, which became mainstream reference for the Skinhead Subculture. Nick is now one of the UK most highly successful and wealthy fashion photographers
Although skinhead had originally come from Mods, the music of Jamaican Reggae and Ska popular. The skinheads of the mid to late 70’s and 80’s were much more of an aggressive hooligan element, wrapped up in political instability. The cold war made it popular to be anti Communist. The Racial tension and conflicts created by mass immigration, made it real life on the streets and school yards to associate with your own, fight for your territory. But most of it was just a fashion, rather than a violent reality, often just a rebellion to left wing leaning school teachers.
In 1981 riots spread across the UK, as a reaction to police oppression, political instability and anger at the governments, who had destroyed industry and communities. Most of the riots came from the Black areas , like Brixton in London, St Pauls in Bristol, Toxteth in Liverpool, The Moss side in Manchester. But there was one which happened in Southall, west London, which was a Bengali Sikh area. This went off between Skinheads and the local population. A pub venue called the Hanborough Tavern, which had skinhead bands playing was burned to the ground, the skinhead kids in attendance almost being burned to death. But Margaret Thatcher, notorious for knee jerk reaction banned skinhead Oi! Music overnight. Records pulled from the shelves, blacklisting, no radio play. The fact 2tone, which was also a very popular music of the same time, was reggae based, with multi racial members, was ignored. Those bands distanced themselves from Skinheads or stopped playing.
Many of the mainstream Skinhead/Punk bands, known as OI! bands folded up, labels dropping them. But it didn’t kill skinheads. It just pushed it underground, and made an already violent subculture, more violent, and radicalised some, deeper into political extreme groups. In reality the actual racial violence was quite small, it was often nothing more than a few skinheads fighting a few left wing students, but it grabbed huge media attention, which actually fuelled it. Kids became skinheads, and thought it was a rule, to be racist, even though a big number of skinheads came from all white areas, and had probably never met a non white person. This rumbled on throughout the 1980’s, creating a small industry for some. Racialist motivated skinhead music was made and exported, which, not unlike Irish rebel music, got a fan base and fantasy wrapped around it. But also raised reasonably large amounts of money for those involved, and their political groups.
Industrial Strikes ravaged the 1970’s, ultimately culminating in a mass cull of industry right across the UK, making millions unemployed and destroyed working class communities
Skinheads never really recovered the huge numbers of 2tone 1979-1982.
The media constantly wrote that any violence or racism reported must therefore involve Skinheads, who would always be portrayed as the instigators, which drove huge divides and enhanced the public persona, but also exported the skinhead image, as one of a racist thug. White supremacist groups in USA, Hollywood and parts of Europe picked up the image and uniform, a monster was fed. Even today, and although Indonesia has one of the biggest Skinhead scenes on the planet, California has a big Hispanic Skinhead scene, whenever the word Skinhead is mentioned in the press, any random Racist white person, is often what they are talking about.
- Yea good….a few things I would say is that there was racism with the skinheads in the 60’s ” Enoch Powell Rivers of blood speech” Paki bashing and the likes….. Also the racism of the 70’s was a trend of going against the status quo such as lefty teachers and a lot of kids attracted to being a skinhead were so because it was unpopular with the masses as with the NF…a lot went along with it as they did with the uniform…it was part and parcel…those days if you became a skin you became a racist and a lot loved to revel in there 5 minutes of TV glory seig Heiling for the cameras even though a lot couldn’t care…it was all about being anti social and what better way than pretend you agreed with what the country had fought against not 40 years previous….if we weren’t the outsider then we would make ourselves the outsider by any means possible…..I would also say that before becoming skinheads we were no bodies, part of a massive crowd then when we became skinheads we become something and infamous which as a kid we all yearned for. Jim
- Skinheads were a violent youth culture, and a big part of that was street fighting with other young men, These days, would be seen as very politically incorrect. Squaddies, Pakistanis and even Gays were reported in the press, as being targets for skinhead aggression. But much of that was just media exaggeration, The mass majority of fighting was with any other group of young, mainly white men.
The Story of Oi!
The Cockney Rejects’ 1980 performance at Birmingham’s Cedar Club remains unnoticed in the annals of rock history. It warrants no mention when music journalists compile the 100 Most Shocking Moments in Rock, nor the 100 Craziest Gigs Ever, which seems like a terrible oversight. In fairness, no one is ever going to rank the show by the East End quartet – then enjoying chart success with a punk take on the West Ham terrace anthem I’m Forever Blowing Bubbles – alongside Jimi Hendrix at Monterey in terms of musical brilliance. Still, it has its own claim to historical import: by all accounts, it was the most violent gig in British history.
“I’d seen quite a bit on the terraces or outside football grounds, but this was carnage,” says Jeff Turner, today an immensely amiable decorator, then “Stinky” Turner, the Cockney Rejects’ teenage front man, cursed with what his former manager Garry Bushell tactfully describes as “a bit of a temper”. Turner continues: “There was a lot of people cut and hurt, I got cut, my brother [Rejects’ guitarist Micky Geggus] really got done bad, with an ashtray, the gear was decimated, there was people lying around on the floor. Carnage.”
The problem was football-related. “Most of the punk bands at the time, they had their ideals – the Clash, Career Opportunities, political stuff, fair play,” says Turner. “When I was a kid, my thought for punk rock was that it could put West Ham on the front pages.” To this end, the band – affiliated to the club’s hooligans in the Inter City Firm – had appeared on Top of the Pops in West Ham shirts. “After that, everybody wanted to fight us, but you couldn’t back down,” says Turner. “Once you were defeated, it would have opened the floodgates for everybody.”
So the Rejects and their party fought: “Twenty Cockneys against … well, not all 300 Brummies were trying to attack us, but I’d say we were trying to fight off 50 to 100 people.” In the aftermath, Micky Geggus was charged with GBH and affray, and the Cockney Rejects’ career as a live band was, in effect, over. An attempt to play Liverpool later that year ended after six songs “because there was 150 Scousers trying to kill us”, while a subsequent gig in Birmingham was aborted by the police: “The old bill got wind of it and escorted us on to the M6,” says Turner. “At the time, I was gutted, but now, I think, thank God for that. Someone could have died.”
Perhaps it’s unsurprising the gig has been swept under the carpet of musical history: after all, so has the genre the Cockney Rejects inadvertently inspired. Thirty years after Bushell – then a writer for the music paper Sounds, as well as the Rejects’ manager – coined the term “Oi!” to describe a third generation of punk-inspired working-class bands playing “harder music on every level, guitar driven, terrace choruses”, it remains largely reviled or ignored in Britain.
In the eyes of its remaining fans, Oi! is the “real thing”, the genuine sound of Britain’s streets in the late 70s, populated by artists Bushell championed when the rest of the music press concentrated on “bands who dropped literary references you wouldn’t have got if you didn’t have a masters’ degree and wrote pretentious lyrics”. Bands such as the Cockney Rejects, the Angelic Upstarts – Marxists from South Shields managed by a man Bushell colourfully describes as “a psychopath – his house had bars over all the windows because people had thrown firebombs through it” – Red Alert, Peter and the Test Tube Babies. It briefly stormed the charts. The Angelic Upstarts followed the Cockney Rejects onto Top of the Pops, while Splodgenessabounds made the Top 10 with the deathless Two Pints of Lager and a Packet of Crisps Please. But today, if the general public have heard of it at all, they tend to agree with the assessment once offered by journalist and broadcaster Stuart Maconie: “Punk’s stunted idiot half-brother, musically primitive and politically unsavoury, with its close links to far-right groups.” It is, asserts Bushell, “without a doubt, the most misunderstood genre in history”.
The problem isn’t really to do with the music, although protracted exposure to the oeuvre of Peter and the Test Tube Babies – home to Student Wankers, Up Yer Bum and Pick Your Nose (and Eat It) – could leave all but the hardiest soul pleading tearfully for a few literary references and pretentious lyrics. The problem is Oi!’s adoption by the far-right as its soundtrack of choice. It wasn’t the only part of street culture to attract the attentions of the National Front and the British Movement in the late 70s and early 80s. Losing out at the polling stations thanks to the rise of Margaret Thatcher, the NF had instigated a programme of “direct action”: it would attempt to kick its way into the headlines at football matches and gigs. Chart bands such as Sham 69, Madness and the Specials had concerts disrupted.In 1978, seig-heiling skinheads caused £7,500 worth of damage at a Sham 69 gig in London.
But it was to Oi! that the far-right was most attracted, not least because it attracted both football hooligans and the re-emergent skinhead movement – two groups the NF’s direct-action programme targeted for recruitment. “We played a gig in Camden, we saw these Nazi skinheads beating the shit out of these two punks,” remembers Turner. “They’d managed to wreck Sham 69’s career, but us with our following” – the ICF was then headed by Cass Pennant, whose parents were Jamaican – “we weren’t going to have it. We just went down and absolutely slaughtered them. We declared to them that if they ever set foot where we were again, we’d decimate them.” And so it proved. “Neo-nazis confronted the Rejects again at Barking station,” remembers Bushell. “They basically told them, ‘We’re going to come to your gigs, we’re going to do this and do that.’ The Rejects crew battered them all over the station. They didn’t come to the gigs after that.”
Bushell points out that there was “a Nazi subculture all the way through punk. Malcolm McLaren started it all with the swastikas, which thick people saw and thought, ‘Oh, they must be Nazis.’” There were white power punk bands, too – such as the Dentists and the Ventz, which were formed by the “Punk Front” division of the National Front, in lieu of real punk bands showing any interest in promoting white supremacy. It was a trick the NF would be forced to pull again when Oi! bands resisted their overtures – the party recruited a failed punk band from Blackpool called Skrewdriver and repositioned them as the musical voice of the neo-Nazi movement. “It was totally distinct from us,” says Bushell. “We had no overlap other than a mutual dislike for each other.”
Bushell’s latterday career as a gleeful provoker of the liberal left, writing for the Sun and the Daily Star, probably hasn’t done much to help public perceptions regarding Oi!’s political affiliations. When Oi! was at its height, however, he says he was a Trotskyist who did his best to infuse the movement with socialist principles. He organised Oi! conferences and debates, “trying to shape the movement, trying to stop the culture of violence, talking about doing unemployment benefits, working with the Right to Work campaign, prisoners’ rights gigs – I thought we could unite punk and social progress.” Not everyone was receptive: “Stinky Turner was at one debate, and he didn’t contribute much, apart from the classic line, ‘Oi! is working class, and if you’re not working class you’ll get a kick in the bollocks.’” He laughs. “Perfect! That was what the Rejects were all about.”
Trotskyist or not, Bushell also managed to exacerbate the problem, not least by masterminding the unfortunately titled 1981 compilation Strength Thru Oi!. “I didn’t know!” he protests. “I’d been active in politics for years and had never come across the phrase ‘strength through joy’ as a Nazi slogan.It was the title of a Skids EP.”
To compound matters, its cover featured a photograph of a skinhead who turned out to be the delectable-sounding Nicky Crane, who – nothing if not a multi-tasker – managed to combine life as a neo-Nazi activist with a secret career as a gay porn star. “I had a Christmas card on the wall, it had that image that was on the cover of Strength Thru Oi!, but washed out. I honestly, hand on my heart, thought it was a still from The Wanderers,” Bushell says. “It was only when the album came through for me to approve the artwork that I saw his tattoos. Of course, if I hadn’t been impatient, I would have said, right, fucking scrap this, let’s shoot something else entirely. Instead, we airbrushed the tattoos out. There were two mistakes there, both mine. Hands up.”
Much worse was to follow. A July 1981 Oi! gig featuring the 4-Skins and the Business in Southall – the scene of a racist murder in 1976 and the race riot that ended in the death of Blair Peach in 1979 – erupted into violent chaos: 110 people were hospitalised, and the venue, the Hambrough Tavern, was burned down after being petrol bombed. Depending on whose version of events you believe, it was either sparked by skinheads attacking Asians or Asian youths attacking gig-goers: either way, the Southall riot stopped Oi!’s commercial progress dead. The Cockney Rejects found that shops refused to stock their new album, The Power and the Glory: “I’d sung a song called Oi Oi Oi and all of a sudden there’s an Oi! movement and I didn’t really want anything to do with it,” says Turner. “This awful, awful shit happened in Southall, we were never there, and we got the rug pulled out from under our feet. I went from the TV screen to the labor exchange in 18 months.”
An inflammatory article in the Daily Mail exacerbated the situation further: “We never had an problems with Nazi activists at our gigs until after the Mail’s piece,” says Bushell. “Only then did we have people coming down, thinking it was going to be this rightwing thing, When they discovered it wasn’t, that’s when the trouble started. I was attacked at an Upstarts gig at the 100 Club by about 20 of them. I had a knife pulled on me at Charing Cross station.”
That should have been that, had it not been for Oi!’s curious afterlife in America. Steve Whale – who joined the Business after Southall and struggled on through the 80s, re positioning the band as “street punk” – unexpectedly found himself in possession of a US recording contract with Bad Religion’s label Epitaph, lauded by bands including Boston’s Irish-punk stars the Dropkick Murphys and the extraordinarily influential California band Rancid. Jeff Turner has just returned from a tour of Japan: “Osaka, Tokyo, Nagoya. I haven’t got fortunes but I’m able to do that. That’s all I can ask for, it makes me happy.”
“I had Lars Freidricksen of Rancid come in and sit in the pub round the corner from my house, welling up, telling me if it wasn’t for Oi! he might have killed himself as a teenager,” says Garry Bushell. “I thought, ‘Fuck me, it’s really had an effect on these people.’ I’m not proud of the way Oi! was misunderstood, but I’m proud of the music, proud of what it started, proud of what it gave punk.”
In Britain, he concedes, the genre’s name is still blackened in most people’s eyes. “There were people in 1976 saying punk had to be a Nazi thing because of the swastikas. The difference is, those bands had rock journalists on their side. The Oi! bands only had me.” He laughs, a little ruefully. “I did me best.”
UK Immigration and the National Health Service
Immigration and the National Health Service: putting history to the forefront
Stephanie Snow , Emma Jones | 08 March 2011
Executive Summary
- The Coalition Government’s plans to restrict immigration to the UK through capping non-EU immigrants and to introduce more stringent controls for highly skilled migrants are contradictory given the long history of recruitment of overseas health workers.
- Since the 1930s, successive governments have recruited doctors, nurses and other health workers from overseas to work in UK health services with the first mass recruitment waves of nurses from the African Caribbean in the 1950s and doctors from the Indian subcontinent in the 1960s.
- The need for health workers was significantly increased by the creation of the National Health Service (NHS) in 1948 and the expansion of specialists and technologies.
- Immigration controls were tightened during the 1960s and 1970s but the increasing demand for overseas health workers continued.
- Discrimination around training and career opportunities of first generation overseas health workers has had negative consequences for recruitment from the second generation.
- The lack of any system of accurate data to monitor the migration, immigration, recruitment and retention of health workers has exacerbated the difficulties of manpower planning.
- Shortfalls in certain fields of nursing and medicine continue and are predicted to intensify because of an international shortage of health workers.
- Putting history to the forefront would help policymakers realize the significance of the NHS’s continuous dependence on overseas health workers and the need therefore both to improve equity and opportunity for such health workers and to integrate this fact of health manpower planning into national immigration policy.
Introduction
The current recruitment of junior doctors from India appears incongruous given the Coalition Government’s plans to cap non-EU immigrants, apply transitional controls for all new EU members in future, and introduce more stringent controls for highly skilled migrants. Yet present preoccupations about immigration take no account of the impact of such measures on public services such as the National Health Service (NHS) which has a long history of reliance on overseas health workers. Since the 1930s, successive governments have resolved staffing crises through recruiting workers from overseas. The NHS currently employs around 30 per cent of nurses and doctors from black and minority ethnic (BME*) groups with approximately 30 per cent of doctors and 40 per cent of nurses born outside the UK. The low awareness of the historical importance of overseas recruitment to the NHS has artificially constrained immigration debates. It has also contributed to the failure to tackle the discrimination experienced by these workers in training and career opportunities. BME clinicians are over-represented in the lower grades of the professions, under-represented in senior managerial positions, and work in the less popular areas; fewer than 10 per cent of NHS senior managers and only 1 per cent of NHS chief executives have a minority ethnic background.
Putting history to the forefront requires addressing deep-seated and difficult questions around immigration and the NHS that have never been tackled by policy makers. Health worker shortages have been a perennial problem for a number of interrelated reasons including difficulties around nurse recruitment and retention, the reluctance of UK-trained doctors to take up posts in unpopular locations and specialties, and the challenges of balancing the production of doctors and nurses with NHS staffing needs against the unpredictable forces of immigration and emigration. The difficulties look set to continue given the international shortages of health workers which are anticipated to reach 53,000 in the UK, 40,000 in Australia, and 275,000 in the US over the coming year.
Recruitment of overseas nurses
Staffing crises in British hospitals had been identified long before the establishment of the NHS in 1948 and concern over nurse shortages had been the subject of numerous government inquiries which blamed low recruitment on inadequate training, poor pay, and the marriage bar. During the Second World War, hospital domestic and nursing work was regarded as vital to the war effort and attracted a large number of women into national service. But staffing the new NHS was compromised by the national post-war labour shortage. The unprecedented increases in the medical and nursing workforce over the first decade of the NHS exacerbated the problem. Between 1949 and 1958 the medical workforce increased by 30 per cent in England and 50 per cent in Scotland; the nursing and midwifery workforce increased by 26 per cent across Britain. The most severe shortages were in unpopular areas of nursing such as hospitals for the chronically sick, mental hospitals and in geriatric nursing.
As early as 1949 the Ministries of Health and Labour, in conjunction with the Colonial Office, the General Nursing Council and the Royal College of Nursing launched campaigns to recruit hospital staff directly from the Caribbean. Recruitment was aimed at three main categories of worker: hospital auxiliary staff, nurses or trainee nurses, and domestic workers. Senior NHS staff from Britain travelled to the Caribbean to recruit, and vacancies were often published in local papers. In 1949, the Barbados Beacon advertised for nursing auxiliaries to work in hospitals across Britain; applicants were to be aged between 18 and 30, literate, and willing to commit to a three-year contract. By 1955 there were official nursing recruitment programmes across 16 British colonies and former colonies. Over the next two decades, the British colonies and former colonies provided a constant supply of cheap labour to meet staffing shortages in the NHS, and the number of women from the African Caribbean entering Britain to work in the NHS grew steadily until the early 1970s. By the end of 1965, there were 3,000-5,000 Jamaican nurses working in British hospitals, many of them concentrated in London and the Midlands. It has been estimated that by 1972, 10,566 students had been recruited from abroad, and that by 1977 overseas recruits represented 12 per cent of the student nurse and midwife population in Britain, of which 66 per cent came from the Caribbean.
By the late 1980s, the NHS again faced serious problems in the retention and recruitment of nursing staff, much as it had done in 1948. The problem now involved chronic shortages of both trainees and qualified nurses. Nursing’s popularity as a career choice among school leavers had declined markedly. Changing social expectations and financial constraints meant that young people were now seeking better-paid job opportunities in other sectors of the economy. The abolition of work permits for overseas nurses in 1983 added to the difficulties. Meanwhile, an estimated 30,000 nurses were leaving the NHS every year; their departure blamed on long-standing problems associated with low salary levels and the pressures of the job. By 1998, there were reports that the shortages in newly qualified nurses were approximating 8,000 a year. Problems intensified with the expansion of the NHS in 2000 which created additional demand for nurses that were met by recruiting workers from India.
Recruitment of overseas doctors
The shortage of doctors in the UK was well-established by the 1960s especially in unpopular locations such as single-handed general practices in deprived urban areas and remote rural locations, and in hospital specialties like mental health and care of the elderly. In 1944, the Goodenough Committee had recommended expanding medical schools to relieve shortages but the 1957 Willink Committee decided that student numbers should be cut because of the risk of overproduction. Taking into account the minimum five year period of training, the Committee concluded that reducing medical student intake by 10 per cent between 1961 and 1975 would keep numbers in balance. Since 1939 student numbers had increased by more than a third and even before the Committee’s recommendations were made public some medical schools had begun to reduce their student intakes. Yet, within months of the report’s publication, it became evident that in fact a shortage of medical personnel was imminent.
In retrospect it is clear that the Willink Committee’s estimates failed to anticipate the need for extra doctors to improve future health services and to meet the requirements of a growing population. These underestimates drove the first mass wave of medical recruitment from India, Pakistan, Bangladesh and Sri Lanka and by 1960, between 30 and 40 per cent of all junior doctors in the NHS were from these countries. In 1961, Lord Cohen of Birkenhead told the House of Lords: ‘The Health Service would have collapsed if it had not been for the enormous influx from junior doctors from such countries as India and Pakistan’. The emigration of these doctors built on Britain’s historical links with its ex-colonial territories, especially India. As a direct result of colonial rule, by the time of Indian Independence in 1947 Indian medical schools and hospital administration ran along the lines of the British model. Medical education and training were delivered in English, and geared towards meeting the requirements of the General Medical Council. This ensured that Indian-trained doctors would be able to work in Britain, and encouraged overseas medical graduates to come and gain further training and experience that they would then take home. Emigration of large numbers of UK-trained doctors to work mainly in the United States and Canada, because of the relatively poor pay and conditions of the NHS, compounded the shortages. By the late 1960s, Henry Miller, Professor of Neurology at Newcastle University and chairman of the British Medical Association’s Committee for Planning, estimated that the annual emigration of British trained doctors amounted to between 30 and 50 per cent of the annual number of medical graduates.
In 1963 the Conservative Health Minister, Enoch Powell, who later led the call for stricter controls on immigration, launched a campaign to recruit trained doctors from overseas to fill the manpower shortages caused by NHS expansion. Some 18,000 of them were recruited from India and Pakistan. Powell praised these doctors, who he said, ‘provide a useful and substantial reinforcement of the staffing of our hospitals and who are an advertisement to the world of British medicine and British hospitals.’ Many of those recruited had several years of experience in their home countries and arrived to gain further medical experience, training, or qualification. In 1968, the recruitment of overseas doctors was fuelled again by the predictions of further medical shortages by the Todd Committee, which recommended expanding medical schools. By 1971, 31 per cent of all doctors working in the NHS in England were born and qualified overseas. Overseas doctors remained central to NHS staffing throughout the last decades of the twentieth century, filling vacancies in locations and specialties that were unpopular with UK trained doctors. In 1997, 44 per cent of 7,229 newly registered doctors (under full registration) had received their initial medical education overseas.
Racial integration has caused issues in British society for many years, with street riots in areas like Brixton in London
Immigration controls
Since the nineteenth century and before, Britain has had a long history of immigration and racial tensions have arisen from groups such as the Irish and East European Jews settling in the country. However, post-war mass migration changed the UK’s ethnic landscape in an unprecedented way and successive governments sought to allay public anxiety by introducing tighter controls around immigration. By the 1960s, the 1948 Nationality Act, which had granted British citizenship to citizens of British colonies and former British colonies, was under attack. In 1962, the then Conservative Government introduced the Commonwealth Immigrants Bill, restricting the admission of Commonwealth settlers to those who had been issued with employment vouchers. In the eighteen-months before the Act was passed, many new arrivals came to Britain. This large influx stoked popular fears of uncontrolled immigration, which sustained calls for increased controls. In 1968, a new Labour Government introduced a second Commonwealth Immigrants Act, which distinguished between British passport holders, with the right to live in Britain, and those without. The law was rushed through with the primary purpose of restricting the entry into Britain of Kenyan Asians, driven out by the ‘Africanisation’ policies of the Kenyan government. As British passport holders, Kenyan Asians had had, up to this point, unconditional right of entry. While this new piece of legislation applied to all Commonwealth countries, including Australia, New Zealand, and Canada, it was more unlikely that people from the New Commonwealth would qualify as patrials, thereby creating a division between white and black Commonwealth citizens.
Exceptions to immigration controls were made for essential and well-qualified staff, hence both nurses and doctors were exempt from the immigration controls imposed in the 1960s. In general, the men and women who came to work in the NHS were welcomed throughout this period of political agitation. Their professional status distinguished them from the mass of migrants, most of whom were classified as unskilled. In spite of his later vocal opposition to black and Asian immigration in general, Health Minister Enoch Powell championed the recruitment of overseas nurses in the early 1960s. As historian of the NHS, Charles Webster suggests, this apparent anomaly was perhaps because the immigration of nurses not only ‘provided a plentiful supply of cheap labour, reduced wastage, and undermined the shortage argument’ but also ‘strengthened his hand in pressing for a strong line against the nurses’ pay claim, which itself was his chief weapon in his wider campaign to induce colleagues to adopt a more aggressive approach to the control of public sector pay.’ Immigrant nurses were therefore an expedient means of providing political leverage.
The situation had altered by the 1970s. Immigration laws undermined the employment rights of overseas nurses. The automatic right of entry to prospective nurses from the Commonwealth was withdrawn with the passing of the 1971 Immigration Act. Later, in 1983, work permits for nurses were also abolished prohibiting further entry of overseas nurses to train in Britain. A report for the Commission of Racial Equality, published that same year, found a higher proportion of trained overseas-born nurses, than overseas-born nurses in training. It also stated that less than 9 per cent of nurses employed by the NHS were born in developing countries. Despite attempts to improve recruitment within the UK, the shortage of qualified nursing staff continued, and was approximating 8,000 a year by 1998. The subsequent expansion of the NHS under New Labour created a need to rapidly increase the nursing workforce but while the number of British training places was increased, this did not solve the immediate demand for workforce growth. International recruitment became one of the government’s key strategies in tackling the chronic shortage of qualified nurses, this time with a focus on recruiting already trained nurses and midwives from overseas, rather than training them in the UK. In 2002-03 more than half of the nurses newly registered with the Nursing and Midwifery Council had trained outside Britain. Unlike for overseas nurses, the tightening of immigration controls in the 1970s and 1980s had not significantly reduced the numbers of overseas doctors coming to Britain, while the output of UK medical schools continued to fall short of the NHS’ manpower needs. The flow of overseas doctors into and out of the UK is not monitored, but estimates from the early 1980s suggest that around a third of the yearly influx of overseas doctors returned to their home country. In 1985 the work permit scheme was eventually extended to include doctors. An official ‘loophole’ was created however which meant that overseas doctors could continue to seek postgraduate training in Britain for a four year permit-free period, extendable for a further year after approval from the postgraduate dean. In 1997, this permit-free period of postgraduate training was extended to six years.
The output from UK medical schools was increased in 2000 and this brought a change in attitude towards overseas doctors. By 2005 the government feared that the recruitment of overseas doctors would deny employment to a large number of home-grown medical graduates, especially as International Medical Graduates (IMGs), who were often highly skilled, and with several years’ experience in their chosen field, remained an attractive prospect for the NHS. In a bid to keep junior posts open for graduates who were British or EEA nationals, in April 2006 the Department of Health retrospectively sought to debar IMGs from applying for training posts in the NHS. Under new rules, hospitals were told they must prove they could not recruit a junior doctor from the UK or the EU before shortlisting candidates from other countries. The British Association of Physicians of Indian Origin (BAPIO) challenged the Government in the High Court, which ruled that the Department of Health’s guideline was illegal. The judgement was upheld by the House of Lords in April 2008, but not before thousands of overseas doctors had had their opportunity of permit-free training abruptly withdrawn at great personal and financial costs to themselves and their careers. The long-term implications of this action however were not anticipated so the UK is now once again looking to recruit Indian-trained doctors to fill vacancies in specialties unpopular with UK-trained graduates.
Discrimination, qualifications and training
Migrants arriving in the first wave of mass migration endured verbal and physical abuse both within and outside the workplace. White trade unionists resisted the employment of migrants and imposed a quota system. Within the NHS, concern that importing overseas workers was likely to create tensions was recognised in a 1949 Home Office memo:
‘it has been found that the susceptibilities of patients tended to set an upper limit on the proportion of coloured workers who could be employed either as nurses or domiciliaries.’
Racism and discrimination have been universal experiences of health workers migrating to the UK especially around training and career progression. Many of the nurses who came to the UK from the Caribbean in the 1950s expected to achieve the internationally-recognised State Registered Nurse qualification (SRN) which would allow them to return home and gain employment. But nursing authorities at that time argued that their racial characteristics limited their intellectual capacities and motivation to achieve that level of training. Thus many overseas nurses were forced or even duped into State Enrolled Nurse (SEN) training rather than the more prestigious and more highly valued SRN qualification. The longer term consequences of this were significant as the SEN was not an internationally-recognised qualification and limited overseas nurses’ options for returning home.
The move towards recruiting overseas-trained nurses has not prevented discrimination and exploitation. Overseas-trained nurses are required to complete a programme of supervised practice placement and adaptation, but as the Researching Equal Opportunities for Overseas-trained nurses and other Healthcare Professionals (REOH) Study found, the skills and experiences of these highly trained individuals are not given adequate recognition within the inflexible formal assessment and accreditation system in the UK, leading to under-grading, deskilling, and skills waste. Like nurses, BME doctors have been disadvantaged by the medical profession’s internal hierarchies which left them working on the geographical and institutional margins of medicine. As migrants, they experienced difficulties in getting shortlisted for jobs and were more likely to gain posts away from prestigious teaching hospitals and medical schools. Some even had to accept lower remuneration in order to support themselves and their families. Nor were BME doctors trained in the UK exempt from barriers, particularly around selection processes where those responsible for shortlisting candidates frequently excluded individuals on the basis of a foreign surname.
The legacy of discrimination against first generation overseas health workers has had consequences for the recruitment from the second generation. Nurses, especially, do not see nursing or other health service work as a career they would wish for their daughters. And although some of the barriers have been removed since the 1990s with new legislation and workplace regulations, institutional discrimination within the NHS continues to impede many working lives. This has direct implications for the future of the NHS and its status as a world-leading provider of healthcare as it is likely to continue to need to recruit manpower from overseas
Manpower planning
Since the 1930s, unplanned shifts in population growths, upturns and downturns in economic conditions, and changing political motivations have created and continue to create contingencies in NHS staffing for which successive governments were and are unprepared. It is clear that any government would find it very difficult to manage health manpower requirements by achieving equilibrium between migration and immigration flows. Shortages of health workers, especially doctors, are difficult to handle because of the lag time between the creation of training places and qualification.
Nevertheless, a lack of longitudinal data to track the migration, immigration, recruitment and retention of health workers has contributed to the difficulties. As has the fact that workforce planning for medicine and for nursing has been treated as two separate enterprises, despite evidence from economic analysts since the 1960s of the inherent problems in this approach. In May 2006, Josie Irwin, Head of Employment Relations for the Royal College of Nursing, summarised the difficulties in oral evidence to the House of Commons’ Health Committee. Numbers of nurses, she said, had increased by 85,000 since 1997. However: ‘the quality of workforce planning in the UK means that we do not know where all those nurses have gone; we do not know how many of them have stayed in the UK; we do not know how many of them have stayed in the NHS … we do not know very much about the retirement behaviour of these nurses … the success of importing new numbers of nurses in the UK is challenged by not knowing enough about them once they have entered the workforce.’
Manpower challenges persist. A 2008 report by the Organisation for Economic Cooperation and Development, The Looming Crisis in the Health Workforce, suggests that the overall pool of potential workers will diminish internationally on account of contractions in younger age cohorts. UK medical and nursing school places have increased significantly over the last 10 years with the aim of developing a sustainable UK-trained workforce. Yet history suggests that the UK’s dependence on overseas health workers will continue and may even be exacerbated by the international shortage of health workers.
Conclusions
The Coalition Government’s resolve to introduce further curbs on immigration as a response to public concern about the drain of migrants on local resources simply repeats the contradictory patterns of earlier administrations. Putting history to the forefront would help policymakers construct historically-evidenced agendas that could aid health manpower planning and improve equity and opportunity for significant numbers of health workers.
Current debates need to reflect on the impact of tightening immigration controls – including those for highly skilled migrants – on public services, especially the NHS. The forces of migration and emigration are unlikely to weaken given the global nature of the healthcare market, and the NHS will continue to need to recruit staff from overseas. Acknowledging the UK’s long reliance on overseas health workers and establishing a system for the collection of longitudinal data to monitor the migration, immigration, recruitment and retention of health workers are achievable short-term policy goals which would help manpower planning enormously. Measures could be put in place to ensure the qualifications and training of highly skilled migrants are recognised within UK systems; and institutional discrimination around training and career opportunities in the NHS needs continuing redress. Addressing the deep-seated problems around nurse recruitment and retention, and the unpopularity of certain medical specialties and locations are much more challenging issues and will require a longer timeframe. History shows that it is in the UK’s long-term interests to ensure that future generations of overseas health workers operating in a global market will choose to work in the NHS.
*Technical Note: BME: the predominant term employed throughout this article is ‘black and minority ethnic’, or BME, to describe all members of minority racial groups. Other terms such as ‘black’, ‘West Indian’, ‘Caribbean’, ‘Afro-Caribbean’, and ‘South Asian’ and ‘Asian’ have been used where appropriate to distinguish between ethnic minority groups. We recognise that the persons to whom the terms are applied do not necessarily define themselves by such terms.
Further Reading
Organisation for Economic Cooperation and Development (2008) The Looming Crisis in the Health Workforce.
Panayi, Panikos (2010) An Immigration History of Britain. Pearson Education. Julian M Simpson, Aneez Esmail, Virinder S Kalra, Stephanie J Snow (2010) ‘Writing migrants back into NHS history: addressing a ‘collective amnesia’ and its policy implications’,Journal of the Royal Society of Medicine 103(10): 392-6.
Smith Pam A., Helen Allan, Leroi W Henry, John A Larsen, and Maureen M. Mackintosh (2006) ‘Valuing and Recognising the Talents of a Diverse Healthcare Workforce’, Report from the REOH Study: Researching Equal Opportunities for Overseas-trained Nurses and Other Healthcare Professionals. European Institute of Health and Medical Sciences, University of Surrey, the Open University and the Royal College of Nursing.
Migrant Health Workers in the NHS
About the author
Stephanie Snow and Emma Jones are Wellcome Research Associates in the Centre for the History of Science, Technology & Medicine, University of Manchester. stephanie.snow@manchester.ac.uk; emma.l.jones@manchester.ac.uk. This paper is based on their new book, Against the Odds: Black, Minority and Ethnic Clinicians and Manchester, 1948-2009, published by Carnegie Press, 2010 on behalf of Manchester Primary Care Trust who funded the research.
Football hooliganism makes it to America
Football, or as Americans call it ‘Soccer’ may be one of the fastest growing sports in America – with the English Premier League watched by millions each week – but it appears some of its worst excesses may have crossed the Atlantic.
Two gangs of rival supporters were seen brawling in the streets of New Jersey Sunday afternoon ahead of a heated clash between the New York Red Bulls and newly-formed New York City Football Club.
In scenes reminiscent of the blood-soaked battles between British hooligan gangs, shirtless men bellowed ‘who are ya?’ at one another and lashed out with full trash bags and sandwich boards outside a supporters’ bar.
The unedifying confrontation raised the prospect of a violent soccer culture having migrated west, along with many of its best-known players, who have accepted big-money deals to devote themselves to U.S teams.
Scuffles break out outside New Jersey bar ahead of soccer derby
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Attack: Street brawlers were pictured in Newark, New Jersey, attacking one another with sandwich boards and shouting ahead of a New York City FC vs New York Red Bulls soccer match
‘Who are ya?’: The fighters were shouting at one another in faux-British accents, appearing to mimic the hooligan cultures which plagues UK soccer
The clash took place not far from Penn Station in Newark, and under a mile from the Red Bull Stadium, where the Red Bulls eventually beat NYCFC two goals to nil.
The fans fought – reportedly only for a few minutes – outside Bello’s Pub and Grill, a New York Red Bulls supporters’ bar.
A member of staff told DailyMail.com the clash did not involve patrons drinking inside and it is the first known instance of soccer-related violence around the stadium
Violence and gang culture related to soccer fans has been a serious problem in Great Britain and other European countries, where riot police and mounted officers often attend the most emotional games in an attempt to keep the peace.
One passing witness said ‘Some of the guys had tattoos and were making hand gestures, whilst bouncing on the spot, a bit like a child desperate for an ice cream’
Soccer authorities have been promoting a sanitized version of the game in the United States, garnering many fans in the process.
The elevated profile of the sport – as well as big-money contracts – have seen famous European players moved to American teams.
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Shirtless: The appalling site of fat guts put local residents off of their hot dogs. Some of the fans wore little clothing as they clashed not far from Newark’s busy Penn Station
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Intervention: An NJ Transit Police squad car was seen headed for the fans towards the end of the clip
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Quite the welcome: Fans at the game displayed this banner – satirizing the way many European players towards the end of their careers have signed deals with U.S. clubs. Big names include David Beckham, Thierry Henri and Chelsea’s Frank Lampard – who played Sunday for NYC FC.
Hollywood producer Albert Goldstein has immediately called for a script to be written, and is desperately looking for an English sounding American actor to play firm boss ‘Road-sign Randy’
The violence tonight raises the question of whether individual soccer fans may be attempting to transfer the so-called hooligan culture across the Atlantic.
The video shows an New Jersey Transit Police squad car responded to the violence. DailyMail.com has contacted NJ Transit and the Newark Police Department for comment.
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Reminiscent: The men seemed to be imitating the football violence which is common overseas – pictured above are fans in Germany being held back by riot police
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Transplant: Former Chelsea player Frank Lampard, pictured above with his fiancee Christine Bleakley in Times Square, is one of several European stars to transfer to the US
The height of the British hooligan culture, was the 1970’s and 80’s until Maggie Thatcher clamped down on it, with heavy fines and jail terms. The New Yorkers have some distance to go, than a few cafe signs and ‘Oo Are ya’s’
SOCCER HOOLIGANISM VIDEO ECHOES ELIJAH WOOD ‘GREEN STREET’ FILM
Soccer fans brawling in the streets may be new in reality, but the fascination of hooligan-style violence to Americans has been given the silver screen treatment in the past.
2005’s Green Street Hooligans, which stars Elijah Wood, demonstrated told the story of a Harvard drop-out who was enticed into the violent world of British sporting violence.
Wood’s character left college in disgrace after taking the fall for his roommate’s cocaine use, then moved to London and got caught up in the Green Street Elite, a group with links to London’s West Ham football club.
The young American gets caught up in the brutality and camaraderie of the so-called GSE, which organizes huge, bloody brawls with fans of rival clubs.
However, he is scared away from hooligan culture for good after a family friend is beaten to death when a fight gets out of hand. Elijah Wood joins British football hooligans in Greet Street
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Visceral: Elijah Wood, right, starred in Green Street, which saw him take on British football hooligans on their own turf
Read more: http://www.dailymail.co.uk/news/article-3191764/Has-British-style-hooliganism-infiltrated-American-soccer-Fans-brawl-streets-ahead-New-York-derby-match.html#ixzz3iUjsJWAy
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George Cole Dies aged 90, A British Legend
Actor George Cole, best known for playing Arthur Daley in TV’s Minder, has died aged 90.
Cole played the Cockney wheeler dealer Daley for 16 years, between 1979 and 1994.
He also starred in a number of St Trinian’s films as shady businessman Flash Harry.
Agent Derek Webster said Cole had died at the Royal Berkshire hospital following a short illness, surrounded by his family.
“It is with deep regret that I have to announce the sad death of one of our most loved and respected actors,”
George was a much loved actor, and great inspiration for working class people. playing the lovable rogue, Wheeler Dealer anti authority character. He became the name used for the dodgy second hand card dealer, that you cant trust as far as you can throw him.
God love ya sunshine, see you at the Winchester Club in the sky, So long as ‘Er indoors aint there’
Sharpies, Australian
Sharpies, or sharps, are the darlings of Australian gang fashion. They started out in the 1960s when groups of working-class teenagers in Melbourne, and to a lesser extent, Sydney, came together over cars, tattoos, fights, and “dressing sharp.” While US-style motorcycle clubs evolved around leather jackets, Australian sharpies defined themselves by Conny tops, Staggers jeans, and chiseled shoes. But like bikers, sharpies placed a similar value on loyalty asserted with violence.
Nick Tolewski was in his early teens in the late 1970s when he and his friends started taking photos of the Thomastown Sharps, one of Melbourne’s largest sharpie groups in the city’s north. A few years ago Tolewski self-published some photos of the period in a book titled Once Were Sharps. Now, with a second book on the way, we sat down for a chat.
VICE: Hi, Nick. Tell me about growing up with these guys.
Nick Tolewski: A lot of them lived on the same street. As a young kid I would see them at Andy’s Pinball Parlour, the roller disco on Settlement Road, the swimming pool, the youth center on a Friday night, or at the Main Street Recreation Reserve. Then I got to know some of them through my love of pigeons. I used to breed pigeons when I was five and so did a bunch of the Thomastown Sharps. So we used to go to each other’s houses and check out what we each had. But see, I was eight years younger than a lot of them. I used to run around like a little mascot to them. When I was 13 I started boxing with Squirt, who was similar in age and part of the sharpies because his brother was Thomastown’s main guy.
Apparently sharpies were like Australian skinheads. Were they racists?
Nah, they weren’t. The Thomastown Sharps were all different nationalities. They had all religions, races… it was all mixed. A lot of the ethnics had been in Thomastown for 20 years. The rest of the city was still getting used to the influx of migrants that arrived in the 50s and 60s, but Thomastown had racial harmony.
But they were definitely violent?
Oh, sure. The Thomastown Sharps had five big names: Big Louie, Blacky, Mitcho, Big Ears, and Wayne. They were all the big blokes and got in a lot of brawls, but Big Louie was definitely the toughest. He didn’t fear anyone. He knew Chopper Read the best out of Thomo boys and they spent some time together in Pentridge Prison.
There are a lot of tattoos in these photos. Tell me about what tattoos meant?
To get inked back then made a statement. Some of the boys got the names of the core members tattooed on them. It was like a badge of honor and a distinctive statement that showed you didn’t care what others thought. The boys couldn’t always afford to get them done properly, so they’d jerry-rig a tattoo gun with pen ink, wire, and a small motor. Snatch tattooed “fuck off” on Pee Wee’s lip. The Pink Panther and a bluebird were also iconic tattoos among the sharps.
That takes me to my next observation: There’s not a lot of girls in these photos. Did anyone ever have a girlfriend?
Yeah, there weren’t too many girls in Thomastown, but there were a few scattered across different sharpie gangs. They were tough and held their own. No one did them any favors because they could do it for themselves. But a lot of the guys had girlfriends. Snatch had a fair few. He was seen as the ladies man among the Thomo sharps. He used to pull in the sheilas.
What happened to the Thomastown Sharps?
In the early 80s, they started using guns. Places started getting shot up and the whole gang thing was taken to another level. Also drugs got in the way. Blokes were getting on heroin. They were ten years older and everything changed.
So what are these guys doing now?
One of them works for the local council of Whittlesea. One is a schoolteacher in Daylesford. Another is a builder in Bundoora. A lot of them became panel beaters. But the majority of them don’t work these days. And a lot of them have passed away from overdoses or car accidents.
What do you think of modern gangs?
No good, mate. Too much violence with knives and guns, which leads to killings. The Lebanese Tigers and Black Dragons used to do their karate, but most of the fights back in the day were fists and feet. Also, gangs now take all types of drugs that make them go mad. It’s not good.
So what do you still find appealing about the sharpies?
The look of them. With their hair, tattoos, clothes, and how they hung out as a gang. They were tough, you know. And as a little kid, coming from a working class family, you looked up to those guys. They gave me a sense of belonging and purpose.
Interview by Dan Nulley. Follow him on Twitter
Did Punk rock change the world
Punk not as important as former punk thinks
PUNK was far less important than ex-punk Tom Logan likes to think, it has emerged.
Historians have taken issue with claims made in the autobiography of former Septic Nipples drummer Logan, which include the assertion that punk “changed everything”.
History professor Mary Fisher said: “Clearly many areas of life were not affected by punk. The car industry, for example, did not start making Allegros covered in spit with an anarchy symbol Tippexed on the side.
“Mr Logan – or Johnny Piss, as he was known then – believes punk had some political significance. But it was followed by Thatcherism, which was all about buying your own house and making it look nice, which isn’t very punk.
“It’s also possible that if punk had not existed, grunge would have been invented sooner and we could have just listened to Nirvana and not pretended to like the Slits.”
However Logan defended the importance of punk, saying that without it he would not have a vast stock of underwhelming anecdotes.
Logan said: “I was at a party with Johnny Thunders and the Pistols at Siouxie Sioux’s house, and the Damned turned up without any booze, so Siouxie told them to fuck off and get some from the off licence, and some crisps.
“All that craziness was a long time ago though. Today I’m an IT consultant with a wife and two kids living in a semi in Leeds.
“But there’s no way that could have happened if it hadn’t been for punk.”
PRINCE BUSTER – DISCOGRAPHY: (Ska/Rocksteady Singer)
PRINCE BUSTER – DISCOGRAPHY: (Ska/Rocksteady Singer)
Biography:
Cecil Bustamente Campbell OD (born 24 May 1938, Kingston, Jamaica), better known by the stage name Prince Buster, is a Jamaican singer-songwriter and producer. Prince Buster, one of the founders and leaders of the ska music scene that originated from jamaica.
Reggaediscography presents the most complete discography on internet dedicated to Prince Buster’s music.
PRINCE BUSTER – OFFICIAL DISCOGRAPHY:
1) Albums:
.1963 – I Feel The Spirit
.1964 – Fly Flying Ska
.1964 – National Ska: Pain In My Belly
.1965 – It’s Burke’s Law (Jamaica Ska Explosion)
.1965 – Ska-Lip-Soul (Prince Buster And His All Stars)
.1967 – What A Hard Man Fe Dead (The Prince Buster All Stars) – [Aka: “Live By My Ten Commandments” 1967]
.1967 – Prince Buster On Tour – [Reissue: “King Of Blue Beat” 2001]
.1967 – Sings His Hit Song Ten Commandments
.1967 – Jamaica’s Pride: Rock Steady (Judge Dread feat. Prince Buster)
.1968 – She Was A Rough Rider
.1968 – Wreck A Pum Pum (Prince Buster & The All Stars)
.1969 – The Outlaw
.1972 – The Message Dubwise (Featuring Prince Buster All Star)
.1972 – Big Five
.1972 – Sister Big Stuff
.1972 – Dance Cleopatra Dance – [Includes some previously unreleased + Compilation]
.1987 – Prince Buster Sing Showcase
.2003 – Prince Of Peace: Live In Japan (Prince Buster With Determinations)
2) EPs:
.1980 – Behind Bars [Judge Dread (Aka: Prince Buster)] – [Blue Beat]
.2013 – Blue Beat Original EP (JJ Sparks & Prince Buster) – [An Altara Production]
3) Compilation/ Best of:
.1967 – Prince Buster Record Shack Presents The Original Golden Oldies Vol. 1 – [Prince Buster]
[Compilation of Hits]
.1967 – Prince Buster Record Shack Presents The Original Golden Oldies Vol. 2 – [Prince Buster]
[Compilation of songs produced by Prince Buster. It includes various artists]
.1968 – FABulous Greatest Hits – [(FAB, 1968) & (Sequel Records, 1993)]
[Compilation/Greatest Hits]
.1968 – Tutti Frutti – [FAB]
[Compilation/Greatest Hits]
.1968 – 15 Oldies But Goodies (Prince Buster & Other Stars) – [FAB]
[Compilation of songs produced by Prince Buster. It includes various artists]
.1994 – The Prophet – [Lagoon]
[Compilation/Greatest Hits (1963-67)]
.2000 – King Of Ska – [Prince Buster/Jet Star]
[Compilation/Greatest Hits]
.2003 – Rock A Shacka Vol. 5 – Dance Cleopatra – [Drum & Bass Records/Japan]
[Compilation/Greatest Hits]
.2013 – The Blue Beat Explosion! The Birth Of Ska – [Sunrise Records]
[Classic collection of early Prince Buster related material]
.2013 – Buster’s Shack (Prince Buster & Friends) – (Digital Release)
[Greatest Hits of early Prince Buster material]
4) Appearances:
Albums
.1972 – Chi Chi Run [Big Youth, Prince Buster All Stars + Friends) – [FAB]
.1972 – Jamaica’s Greatest (Prince Buster & Friends) – [Prince Buster]
5) Album Tribute:
.1986 – “Prince Buster Memory Lane” by Owen Gray – [Phill Pratt]
.2012 – “Prince Buster Shakedown” by The Dualers – [Cherry Red Records]
See Photos and Music Videos:
Prince Buster – Discography:
____________________________
1) Albums:
.1963 – I Feel The Spirit
(Original Press):
“I Feel The Spirit” 1963 – [Blue Beat]
“I Feel The Spirit” 1968 – [Fab]
Editions:
“I Feel The Spirit” 1963 – (Original Version)
Tracks:
1) I Feel The Spirit. 2) Madness. 3) Don’t Make Me Cry. 4) They Got To Come. 5) All Alone. 6) Soul Of Africa. 7) Wash Your Troubles Away. 8) Jealous. 9) Black Head Chinaman. 10) Beggars Are No Choosers. 11) Run Man Run. 12) Just You.
[Label: Blue Beat (Lp: 1963)]
Reissue: “I Feel The Spirit” 1968 – (Same Album)
Tracks:
1) Wash Your Troubles Away. 2) Hold Them. 3) Shaking Up Orange St. 4) We Shall Overcome. 5) Last Train To London. 6) Time Longer Than Rope. 7) I Feel The Spirit. 8) Madness. 9) Closer Together. 10) They Got To Come. 11) All Alone. 12) Soul Of Africa.
[Label: Fab (Lp: 1968)]
______________________________________________________________
.1964 – Fly Flying Ska
(Original Press):
“Fly Flying Ska” 1964 – (Original Version)
Tracks:
1) Prince Buster “Flying Ska (Wings Of A Dove)”. 2) Prince Buster “Lucky Seven”. 3) Prince Buster Feat. The Skatalites “Perhaps”. 4) Prince Buster Feat. Bobby Gaynair & Errol Dunkley “My Queen”. 5) Prince Buster Feat. Millie Small & Roy Panton “I Go”. 6) Prince Buster Feat. Roland Alphonso “Roland Plays The Prince”. 7) Prince Buster “Call Me”. 8) Prince Buster “Eye For An Eye”. 9) Prince Buster Feat. Owen Gray “River Jordan”. 10) Prince Buster “The Greatest”. 11) Prince Buster Feat. The Maytals “Ska War”. 12) Prince Buster Feat. Don Drummond “The Burial”.
[Label: Blue Beat (Lp: 1964), Blue Beat/Prince Buster (Lp: 1964)]
______________________________________________________________
.1964 – National Ska: Pain In My Belly
(Original Press):
“National Ska: Pain In My Belly” 1964 – (Original Version)
Tracks:
1) Prince Buster & The Maytals “I Got A Pain”. 2) The Maytals “He Is Real”. 3) T. McCook “Cast Your Faith To The Wind”. 4) Prince Buster “Faith”. 5) The Ska Busters “Georgia”. 6) Prince Buster “Have Mercy”. 7) The Maytals “I Love You So”. 8) Eric Morris “Those Teardrops”. 9) Prince Buster “Chinaman Ska”. 10) The Skatalites “Super Charge”. 11) Don Drummond “Ska Town”. 12) Prince Buster “Ska School”.
[Label: Blue Beat (Lp: 1964), Blue Beat/Prince Buster (Lp: 1964)]
______________________________________________________________
.1965 – It’s Burke’s Law (Jamaica Ska Explosion)
(Original Press):
“It’s Burke’s Law (Jamaica Ska Explosion)” 1965 – (Original Version)
Tracks:
1) Burke’s Law. 2) Al Capone. 3) Gun The Man Down. 4) Skahara. 5) Trip To Mars. 6) Rygin’. 7) Mighty As A Rose. 8) Indian Love Call. 9) Here Comes The Bride. 10) Almost Like Being In Love. 11) She Pon Top. 12) Feel Up.
[Label: Blue Beat (Lp: 1965), Blue Beat/Prince Buster (Lp: 1965)]
______________________________________________________________
.1965 – Ska-Lip-Soul (Prince Buster And His All Stars)
(Original Press):
“Ska-Lip-Soul” (Prince Buster And His All Stars) 1965 – (Original Version)
Tracks:
1) Wings Of A Dove. 2) Respect. 3) Cat Munno. 4) Mek It Tan Deh Goosie. 5) Sammy Dead Medley. 6) Dance Jamaica. 7) Mr. Wonderful. 8) How Can I Tell Them. 9) Dayo. 10) And I Love Her. 11) Matilda. 12) Rum And Cocoacola.
[Label: Blue Beat (Lp: 1965), Blue Beat/Prince Buster (Lp: 1965)]
______________________________________________________________
.1967 – What A Hard Man Fe Dead (The Prince Buster All Stars) – [Aka: “Live By My Ten Commandments” 1967]
(Original Press):
Editions:
“What A Hard Man Fe Dead” (The Prince Buster All Stars) 1967 – (Original Version)
Tracks:
1) Hard Man Fe Dead. 2) That’s Saying A Lot. 3) Words Of Wisdom. 4) Sit And Wonder. 5) Sad Song. 6) Thanksgiving. 7) Ten Commandments. 8) Moving Spirit. 9) The Prophet. 10) My Girl. 11) I Won’t Let You Cry. 12) Answer Your Name.
[Label: Blue Beat (Lp: 1967), Blue Beat/Prince Buster (Lp: 1967)]
Aka: “Live By My Ten Commandments” 1967 – (Same Album with some different title tracks)
Tracks:
1) Ten Commandments. 2) Moving In My Soul. 3) The Prophet. 4) My Girl. 5) I Won’t Let You Cry. 6) Girl Answer Your Name. 7) Hard Man Fe Dead. 8) Ain’t That Saying A Lot. 9) Words Of Wisdom. 10) Is Life Worth Living (Sit And Wondtr). 11) Sad Song (Your turn). 12) Thanksgiving.
[Label: Prince Buster (Lp: 1967)]
______________________________________________________________
.1967 – Prince Buster On Tour – [Reissue: “King Of Blue Beat” 2001]
(Original Press):
“Prince Buster On Tour” 1967 – [Blue Beat]
Reissue: “Prince Buster On Tour” 1988 – [Skank Records]
Reissue: “King Of Blue Beat” 2001 – [Wah-Wah Records Sound]
Editions:
“Prince Buster On Tour” 1967 – (Original Version)
Tracks:
1) Intro. 2) Madness. 3) Take It Easy. 4) Oh Love. 5) Seven Times To Rise. 6) 007 (Shanty Town). 7) Come To Jamaica. 8) Cincinnati Kid. 9) Move Over. 10) Sound And Pressure. 11) On The Beach. 12) Al Capone.
[Label: Blue Beat (Lp: 1967), Skank Records (Lp: 1988)]
Reissue: “King Of Blue Beat” 2001 – (Same album)
Tracks:
1) Intro. 2) Madness. 3) Take It Easy. 4) Oh Love. 5) Seven Times To Rise. 6) 007 (Shanty Town). 7) Come To Jamaica. 8) Cincinnati Kid. 9) Move Over. 10) Sound And Pressure. 11) On The Beach. 12) Al Capone.
[Label: Wah-Wah Records Sound (Lp/Cd: 2001), Tam-Tam Media (Digital Release: 2007)]
!!!
Album Recorded live at UK tour, on May 28, 1967
______________________________________________________________
.1967 – Sings His Hit Song Ten Commandments
[It includes 5 songs taken from the album “What A Hard Man Fe Dead” 1967 + New Tracks]
(Original Press):
“Sings His Hit Song Ten Commandments” 1967 – [RCA Victor]
Reissue: “Sings His Hit Song Ten Commandments” 2009 – [Reel Music/Sony]
Editions:
“Sings His Hit Song Ten Commandments” 1967 – (Original Version)
[It includes 5 songs taken from the album* “What A Hard Man Fe Dead” 1967 + New Tracks]
Tracks:
1) Ten Commandments*. 2) I Won’t Let You Cry*. 3) Is Life Worth Living*. 4) Ain’t That Saying A Lot*. 5) Girl, Answer To Your Name*. 6) Ten Commandments From Woman To Man. 7) Wings Of A Dove. 8) Smart Countryman. 9) Tongue Will Tell. 10) They Got To Come.
[Label: RCA Victor (Lp: 1967)]
Reissue: “Sings His Hit Song Ten Commandments” 2009 – (Includes 1 bonus track**)
Tracks:
1) Ten Commandments. 2) I Won’t Let You Cry. 3) Is Life Worth Living. 4) Ain’t That Saying A Lot. 5) Here Comes The Bride**. 6) Girl, Answer To Your Name. 7) Ten Commandments From Woman To Man. 8) Wings Of A Dove. 9) Smart Countryman. 10) Tongue Will Tell. 11) They Got To Come.
[Label: Reel Music/Sony (Cd: 2009)]
______________________________________________________________
.1967 – Jamaica’s Pride: Rock Steady (Judge Dread feat. Prince Buster)
(Original Press):
“Jamaica’s Pride: Rock Steady” – [(Blue Beat, Lp: 1967), (Blue Beat/Prince Buster, Lp: 1967) & (Westmoor Music, 1993)]
Reissue: “Jamaica’s Pride: Rock Steady” 1988 – [Skank Records]
Reissue: “Jamaica’s Pride: Rock Steady” 1998 – [Diamond Line/Jet Star (Lp: 1998)(Cd: 2000)]
Reissue: “Judge Dread Rock Steady/She Was A Rough Rider” 1993 – [Dojo Limited]
[It includes two original album on one cd]
Editions:
“Jamaica’s Pride: Rock Steady” (Judge Dread feat. Prince Buster) 1967 – (Original Version)
Tracks:
1) Judge Dread. 2) Shearing You. 3) Nothing Takes The Place Of You. 4) Ghost Dance. 5) Rock With A Feeling. 6) Sweet Beat. 7) The Appeal. 8) Dark Street. 9) Judge Dread Dance. 10) Show It Now. 11) Raise Your Hands. 12) A Change Is Going To Come.
[Label: Blue Beat (Lp: 1967), Blue Beat/Prince Buster (Lp: 1967), Skank Records (Lp: 1988), Westmoor Music (Cd: 1993), Diamond Line/Jet Star (Lp: 1998)(Cd: 2000)]
Reissue: “Judge Dread Rock Steady/She Was A Rough Rider” 1993
[It includes two original album on one cd]
Tracks:
1) Judge Dread. 2) Shearing You. 3) Nothing Takes The Place Of You. 4) Ghost Dance. 5) Rock With A Feeling. 6) Sweet Beat. 7) The Appeal. 8) Dark Street. 9) Judge Dread Dance. 10) Show It Now. 11) Raise Your Hands. 12) A Change Is Going To Come. 13) Rough Rider. 14) Dreams To Remember. 15) Scorcher. 16) Hypocrites. 17) Walk With Love. 18) Taxation. 19) Bye Bye Baby. 20) Tenderness. 21) Wine Or Grind. 22) Can’t Keep On Running. 23) Closer Together. 24) Going To The River.
[Label: Dojo Limited (Cd: 1993)]
______________________________________________________________
.1968 – She Was A Rough Rider
(Original Press):
“She Was A Rough Rider” – [(Blue Beat, Lp: 1968) – (Blue Beat/Prince Buster, Lp: 1968) – (Westmooor Music, Cd: 1990?)]
Reissue: “She Was A Rough Rider” 1988 – [Skank Records]
Reissue: “Judge Dread Rock Steady/She Was A Rough Rider” 1993 – [Dojo Limited]
[It includes two original album on one Cd]
Editions:
“She Was A Rough Rider” 1968 – (Original Version)
Tracks:
1) Rough Rider. 2) Dreams To Remember. 3) Scorcher. 4) Hypocrites. 5) Walk With Love. 6) Taxation. 7) Bye Bye Baby. 8) Tenderness. 9) Wine Or Grind. 10) Can’t Keep On Running. 11) Closer Together. 12) Going To The River.
[Label: Blue Beat (Lp: 1968), Blue Beat/Prince Buster (Lp: 1968), Fab (Lp: 1969), Skank Records (Lp: 1988), Westmooor Music (Cd: 1993)]
Reissue: “Judge Dread Rock Steady/She Was A Rough Rider” 1993
[It includes two original album on one cd]
Tracks:
1) Judge Dread. 2) Shearing You. 3) Nothing Takes The Place Of You. 4) Ghost Dance. 5) Rock With A Feeling. 6) Sweet Beat. 7) The Appeal. 8) Dark Street. 9) Judge Dread Dance. 10) Show It Now. 11) Raise Your Hands. 12) A Change Is Going To Come. 13) Rough Rider. 14) Dreams To Remember. 15) Scorcher. 16) Hypocrites. 17) Walk With Love. 18) Taxation. 19) Bye Bye Baby. 20) Tenderness. 21) Wine Or Grind. 22) Can’t Keep On Running. 23) Closer Together. 24) Going To The River.
[Label: Dojo Limited (Cd: 1993)]
______________________________________________________________
.1968 – Wreck A Pum Pum (Prince Buster & The All Stars)
(Original Press):
“Wreck A Pum Pum” – [(Blue Beat, Lp: 1968), (Blue Beat/Prince Buster, Lp: 1968) & (FAB, Lp: 1969)]
Reissue: “Wreck A Pum Pum” 2000 – [Prince Buster/Jet Star]
“Wreck A Pum Pum” (Prince Buster & The All Stars) 1968 – (Original Version)
Tracks:
1) Wreck A Pum Pum. 2) Wreck A Buddy [Feat. The Sexy Girls]. 3) Rough Rider. 4) Pum Pum A Go Will You. 5) Whine And Grine. 6) Ten Commandments. 7) Beg You Little More. 8) Pussy Cat Bite Me. 9) Pharaoh House Crash. 10) The Abeng. 11) Train To Girls’ Town. 12) Stir The Pot.
[Label: Blue Beat (Lp: 1968), Blue Beat/Prince Buster (Lp: 1968), FAB (Lp: 1969), Prince Buster/Jet Star (Cd: 2000)]
______________________________________________________________
.1969 – The Outlaw
(Original Press):
“The Outlaw” 1969 – (Original Version)
Tracks:
1) Gun The Man Down. 2) The Baddest. 3) Cincinnati Kid. 4) The Sermon Of A Preacher Man. 5) Al Capone. 6) Any More. 7) Happy Reggae. 8) Hold Them. 9) Outlaw. 10) Burke’s Law. 11) Fever. 12) Phoenix City.
[Label: Blue Beat (Lp: 1969), Blue Beat/Prince Buster (Lp: 1969)]
______________________________________________________________
.1972 – The Message Dubwise (Featuring Prince Buster All Star)
(Original Press):
“The Message Dubwise (Featuring Prince Buster All Star)” 1972 – (Original Version)
Tracks:
1) Swing Low. 2) Sata A Masa Gana. 3) Java Plus. 4) The Message. 5) Mississippi. 6) Saladin. 7) Why Am I Treated So Bad. 8) Jet Black. 9) Black Harlem. 10) Big Youth.
[Label: Prince Buster (Lp: 1972), FAB (Lp: 1972)]
______________________________________________________________
.1972 – Big Five
(Original Press):
“Big Five” – [(Prince Buster/Melodisc, 1972), (Westmoor Music, 1993)]
Unofficial Album:”Big Five” – [Unknown label]
Reissue:”Big Five” 1988 – [Skank Records]
Editions:
“Big Five” 1972 – (Original Version)
Tracks:
1) Big Five. 2) Kinky Griner. 3) Leave Your Man. 4) Give Her. 5) Bald Head Pum Pum. 6) At The Cross. 7) Fishey Fishey. 8) The Virgin. 9) Black Pum Pum. 10) Every Man Pum Pum. 11) Tonight. 12) Wash The Pum Pum.
[Label: Prince Buster/Melodisc (Lp: 1972), Skank Records (Lp: 1988), Westmoor Music (Lp/Cd: 1993)]
Reissue: “Big Five Party Album” 197?
[Same Album with different title tracks. Album released without cover art]
Tracks:
1) Big Five. 2) Kinky Griner. 3) Tonight. 4) Give Her. 5) Bald Head Pum Pum. 6) At The Cross. 7) Holly Fishey. 8) It Big. 9) Fat Girl. 10) It Too Long. 11) Mrs. Tail. 12) Wet Dream.
[Label: Prince Buster/Melodisc (Lp: 197?)]
______________________________________________________________
.1972 – Sister Big Stuff
(Original Press):
“Sister Big Stuff ” 1972 – (Original Version)
Tracks:
1) South Of The Border. 2) Still. 3) Protection. 4) Why Not Tonight. 5) Wish Your Picture. 6) Sata A Masa Gana. 7) Sister Big Stuff. 8) Stand Accused. 9) Bridge Over Troubled Waters. 10) Stick By Me. 11) Young Gifted And Black. 12) Cool Operator.
Bonus Tracks*:
13) Police Trim Rasta. 14) My Happiness. 15) My Heart Is Gone.
[Label: Melodisc (Lp: 1972), Sunspot (Lp: 2011)(Cd*: 2011)(Digital Release*: 2011)]
______________________________________________________________
.1972 – Dance Cleopatra Dance
[It includes some previously unreleased + Compilation]
(Original Press):
“Dance Cleopatra Dance” 1972 – (Original Version)
Tracks:
1) Dance Cleopatra. 2) Madness. 3) Take It Easy. 4) Oh Love. 5) Times To Risc. 6) 007. 7) Come To Jamaica. 8) Cincinatti Kid. 9) More Over. 10) Sounds And Pressure. 11) On The Beach. 12) Al Capone. 12) Waiting For My Rude Girl.
[Label: Blue Elephant (Lp: 1972)]
______________________________________________________________
.1987 – Prince Buster Sing Showcase
(Original Press):
“Sing Showcase” 1987 – (Original Version)
Tracks:
1) Rain From The Sky. 2) Version. 3) Breaking Up. 4) Bugging. 5) Fatty Fatty. 6) Version. 7) Blowing In The Wind. 8) Version. 9) Hypocrites. 10) Version.
[Label Tesfa Records (Lp: 1987)]
______________________________________________________________
.2003 – Prince Of Peace: Live In Japan (Prince Buster with Determinations)
(Original Press):
“Prince Of Peace: Live In Japan” (Prince Buster with Determinations) 2003 – (Original Version)
Tracks:
1) Gaz Mayall “Introduction”. 2) Determinations “Mt. Gem”. 3) Determinations “Mango Rock (Shock Steady)”. 4) Determinations “Crazy”. 5) Prince Buster & Determinations “Introduction”. 6) Prince Buster & Determinations “Al Capone”. 7) Prince Buster & Determinations “Orange Street”. 8) Prince Buster & Determinations “They Got To Come”. 9) Prince Buster & Determinations “Burke’s Law”. 10) Prince Buster & Determinations “Dance Cleopatra”. 11) Prince Buster & Determinations “Hard Man Fe Dead”. 12) Prince Buster & Determinations “Big Five”. 13) Prince Buster & Determinations “Blackhead Chinaman”. 14) Prince Buster & Determinations “30 Pieces Of Silver”. 15) Prince Buster & Determinations “One Step Beyond”. 16) Prince Buster & Determinations “Prince Of Peace”.
[Label: Island/Universal/Japan (Cd: 2003)]
!!!
Recorded live at Bayside Jenny, Osaka and at Liquid Room, Tokyo in 2003.
______________________________________________________________
______________________________________________________________
EPs:
.1980 – Behind Bars [Judge Dread (Aka: Prince Buster)]
(Original Press):
“Behind Bars” [Judge Dread (Aka: Prince Buster)] 1980 – (Original Version)
Tracks:
1) Prince Buster “Judge Dread”. 2) Prince Buster & Allstars “City Riot”. 3) Jamaicas Greatest “It’s Burkes Law”. 4) Prince Buster “Barrister Pardon”.
[Label: Blue Beat (Lp: 1980)]
______________________________________________________________
.2013 – Blue Beat Original EP (JJ Sparks & Prince Buster)
(Original Press):
“Blue Beat Original EP” (JJ Sparks & Prince Buster) 2013 – (Original Version)
Tracks:
1) You Did’nt Love Me. 2) Tra La La. 3) Mama Kiss Him Goodnight. 4) Feeling Blue. 5) 3 Nights in Lovers Town. 6) I Love You so Much
[Label: An Altara Production (Cd: 2013)(Digital Release: 2013]
!!!
Songs by JJ Sparks & Prince Buster released early 60’s
______________________________________________________________
______________________________________________________________
Appearances:
.1972 – Chi Chi Run (Big Youth, Prince Buster All Stars + Friends)
(Original Press):
“Chi Chi Run” (Big Youth, Prince Buster All Stars + Friends) 1972 – (Original Version)
Tracks:
1) John Holt & Big Youth – “Chi Chi Run”. 2) Prince Buster All Stars – “Haft”. 3) Prince Buster & Big Youth – “Revolution Rock”. 4) Prince Buster & Big Youth – “Revolution Come”. 5) John Holt & Big Youth – “Leave Your Skeng”. 6) Prince Buster All Stars – “Miami Beach”. 7) John Holt & Big Youth – “Leggo Beast”. 8) Little Youth – “Youth Rock”. 9) Dennis Brown – “One Day Soon”. 10) Dennis Brown – “If I Had The World”. 11) Prince Buster All Stars – “Boop”. 12) Alton Ellis – “Since I Fell For You”.
[Labels: Fab (Lp: 1972), Melodisc/Prince Buster (Lp: 1973)]
______________________________________________________________
.1972 – Jamaica’s Greatest (Prince Buster & Friends) – [Prince Buster]
(Original Press):
“Jamaica’s Greatest” (Prince Buster & Friends) 1972 – (Original Version)
Tracks:
1) Dennis Brown “One Day Soon”. 2) The Heptones “One Day Will Come”. 3) John Holt “If I Had The World”. 4) John Holt “News”. 5) Alton Ellis “Since I Feel For You”. 6) Prince Buster “Still”. 7) John Holt “Mona Lisa”. 8) The Heptones “God Bless The Children”. 9) Dennis Brown “If I Ruled The World”. 10) Alton Ellis “Good Loving”. 11) Prince Buster & Ethiopians “My Happiness”. 12) Prince Buster “Protection”.
[Label: Prince Buster (Lp: 1972)]
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5) Album Tribute:
.1986 – “Prince Buster Memory Lane” by Owen Gray
(Original Press):
Owen Gray “Prince Buster Memory Lane” 1986 – (Original Version)
Tracks:
1) Enjoy Yourself. 2) Run Man Run. 3) They Got To Go. 4) Bad Minded People. 5) Madness. 6) Time Longer Dan Rope. 7) Beware. 8) Black Head Chine. 9) Wash Wash.
[Label: Phill Pratt (Lp: 1986)]
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.2012 – “Prince Buster Shakedown” by The Dualers
(Original Press):
The Dualers “Prince Buster Shakedown” 2012 – (Original Version)
Tracks:
1) Chinaman Ska. 2) King Of Kings. 3) Nothing Takes The Place Of You. 4) Take It Easy. 5) Firestick. 6) Orange Street. 7) Sister Big Stuff. 8) Enjoy Yourself.
[Label: Phoenix City Records (Cd: 2012), Cherry Red Records (Cd: 2012)(Diogital Release: 2012)]
Ben Sherman sold
Ben Sherman sold to Marquee Brands Fashion brand, a staple for mods and worn by the Who, the Jam and the Specials, sold to US company backed by US private equity firm
Suggs (Graham McPherson) of Madness wears a Ben Sherman shirt in this early 1980s photograph also featuring bandmate Mike Barson (left).
Ben Sherman, the struggling British clothing brand sported by successive generations of rock stars from the Who and the Jam to Oasis, is hoping to make a comeback after being snapped up by a private equity-backed firm.
We Reported The death of Ben Sherman in 2012
Marquee Brands, controlled by the US investment group Neuberger Berman, is buying the loss-making business for £41m from its current owner, Oxford Industries, also based in the US.
Analysis Ben Sherman now a safe choice but history could help its relaunch
Clothing brand’s mod pedigree, with the right spin, could appeal to a new generation hungry for the latest retro look
It is the latest change in ownership for Ben Sherman, a company whose shirts were a staple of the golden age of UK youth cults, worn by mods in the 60s and later adopted by that movement’s various offshoots including skinheads, suedeheads and rude boys.
Citizen Keyne. Ungreat Britain
Citizen Keyne. Ungreat Britain
So, as I spend way to long on the internet, checking out bands, thinking about what to programme for my next event, I go through lots of bands. Some I avoid like the plague, some have just overplayed the curcuit and burned out. But some have a bit of mystery over them. Sometimes you hear the rumours and the slagging off, before you actually get to see them. Being the Twat I am, the more the bitching, the more I like to take a look.
When Citizen Keyne got in touch with me, my first thought was OI underdogs, is up my street, so I’ll give them a whirl. And what a pleasant surprise I found on putting on the first album, Ungreat Britain. I was expecting the same regurgitated Oi!, with loads of repetitive OI Guitar licks and a singer being ‘Very Hard’.
What I actually heard is a flashback to 1977 Punk Rock, but with a modern twist. Chavs , Boot sale Tales, is straight into 21st Century United Kingdom of Methodone
I have to admit, too many years working in music, too many years of being a skinhead, has numbed my brain to so much. A song has to grab you by the bollocks and get those butterflies tickling your chest, that buzz in your neck that makes you want to pogo round the front room.
Most modern Oi bands will perhaps manage one strong track,or follow the same old done subject matter, of boots braces, tattoo’s and working class delusions. Now onto Floyds arse, this album is such an eclectic mix. With a definite punk rock sound, taking me right back to Micklefield estate in the summer of 78. But don’t write this band off as yet another copycat. Citizen Keyne have really brought in a modern sound, with lyrics dealing with todays issues. The love of lager down our necks. With reminders of early Sparrer, Sham, Buzzcocks, with a touch of Macc Lads thrown in for good measure. This really is a stand alone band, and a great first listen. Cant wait to unpack the next selection.
Great Skinhead Northern Gathering, Sunderland. 9th – 10th Oct. Sunderland
BUY TICKETS 9-10th Oct 2015
Featuring Live bands Citizen Keyne, Skapones, Adverse society, Tear Up. Toxic. Anti Social
Full DJ line up for a second room, playing SKA, And all Skinhead related music
The Great Skinhead Northern Gathering 9th + 10th October In Sunderland. Our second year of our Autumn Gathering, as a celebration of the skinhead culture A full day of Dj’s in one room, and Live bands in another. A full line up to follow, watch this space. Ony £15 for the whole event. Cheap beer and rooms nearby. Friday will be wristbanded 7pm -3am bands and DJ’s. Saturday 10th noon -5pm free entry meet and greet. After 5pm it will be wristband only, Live bands and DJ’s The weekend wristband £15 is valid for both nights
DJ Coordinator is Sean Marshall
facebook event page, please share
This is a family friendly event. Children are welcome until 9_9:30pm, but must be off the premises by then, by law so all are welcome, the venue is The Corner Flag. Central to the city center in a good location for local transport connections, trains, metro etc it’s the corner flag located at high street west, with plenty of fast food outlets and restaurants nearby, there will be something for everyone a good mix of Oi,ska,two tone a little bit of everything, a good size venue capable of holding this event, any bands wishing to play, Oi,Ska,Two Tone also any dj’s wishing to spin a few disks, should contact subcultz@gmail.com. www.subcultz.com If you missed last years then you have to come to this one, good music,good beer,with very good people
Kings Road. London Punk Rock
The glory days of King’s Road
Proud Chelsea’s Sex, Drugstores and Rock & Roll: a History of the King’s Road is a new exhibition of photographs of King’s Road, Chelsea from the early days of the swinging 60s, right up to the end of the 80s. This picture shows a group of punks in the 1970s, when the road became a centre of punk culture.
Punk Rock. Malcolm Mclaren Artist, Fashion Designer (1946–2010)
QUICK FACTS
NAMEMalcolm McLarenOCCUPATIONArtist, Fashion DesignerBIRTH DATEJanuary 22, 1946DEATH DATEApril 8, 2010EDUCATIONHarrow Art School,Croydon College of Art,Goldsmiths CollegePLACE OF BIRTHLondon, United KingdomPLACE OF DEATHSwitzerlandFULL NAMEMalcolm Robert Andrew McLaren
Recording artist and fashion designer Malcolm McLaren came to fame as manager of the Sex Pistols. Later, he recorded several albums of his own material.
- Synopsis
Born in 1946 in London, England, Malcolm McLaren was one of the creative forces behind the sound and attitude of the Sex Pistols. With a passion for style and social friction, the daring McLaren went on to manage several other bands following the Pistols’ demise in 1978, as well as record several albums of his own material. He died in Switzerland from complications related to cancer on April 8, 2010.
Early Life
Artist, musician, band manager. One of the creative forces behind English punk rock and the Sex Pistols in particular, Malcolm Robert Andrew McLaren was born January 22, 1946, in London, England. The son of a Scottish engineer, he was raised primarily by his maternal grandmother, whom he later credited with fostering his well-regarded subversive spirit.
As such, school was not a perfect fit for the creative McLaren. He attended more than half a dozen different art schools, including Harrow Art School, where he befriended Jamie Reid, who would later serve as the brains behind the Sex Pistols’ provocative graphics. His struggles in school led one institution to expel him and another, Croydon College of Art, to try to have him committed to a mental institution.
In 1971 McLaren dropped out of school for good and opened a boutique shop in Chelsea. Initially called Let It Rock and later renamed Too Fast to Live Too Young to Die, the store specialized in 1950s “Teddy boy” fashions.
Life in Music
McLaren’s world changed when the New York Dolls, a glam-rock band that performed in high heels, visited his shop one day. McLaren and the musicians quickly hit it off and eventually he followed the band back to the United States, where he worked as its manager. McLaren brought an unusual approach to his job, pushing the band to shock its American audiences as much as possible. In one instance he had the Dolls perform in Maoist Red Guard uniforms and play in front of a hammer-and-sickle flag.
But the Dolls’ run was short-lived, and after the group broke up, McLaren returned to London intent on trying to ramp up what he’d tried to do in the States.
He found his new cause in a group of musicians headed up by lead singer John Lydon, later renamed Johnny Rotten due to the condition of his teeth. In every shape and form, the Sex Pistols was the product of McLaren’s imagination. He put the band together and orchestrated the outrage that made them the toast of the English punk rock scene. Rotten called McLaren “the most evil person on earth.”
With singles like “Anarchy in the U.K.” and “God Save the Queen,” the Pistols climbed the charts in Britain. The group’s short run consisted of just one album, the 1977 release Never Mind the Bollocks: Here’s the Sex Pistols. In 1978 the group embarked on its first and only American tour. It quickly concluded when Rotten walked off the stage at a performance in San Francisco, leaving the band behind and marking the end of the Pistols as a group.
Even with the band’s demise, McLaren continued to stay heavily involved in the music scene. He went on to manage several other acts, and in 1983 issued an album of his own, Duck Rock, which featured a combination of world music and hip-hop. Several other albums followed, including Fans(1984), Waltz Darling (1989), and Paris (1994).
Great Skinhead Reunion documentary DVD
Great Skinhead reunion documentary DVD, coming soon,.For pre orders click HERE
Feckin Ejits Off the Feckin Head
The Feckin Ejits Album Off The Feckin Head, available HERE
Probably the best Punk / Oi! album that was never released, available now, on Subcultz records
Rail Strikes in UK may affect skinheads getting to Brighton, please book national express buses as an option
URGENT NEWSFLASH!!!! IT LOOKS LIKE THE ‘WORKERS’ OF OUR RETARDED RAILWAYS ARE THINKING OF STRIKING ON THE FIRST DAY OF THE GREAT SKINHEAD REUNION, I UNDERSTAND THEY WANT TO JOIN US FOR A PISSUP, BUT THIS DOESN’T HELP OUR SKINHEADS GETTING TO BRIGHTON. SO MY BEST ADVICE IS TO USE NATIONAL EXPRESS BUSES, THESE RUN FROM ALL LONDON AIRPORTS AND LONDON VICTORIA, GET OFF AT POOL VALLEY, BRIGHTON, WHICH IS ABOUT 2 MINUTES FROM THE VENUE ON BRIGHTON SEAFRONT BOOK HERE http://www.nationalexpress.com/home.aspx
KEEP AN EYE ON THE NEWS REPORTS, HOPEFULLY, THE LAZY TWATS WILL AT LEAST SAVE THEIR HOLIDAYS UNTIL AFTER THE REUNION http://www.nationalrail.co.uk
Punk Bands – Xtraverts
Xtr@verts biography; ‘Who sent the Boys’ ?
In late 1975 a massive shake up within the music industry was emerging and with this came a teenage driven musical revolution, soon to be known as PUNK ROCK.
If the ‘Kings Road London’ was the birthplace of punk then its younger brother the ‘London Road, High Wycombe’ was equally as important. The ‘Nags Head’ High Wycombe as a venue was every bit as important as the legendary ‘100 Club’ in Denmark Street, both were linked by one person and that was rock promoter Ron Watts. At the height of this revolution as Ron booked the likes of the ‘Sex Pistols’, ‘The Damned’, ‘The Clash’ and the ‘The Stranglers’ at both venues, teenagers in Buckinghamshire were being introduced to a major shift in youth culture many months before Punk erupted nationwide.
Mimicking its older London brother in every way in High Wycombe it seemed everybody under the age of 25 was becoming a punk rocker. Hippies had almost been eradicated and with turf wars between punks and teddy boys subsiding further combined with a revival of mod’s, rockers and skinheads the town’s local population was slowly having to accept this new ‘melting pot of anti- establishment’ youth culture.
Shortly after the now infamous Punk Festival of 1976 and the riotous Jubilee boat fiasco Ron Watts continued to book well known punk bands at Wycombe’s Town hall, it was always his policy to give local talent a chance to shine through. There was a vibrant local music scene emerging but with so much focus on London bands I believe there was one band that unfortunately went unnoticed.
………..this is the story of THE XTR@VERTS…………
As early as 1976, a good six months before ‘The Sex Pistols’ played the Nags Head, a group of mid-teens including Kris Jozajtis/guitar, Mark White/drums, Carlton Mounsher/bass, formed their own band ‘Deathwish’. Inspired by 60’s UK bands such as The Who, Small Faces and The Rolling Stones and later stateside offerings such as Iggy Pop and the Stooges, The Velvet Underground and The New York Dolls.
‘Deathwish’ were soon playing their own brand of Punk Rock well before the term ‘Punk’ was even coined.
Their first gig caused a stir when a confused audience who had been expecting the usual hippie drivel turned violent and threw lit fireworks at them. The band had to be escorted from the venue by the police.
At Deathwish’s second gig an A&R rep from CBS came to check out the band following Ron Watts recommendation. Every bit as confused as the audience from the first gig, unfortunately he lacked the vision to sign them, but at least he didn’t throw anything at them, lit or otherwise !!! As fate would have it during the show an enigmatic youth with brightly coloured hair joined in singing with the band on stage, soon becoming lead vocalist, a certain Nigel Martin.
Nigel, influenced by ‘Roxy Music’ and ‘Bowie’ was always outrageously dressed, so Punk was a natural transition for him. Unfortunately High Wycombe didn’t have alot to offer fashion wise in the mid 70’s, except flares and platforms. There was a great Teddy boy shop called ‘Goddards’ which in fairness sold some great gear but that wasn’t enough, so he used to hang out at ‘SEX’, Malcolm McClaren’s shop at the top of the Kings Road with his punk mate ‘Marmite’, probably the first black punk with peroxide hair. (One time Marmite wore a transparent rubber jacket with goldfish swimming inside it..!!)
Nigel was photographed in Malcolm’s shop by ‘Honey’ magazine, standing out because he would get free crazy colour hairstyles at ‘Vidal Sassoon’s’ courtesy of Vivienne Westwood. Malcolm took the fee for the photoshoot and deducted half of the payment, explaining to Nigel that would cover his loss on the t-shirts which Nigel had previously been seen stealing !! At the same time ‘Vivienne Westwood’ had a market stall nearby and Nigel used to go there and get his clothes made to order.
Meanwhile with ‘Deathwish’ floundering, Nigel together with Mark Reilly/guitar and Tim Brick/drums had formed a band called ‘The Xtraverts’ with Kris Jozajtis filling in on bass, a job he swiftly passed on to Carlton Mounsher. With the line up complete and with a set of original songs plus a few covers they played the University circuit and London venues such as ‘The Roxy’, ‘The Vortex,’ ‘Hope and Anchor’ ‘Fulham Greyhound’ and ‘Global Village’, supporting ‘Johnny Kidd and the Pirates’ , ‘Gary Glitter and The Glitter Band’ and ‘Bernie Torme’. Further they were voted best new band in the Aylesbury ‘Friars’ poll.
Whilst at these gigs they rubbed shoulders with the up and coming soon to be punk icons, drinking with ‘Joe Strummer’, ‘Paul Weller’, wet toilet roll fights with ‘Billy Idol’, arguing with ‘Sid Vicious’ and pinching white label copies of ‘Anarchy in the UK’ from ‘Johnny Rotten’. Whilst at an Arsenal football game in early 1976 Nigel dressed up with brightly coloured spiky hair recalls seeing John Lydon later to become Johnny Rotten sporting long hippy hair and a black trenchcoat, one wonders who influenced who !!! These were remarkable times. Carlton also recalls being persuaded by Rat Scabies and Brian James of ‘The Damned’ to help them put just pressed copies of New Rose into their covers at Stiff Records. Although this meant he had one of the first copies of the UK’s first punk records , he still had to pay for it !!!
The band played around with new names and became ‘Nigel Martins Visage’ or ‘Mirage’, but with ‘Steve Strange’ having the same name finally agreed and settled on ‘THE XTR@VERTS’, a name which reflected their image and style. Soon they released their first vinyl single on Spike Records, ‘BLANK GENERATION’, b/w ‘A-LAD-INSANE’, there was a limited pressing of 500 and incidently these singles are now selling for over £175 on e-bay.
The band individually having strong creative drive, unfortunately disbanded the following year and moved in different directions with Carlton and Mark Reilly forming the ‘ Cathedrals’, later Reilly left to join ‘Blue rondo ala Turk’ and then formed and continues to have success with ‘Matt Bianco’. Carlton formed ‘The Ventilators’ later ‘The Vents’, and then ‘The Swamps’. Kris went on to join ‘The Folk Devils,’ whilst Tim did session work with ‘Japan’ and then moved into production.
Before leaving High Wycombe, Mark Reilly introduced Nigel to two young musicians ‘Mark Chapman’ and ‘Steve Westwood’, base and guitar players respectively, to continue with ‘The Xtr@verts’. Recruiting drummer ‘Andy Crawford’ they knuckled down and continued rehearsing and writing new material.
With a new line up, fresh and stronger than ever they hit the circuit running. Ron Watts gave the band many supports at the Town Hall where many well known acts were playing. First gig with the Jones Boys (aka Howard Jones) then support slots with ‘The Slits’ and ‘Creation Rebel’ and then headline gigs at the ‘White Swan’ Southall, the ‘Rainbow’ Finsbury Park and then ’Oranges and Lemons’ Oxford. Further concerts followed and a string of support gigs with the Damned’, ‘999’, ’Angelic Upstarts’, ‘The U.K. Subs, ‘The Vibrators’’ and ‘The Lurkers’.
The band went straight into the studio and during 1979 released two singles, the first was ‘POLICE STATE/DEMOLITION’ a double a) side, costs were shared with another local band ‘Plastic People’ with their song ‘Demolition’- released on Rising Sun records. The second release later in the year with the introduction of a new guitarist was ‘SPEED / 1984’.
The band with its new line up built up a very large following with in excess of 1000 people travelling to gigs far and wide, coaches filled with fans from all over the south of England would come and be a part of the Xtr@verts crew, especially when headlining their own gigs and with the support of ‘Rat Scabies’ drummer of the ‘Damned’ with a band he was managing ‘The Satellites’ played with the Xtr@verts on numerous occasions. Then there was the infamous ‘Oranges and Lemons’ gig in Oxford, The Clarenden, Fulham Greyhound, Hope’n’Anchor, plus many more memorable gigs in and around the home counties.
The Xtr@verts had a massive Punk and Skinhead following from as far as Birmingham to London and they would travel and support the band. The venues were packed with large chanting boisterous crowds and were more reminiscent of a Millwall -West Ham match than a concert.
At one gig in particular, 1980 at the Town Hall , High Wycombe, Rat Scabies even stood in and drummed for the band, and recently some 35 years later a recording of this electric gig has been discovered.
During late 1979, even after plays of both singles on ‘John Peel’s’ radio show, topping the N.M.E and SOUNDS charts, knocking ‘pretty vacant’ of the top of the independent charts also in the top 3 of the ‘Oi’ charts and a brief appearance on ‘20th Century Box’ a ‘Janet Street Porter’ production with an interview by ‘Danny Baker’ on the subject of independent record labels and unsigned bands releasing and distributing their own records. Unfortunately the writing was on the wall.
Coupled with musical differences, changing line up and dissallusion with the punk ethos and the arrival of a new breed of Punk more commonly known as ‘Oi’ which had started causing violent confrontations and injecting absolute ch@os between fans at latter gigs, on the 31st January
…………THE XTR@VERTS short life from 1976 to1980 was over……….
Reunions: album release and new line ups:
After the break up members went in different directions, Mark Chapman the totally flambouyant and outrageous base player became a top London DJ playing re mixes of 70’s disco classics in London Nightclubs becoming a promoter and entrepreneur, founder of ‘Car Wash’ and rubbing shoulders with new found friends ‘ Sigue Sigue Sputnik’.
Nigel played with a few local bands but moved into promoting rather than performing and opened the ‘Kat Klub’ under the flyover in the centre of town packing out the venue with bands like the U.K Subs, Crass, King Kurt, 999, the ‘Meteors’, ‘Angelic Upstarts’ and the ‘Vibrators’, keeping music live after the demise of the Town hall due to skinheads causing so much trouble at an ‘Adam Ant’ gig the venue was closed by the council.
During the next 10 years there was a handful of re union gigs, re hashing of old songs albeit very well received locally, during the mid eighties with the arrival of new guitarist Alistair Murray and drummer Steve McCormack ( who had been close friends with the band from day one) the Xtr@verts performed 3or 4 gigs with new image and style with a complete new set of songs.
After the release of a compilation Xtr@verts album, with songs and versions unheard of in the day, entitled ‘So Much Hate’ was released on ‘Detour’ records in the mid 90’s which has sold incredibly well worldwide, the Xtr@verts reformed once again and a launch gig was organised with the UK Subs….this was the last time the band were to play. A chapter in all the lives of the band members was finally put to sleep……….
Until now… 2014,
After the sad death of base player Mark Chapman and a chance meeting with long time friend and organiser of Brighton’s Skinhead Reunion Symond Lawes and with such a worldwide interest in past punk history and youth culture, the XTR@VERTS have reinvented themselves yet again and with a brand new and exciting line up are now in the process of recording a new album and rehearsing for a launch gig at the ‘100 Club’ (to be announced shortly).
The band’s new line up includes ;
NIGEL MARTIN Original ‘Xtr@verts’ and ‘Deathwish’ lead vocalist and front man.
CARLTON MOUNSHER Original Deathwish and Xtr@verts bassist now lead guitarist.
STEVE McCORMACK Later band member, having previously played with ‘Xtr@verts’ on many occasions, sang and recorded with his own band in the late 80’s early 90’s with his rocker outfit the ‘T-Birds’. Even supported ‘Screaming Lord Sutch !!’ Also appeared on Granada TV’s ‘Stars in their Eyes’ as ‘Billy Idol’ 1993/94 and has played drums with rockabilly bands home and abroad and is an accomplished Jazz singer.
NICK ‘BO’ CHAPMAN Also known as Joe Hope and brother of former base player Mark Chapman. Nick has played guitar for over 30 years, playing with local Folk Rock and Electronic bands throughout the 80’s to the present. ‘Were not the same were individuals’.
IAIN WOOSTER Iain has actively been playing in bands for the past 30 years, touring extensively through the 90’s UK and America, playing on albums for various artiste’s and an appearance with his band on the B.B.C’s ‘Eastenders’ during the 1990’s
The XTR@VERTS were a group that slipped through the media net and in their heyday were every bit as good as their contempories and although not up there with the flagship bands of the time they are credited and historically placed in the period that was punk rock. They appear in the top 100 punk bands of all time and have rubbed shoulders with many of the punk greats, perhaps now is the time to let people see what they missed or what might have been.
The Xtr@verts were one of Wycombe’s finest. So now let’s see what big brother’s little brother has to offer…….?????
‘Who Sent the Boys’. The story of the Xtraverts.
Biography written and researched by Steve McCormack. April 2014
Bermondsey Joy Riders to perform the Great Skinhead Reunion, Brighton
Late additions to the Bill for The Great skinhead Reunion 2015 The Bermondsey Joy Riders
Claiming all the credentials of a bonafide ‘77 super group, The Bermondsey Joyriders is a band pooling the hard-won experience and history of three veteran punks. Founding membersGary Lammin (vocals / guitar) and Martin Stacey (bass) cut their teeth in the Joe Strummer-produced Little Roosters and Generation X precursors Chelsea respectively, whilst recent recruit Chris Musto (drums) is a sticksman of some credentials – having previously played with Johnny Thunders, Joe Strummer and Nico, to name but a few!
More than the sum of their impressive punk rock heritage however, The Bermondsey Joyriders have won praise for splicing those sounds from suburbs with raw blues and Lammin’s startling slide guitar – emerging with a sonic signature that is undeniably all their own. Given just 12 hours (!) in the studio to lay down their self-titled 2008 debut, they managed to produce a record which Classic Rock magazine’s Carol Clerk deemed to have “pulled off a really impudent mix of influences”, and which Guitarist magazine’s Charles Shaar Murray felt had achieved a “unique spin on punk-blues”.
Featuring Gary Lammin, writer of Runnin Riot and Chip on your shoulder, original member of Cock Sparrer. Check their website for full info on the band
An international trip to London, From Germany, by Thilo
An international trip to London
Feb 2nd 2015 to Feb 6th 2015
At first I wanted to go to Rebellion Festival in Blackpool and the Great Skinhead Reunion in Brighton this year. But then my car broke and it had to be repaired. That was too expensive to realize these two trips to good old England.
Just a few days later good friends of mine from South Tyrol asked me to join their trip to London at the first days of February. it should be their first trip to England, so they would be very happy if I would go with them. This trip would be cheaper than going to the two festivals in Blackpool and Brighton, so I said “yes”. It was the first time I could celebrate my birthday in London.
It was Friday, Jan 30th, 6 o’clock in the morning. My brother drove me to the train station of the city of Bad Hersfeld. I left this town by train to arrive at the snow-covered city of Sterzing/South Tyrol. At that weekend I enjoyed the delicious south tyrolean cuisine and maybe a few too many glasses of red wine and beer.
On Monday, Feb 2nd it was Florian, Sandra, Stefan and me (Thilo) going to the airport of Bergamo/Italy at 5 o’clock in the morning. At about midday we arrived at the airport London Stansted.
First we took a taxi to our hotel in London Leyton. The taxi driver was very friendlich and told us to be careful in street-traffic because of the traffic on the left side of the street. When we arrived at our hotel we checked in, ate a small snack and went out to explore the capital of Great Britain. We didn’t want to waste any time, so we started quickly to work off our list of destinations which was full of football, subculture and the typical tourism stuff.
Using the Oyster Card we go by tube to our first destination, the Boleyn Ground in the East End. It was a pity that we can’t have a look inside the stadium but at the shop I bought a new scarf of West Ham United FC.
In the evening we went to Camden Town to have Fish & Chips at The Oxford Arms and have a few pints of beer at The Elephant’s Head.
The next day we explored a lot of tourism stuff. First we used the tube to get to Tower Hill Station. From that station we did a huge walk through London. We went to the Tower Of London and the Tower Bridge. After that we walked along River Thames to the London Eye. We had a wonderful view over the city and we took lots of pictures, so we disclosed our identity as tourists, haha.
On Westminster Bridge near Big Ben we met a bagpiper in traditional Scottish clothing. I hoped he would play the song “Hingland Cathedral” because my father loves this song too and plays it very often when he plays the bagpipe. We stopped for a while to listen to the bagpiper and I was very surprised as one of his next songs was “Highland Cathedral”. London, I thank you for that little present.
Stefan insisted to go to Hard Rock Café so we decided to have a late lunch there. We had a burger and chips and of course a pint of beer. After we were shocked by the bill we had to pay and disappointed by the music they played in the Hard Rock Café (It was everything but Hard Rock!!!) we went to Buckingham Palace and Westminster Abbey.
The darkness had set in, so we wanted to view the lights of Piccadilly Circus and Carnaby Street. The Day ended again in Camden Town. But this time we had a few pints in a pub called “The World’s End”.
It was Wednesday, Feb 4th. It was my 26th birthday. The same procedure as every day of this journey we met at the hotel lobby in the morning to have a breakfast in the hotel. I had to find out that I wasn’t the only person who bought something at the shop at Boleyn Ground two days before. Sandra gave a little Button to me on which you can find the coat of arms of West Ham United FC and the slogan “It’s my Birthday”. Sandra and the two other boys laughed and told me that I had to wear that button the whole day.
After the breakfast in the hotel we wanted to follow the Changing of the Guards at Buckingham Palace, but all we found was a sign-post “No Guard Changing Ceremony Today”. So we had enough time to visit Madame Tussauds’ before lunch. We took some distracted pictures with some wax celebrities and left the cabinet. Our next destination was the train station King’s Cross/St. Pancras. Sandra wanted to have a look at Platform 9 ¾ from the books and movies of Harry Potter.
At the early afternoon we arrived in Camden Town and we decided to spend the rest of the day there. Florian and I wanted to go shopping at Camden Lock Market. That was the day of the trip we spent the most money. We read in the internet about a shop called Oi! Oi! The Shop. The old skin inside the shop was very pleasant character and ready to help. He really knew where we can find the things we want to have. I saw a ring of Trojan records but I hesitated and didn’t buy it. Finally I bought a tee shirt of The Business, a CD of The 4-Skins and a few patches and pins. The other three spent a lot of money in the Lock Market too.
We all enjoyed the time in the pub called “The World’s End” one day before, so we decided to celebrate my birthday in that pub an have some beers before we went back to our hotel in London Leyton.
Our last full day in London started later than the days before because the day before we came back to our hotel very lately. We used the tube to come back to Camden Town. Everyone of us felt in love with this part of London and everyone had seen a thing that wasn’t been bought. For example I wanted to come back to Oi! Oi! The Shop to buy the Trojan ring. But first we searched for a possibility to have a Full English Breakfast. It was a tasty breakfast but after that all of us agreed that nobody needed a lunch after that. We went back to the old skin of Oi! Oi! The Shop. I wanted to buy the Trojan ring and while I was trying to find one that fits me, the others gave me the money for the ring and told me that the ring is a present for me. The owner of the shop asked them, why they were paying the ring for me. Sandra answered that yesterday was my birthday and the ring should be my birthday present. When he heard that, he went for a Trojan Skins Pin and gave it to me. He said it’s a birthday present too. I thanked him a few times and we left the shop.
In the meantime it was evening and we spent that evening in the hotel and went to bed because at the next morning we had to get up very early.
Friday, Feb 6th. The day we flew home to the continent. Early in the morning we got up to take a taxi back to the airport London Stansted. At midday we landed at the airport of Bergamo/Italy and drove back to Sterzing/South Tyrol. One day later I went back to my hessian home.
I had great days in the english capital. Everyone of us was sure to return to that impressive city.
That trip to London was a wonderful, but calm alternative to the festivals during the summer but I have to admit that it would have been awesome to visit the Great Skinhead Reunion in Brighton or the Rebellion Festival in Blackpool.
London, I spent a good time in you. THANK YOU.
Thilo
(written in March 2015)
Ein Internationaler Trip nach London
02.02.2015 – 06.02.2015
Eigentlich wollte ich in diesem Jahr auf das Rebellion Festival nach Blackpool und auf die Great Skinhead Reunion nach Brighton. Da aber mein Auto repariert werden musste und die Reparatur leider sehr teuer war, musste ich mich von dem Gedanken dieses Jahr nach Blackpool und Brighton zu fahren wohl verabschieden.
Nur ein paar Tage später erreichte mich von Freunden aus Südtirol die Nachricht, dass sie Ende Januar bis Anfang Februar nach London wollten. Da es ihre erste Reise nach London werden sollte, fragten sie mich, ob ich nicht mitkommen wollte. Da dieser Kurzurlaub in London wesentlich günstiger sein würde, als ein Besuch am Rebellion Festival in Blackpool und auf der Great Skinhead Reunion in Brighton, freute ich mich natürlich sehr über dieses Angebot und sagte sofort zu. Zumal ich damit auch das erste Mal meinen Geburtstag in London feiern konnte.
Es war Freitag, der 30. Januar. Mein Bruder fuhr mich morgens um halb 6 nach Bad Hersfeld an den Bahnhof. Von Dort aus ging es erstmal mit dem Zug ins verschneite Sterzing in Südtirol. Das Wochenende verbrachte ich dann bei Freunden in den Bergen und genoss die Südtiroler Küche und vielleicht auch das ein oder andere Glas Rotwein und Bier zuviel.
Am Montag, den 2. Februar starteten wir, Florian, Sandra, Stefan und ich (Thilo) um 05:00 Uhr morgens von Sterzing aus nach Bergamo an den Flughafen. Mittags landeten wir am Flughafen London Stansted. Es waren für die meine drei Mitstreiter die ersten Schritte auf englischem Boden.
Wir fuhren weiter mit dem Taxi in den Stadtteil Leyton zu unserem Hotel. Unser Taxifahrer war sehr freundlich und wies uns mehrmals darauf hin, dass wir im Straßenverkehr vorsichtig sein müssten, da der Linksverkehr eine große Umstellung für uns sein könnte. Der erste Eindruck von England war für die Erstbesucher durch den netten Taxifahrer also ein durchweg positiver. Am Hotel angekommen, checkten wir kurz ein, brachten unser Gepäck auf die Zimmer und aßen eine Kleinigkeit bevor wir uns gleich auf den Weg machten London zu unsicher zu machen. Wir wollten keine Zeit verlieren und füllten die wenigen Tage, die vor uns lagen optimal mit einer Mischung aus Fußball, Subkultur und dem typischen Touristen-Programm.
Mit der Oyster Card im Gepäck machten wir uns mit der U-Bahn auf zu unserem ersten Ziel, dem Stadion Boleyn Ground im Londoner East End. Es war schade, dass wir das Stadion nur von Außen besichtigt haben, aber ich habe mir im Stadion Shop noch einen neuen Schal von West Ham United kaufen können.
Am Abend hat es uns nach Camden Town verschlagen. Wir aßen im The Oxford Arms Fish & Chips und danach gingen wir nach Gegenüber ins The Elephant’s Head um den ersten Tag in London bei einigen Bieren zu beenden.
Am nächsten Tag sollte ein langer Fußmarsch vor uns liegen. Wir fuhren mit der U-Bahn zur Station Tower Hill. Nachdem wir dem Tower Of London einen kurzen Besuch abstatteten ging es per Pedes weiter zur Tower Bridge und an der Themse entlang zum London Eye. Ein herrlicher Ausblick bot sich uns von der Spitze dieses Riesenrades direkt am Ufer der Themse. Wir genossen den Blick über die Dächer von London und zückten auch das ein oder andere Mal die Kamera.
Weiter ging es über die Westminster Bridge zum Big Ben. Auf der Westminster Bridge stand ein Dudelsackspieler in typisch schottischer Tracht. Insgeheim wünschte ich mir, dass er das Lied „Highland Cathedral“ spielen würde, da mein Vater dieses Lied auch sehr liebt und oft spielt. Wir hielten einen Moment an und hörten ihm zu. Ich war sehr überrascht, als das nächste Lied, was er anstimmen sollte, dann tatsächlich „Highland Cathedral“ war. Ich danke London für dieses kleine Geschenk.
Da Stefan unbedingt ins örtliche Hardrock Café wollte, nutzten wir die Gelegenheit und nahmen dort gleich ein etwas verspätetes Mittagessen in Form von Burgern und Pommes ein. Dazu gab es natürlich wieder ein Bier. Wir staunten allerdings nicht schlecht, als wir die Rechnung bekamen. Die Musik hatte auch nur sehr wenig mit Hard Rock zu tun. So gingen wir dann auch etwas ärmer und auch vom Gesamteindruck leicht enttäuscht weiter unseres Weges. Auf dem Weg zur U-Bahn-Station lief uns noch der Buckingham Pallace und Westminster Abbey zufällig über den Weg.
inzwischen war es dunkel geworden, sodass wir den Piccadilly Circus in seiner ganzen Lichterpracht zu sehen bekamen. Die Carnaby Street sollte unser letztes Ziel sein, bevor wir den Abend wieder in Camden Town, diesmal aber im The World’s End Pub, ausklingen ließen.
Es war Mittwoch, der 4. Februar. Es war mein sechsundzwanzigster Geburtstag. Wir trafen uns wie jeden Morgen in der Hotellobby. Dort erhielt ich auch gleich ein kleines Geburtstagsgeschenk von Sandra. Ich war nicht der einzige, der am Montag im Stadion Shop im Boleyn Ground etwas gekauft hat. Sandra kaufte einen Button, mit der Aufschrift „It’s My Birthday“ und dem Vereinswappen von West Ham United in der Mitte. Diesen Button musste ich dann den ganzen Tag lang tragen.
Nach dem Frühstück fuhren wir mit der U-Bahn wieder zum Buckingham Pallace um uns die Wachablösung anzusehen. Dort angekommen fanden wir allerdings nur ein Schild vor, auf dem folgender Text zu lesen war: „No Guard Changing Ceremony Today“. So ging es dann eben etwas früher als eigentlich geplant in Madame Tussauds’ Wachsfigurenkabinett. Nachdem wir dort das ein oder andere verstörende Bild mit dem ein oder anderen Wachsprominenten machten ging unsere Reise weiter zum Bahnhof King’s Cross/St. Pancras. Sandra wollte sich dort unbedingt das Gleis 9 ¾ aus den Harry Potter Büchern und Filmen ansehen. Am späten Mittag sind wir dann in Camden Town angekommen. Hier verbrachten wir dann auch den Rest des Tages. Ich glaube dies war der Tag der Reise, an dem wir das meiste Geld ausgaben. Das meiste Geld davon sollten wir im Oi! Oi! The Shop lassen. Ich gönnte mir ein T-Shirt von The Business, eine CD von The 4-Skins, sowie einige Aufnäher und Pins. Ich sah auch einen Ring von Trojan Records, der es mir wirklich angetan hatte, den ich aber nicht mitnahm. Auch der Rest der Reisetruppe schlug ordentlich zu. Der ältere Skin im Laden war sehr hilfsbereit, er wusste genau wo die Dinge waren, nach denen wir suchten. Da uns der Pub „ The World’s End“ sehr gut gefallen hatte, beschlossen wir meinen Geburtstag dort noch etwas zu feiern, bevor wir wieder ins Hotel fuhren.
Unseren letzten kompletten Tag in London gingen wir langsam an. Nachdem wir am Vorabend ausgiebig gefeiert hatten, schliefen wir bis in den späten Vormittag hinein. Anschließend fuhren wir mit der U-Bahn in die Stadt um uns ein Englisches Frühstück zu gönnen. Das Frühstück war genau nach meinem Geschmack und es machte so satt, dass man bis zum Abend nichts mehr essen brauchte.
Beim Frühstück berieten wir uns, wie wir den letzten Tag verbringen wollten. Schnell wurden wir uns einig, dass wir alle nochmal nach Camden Town wollten, da jeder von uns gestern beim Shopping im Camden Lock Market noch etwas zurückgelassen hatte, was er/sie noch unbedingt haben wollte. Wir hatten uns einfach in diesen Stadtteil verliebt. Wir besuchten auch Oi! Oi! The Shop wieder, da ich dort einen Ring mit dem Logo von Trojan Records gesehen habe, den ich mir unbedingt noch kaufen musste. Als ich einige Ringe anprobiert hatte und die richtige Größe gefunden hatte, teilten mir Sandra, Florian und Stefan mit, dass sie zusammen gelegt haben und mir diesen Ring zu meinem gestrigen Geburtstag schenken möchten. Sandra gab dem älteren Skin vom Shop das Geld und voller Dankbarkeit nahm ich den Ring entgegen und streifte ihn mir über den Ringfinger. Auf der anderen Seite der Ladentheke fragte der Skin in die Runde, warum sie mir den Ring schenken, schließlich sei er ja nicht günstig. Sandra antwortete ihm, dass ich gestern Geburtstag gehabt hatte und dass der Ring mein Geburtstagsgeschenk sei. Daraufhin schenkte er mir noch einen „Trojan Skins“- Pin. Voller Freude verließ ich mit den anderen den Shop.
Es war mittlerweile Abend geworden und da wir am nächsten Tag wieder sehr früh zum Flughafen mussten, beschlossen wir, an diesem Abend mal nur ein Bier zu trinken und dann gleich ins Hotel zurück zu fahren.
Es war Freitag, der 6. Februar und der Tag unserer Abreise. Schon sehr früh nahmen wir uns ein Taxi und fuhren zurück Richtung London Stansted.
Am Vormittag landeten wir wieder im norditalienischen Bergamo, bevor wir mit dem Auto weiter Nach Südtirol und Sterzing fuhren. Am nächsten Tag fuhr ich wieder mit dem Zug zurück in meine nordhessische Heimat.
Es waren sehr schöne Tage in der englischen Hauptstadt. Auch meine drei Freunde waren sich sicher, sie waren nicht das letzte Mal in London. Diese schöne Stadt würden wir wieder besuchen.
Dieser Urlaub war eine sehr schöne, wenn auch viel ruhigere Alternative zum ausfallenden Besuches am Rebellion Festival in Blackpool. London, Du hast mir viele kleine Freuden gemacht. Dafür danke ich Dir.
Thilo
(geschrieben im März 2015)
An international trip to London, From Germany, by Thilo
An international trip to London
Feb 2nd 2015 to Feb 6th 2015
At first I wanted to go to Rebellion Festival in Blackpool and the Great Skinhead Reunion in Brighton this year. But then my car broke and it had to be repaired. That was too expensive to realize these two trips to good old England.
Just a few days later good friends of mine from South Tyrol asked me to join their trip to London at the first days of February. it should be their first trip to England, so they would be very happy if I would go with them. This trip would be cheaper than going to the two festivals in Blackpool and Brighton, so I said “yes”. It was the first time I could celebrate my birthday in London.
It was Friday, Jan 30th, 6 o’clock in the morning. My brother drove me to the train station of the city of Bad Hersfeld. I left this town by train to arrive at the snow-covered city of Sterzing/South Tyrol. At that weekend I enjoyed the delicious south tyrolean cuisine and maybe a few too many glasses of red wine and beer.
On Monday, Feb 2nd it was Florian, Sandra, Stefan and me (Thilo) going to the airport of Bergamo/Italy at 5 o’clock in the morning. At about midday we arrived at the airport London Stansted.
First we took a taxi to our hotel in London Leyton. The taxi driver was very friendlich and told us to be careful in street-traffic because of the traffic on the left side of the street. When we arrived at our hotel we checked in, ate a small snack and went out to explore the capital of Great Britain. We didn’t want to waste any time, so we started quickly to work off our list of destinations which was full of football, subculture and the typical tourism stuff.
Using the Oyster Card we go by tube to our first destination, the Boleyn Ground in the East End. It was a pity that we can’t have a look inside the stadium but at the shop I bought a new scarf of West Ham United FC.
In the evening we went to Camden Town to have Fish & Chips at The Oxford Arms and have a few pints of beer at The Elephant’s Head.
The next day we explored a lot of tourism stuff. First we used the tube to get to Tower Hill Station. From that station we did a huge walk through London. We went to the Tower Of London and the Tower Bridge. After that we walked along River Thames to the London Eye. We had a wonderful view over the city and we took lots of pictures, so we disclosed our identity as tourists, haha.
On Westminster Bridge near Big Ben we met a bagpiper in traditional Scottish clothing. I hoped he would play the song “Hingland Cathedral” because my father loves this song too and plays it very often when he plays the bagpipe. We stopped for a while to listen to the bagpiper and I was very surprised as one of his next songs was “Highland Cathedral”. London, I thank you for that little present.
Stefan insisted to go to Hard Rock Café so we decided to have a late lunch there. We had a burger and chips and of course a pint of beer. After we were shocked by the bill we had to pay and disappointed by the music they played in the Hard Rock Café (It was everything but Hard Rock!!!) we went to Buckingham Palace and Westminster Abbey.
The darkness had set in, so we wanted to view the lights of Piccadilly Circus and Carnaby Street. The Day ended again in Camden Town. But this time we had a few pints in a pub called “The World’s End”.
It was Wednesday, Feb 4th. It was my 26th birthday. The same procedure as every day of this journey we met at the hotel lobby in the morning to have a breakfast in the hotel. I had to find out that I wasn’t the only person who bought something at the shop at Boleyn Ground two days before. Sandra gave a little Button to me on which you can find the coat of arms of West Ham United FC and the slogan “It’s my Birthday”. Sandra and the two other boys laughed and told me that I had to wear that button the whole day.
After the breakfast in the hotel we wanted to follow the Changing of the Guards at Buckingham Palace, but all we found was a sign-post “No Guard Changing Ceremony Today”. So we had enough time to visit Madame Tussauds’ before lunch. We took some distracted pictures with some wax celebrities and left the cabinet. Our next destination was the train station King’s Cross/St. Pancras. Sandra wanted to have a look at Platform 9 ¾ from the books and movies of Harry Potter.
At the early afternoon we arrived in Camden Town and we decided to spend the rest of the day there. Florian and I wanted to go shopping at Camden Lock Market. That was the day of the trip we spent the most money. We read in the internet about a shop called Oi! Oi! The Shop. The old skin inside the shop was very pleasant character and ready to help. He really knew where we can find the things we want to have. I saw a ring of Trojan records but I hesitated and didn’t buy it. Finally I bought a tee shirt of The Business, a CD of The 4-Skins and a few patches and pins. The other three spent a lot of money in the Lock Market too.
We all enjoyed the time in the pub called “The World’s End” one day before, so we decided to celebrate my birthday in that pub an have some beers before we went back to our hotel in London Leyton.
Our last full day in London started later than the days before because the day before we came back to our hotel very lately. We used the tube to come back to Camden Town. Everyone of us felt in love with this part of London and everyone had seen a thing that wasn’t been bought. For example I wanted to come back to Oi! Oi! The Shop to buy the Trojan ring. But first we searched for a possibility to have a Full English Breakfast. It was a tasty breakfast but after that all of us agreed that nobody needed a lunch after that. We went back to the old skin of Oi! Oi! The Shop. I wanted to buy the Trojan ring and while I was trying to find one that fits me, the others gave me the money for the ring and told me that the ring is a present for me. The owner of the shop asked them, why they were paying the ring for me. Sandra answered that yesterday was my birthday and the ring should be my birthday present. When he heard that, he went for a Trojan Skins Pin and gave it to me. He said it’s a birthday present too. I thanked him a few times and we left the shop.
In the meantime it was evening and we spent that evening in the hotel and went to bed because at the next morning we had to get up very early.
Friday, Feb 6th. The day we flew home to the continent. Early in the morning we got up to take a taxi back to the airport London Stansted. At midday we landed at the airport of Bergamo/Italy and drove back to Sterzing/South Tyrol. One day later I went back to my hessian home.
I had great days in the english capital. Everyone of us was sure to return to that impressive city.
That trip to London was a wonderful, but calm alternative to the festivals during the summer but I have to admit that it would have been awesome to visit the Great Skinhead Reunion in Brighton or the Rebellion Festival in Blackpool.
London, I spent a good time in you. THANK YOU.
Thilo
(written in March 2015)
Ein Internationaler Trip nach London
02.02.2015 – 06.02.2015
Eigentlich wollte ich in diesem Jahr auf das Rebellion Festival nach Blackpool und auf die Great Skinhead Reunion nach Brighton. Da aber mein Auto repariert werden musste und die Reparatur leider sehr teuer war, musste ich mich von dem Gedanken dieses Jahr nach Blackpool und Brighton zu fahren wohl verabschieden.
Nur ein paar Tage später erreichte mich von Freunden aus Südtirol die Nachricht, dass sie Ende Januar bis Anfang Februar nach London wollten. Da es ihre erste Reise nach London werden sollte, fragten sie mich, ob ich nicht mitkommen wollte. Da dieser Kurzurlaub in London wesentlich günstiger sein würde, als ein Besuch am Rebellion Festival in Blackpool und auf der Great Skinhead Reunion in Brighton, freute ich mich natürlich sehr über dieses Angebot und sagte sofort zu. Zumal ich damit auch das erste Mal meinen Geburtstag in London feiern konnte.
Es war Freitag, der 30. Januar. Mein Bruder fuhr mich morgens um halb 6 nach Bad Hersfeld an den Bahnhof. Von Dort aus ging es erstmal mit dem Zug ins verschneite Sterzing in Südtirol. Das Wochenende verbrachte ich dann bei Freunden in den Bergen und genoss die Südtiroler Küche und vielleicht auch das ein oder andere Glas Rotwein und Bier zuviel.
Am Montag, den 2. Februar starteten wir, Florian, Sandra, Stefan und ich (Thilo) um 05:00 Uhr morgens von Sterzing aus nach Bergamo an den Flughafen. Mittags landeten wir am Flughafen London Stansted. Es waren für die meine drei Mitstreiter die ersten Schritte auf englischem Boden.
Wir fuhren weiter mit dem Taxi in den Stadtteil Leyton zu unserem Hotel. Unser Taxifahrer war sehr freundlich und wies uns mehrmals darauf hin, dass wir im Straßenverkehr vorsichtig sein müssten, da der Linksverkehr eine große Umstellung für uns sein könnte. Der erste Eindruck von England war für die Erstbesucher durch den netten Taxifahrer also ein durchweg positiver. Am Hotel angekommen, checkten wir kurz ein, brachten unser Gepäck auf die Zimmer und aßen eine Kleinigkeit bevor wir uns gleich auf den Weg machten London zu unsicher zu machen. Wir wollten keine Zeit verlieren und füllten die wenigen Tage, die vor uns lagen optimal mit einer Mischung aus Fußball, Subkultur und dem typischen Touristen-Programm.
Mit der Oyster Card im Gepäck machten wir uns mit der U-Bahn auf zu unserem ersten Ziel, dem Stadion Boleyn Ground im Londoner East End. Es war schade, dass wir das Stadion nur von Außen besichtigt haben, aber ich habe mir im Stadion Shop noch einen neuen Schal von West Ham United kaufen können.
Am Abend hat es uns nach Camden Town verschlagen. Wir aßen im The Oxford Arms Fish & Chips und danach gingen wir nach Gegenüber ins The Elephant’s Head um den ersten Tag in London bei einigen Bieren zu beenden.
Am nächsten Tag sollte ein langer Fußmarsch vor uns liegen. Wir fuhren mit der U-Bahn zur Station Tower Hill. Nachdem wir dem Tower Of London einen kurzen Besuch abstatteten ging es per Pedes weiter zur Tower Bridge und an der Themse entlang zum London Eye. Ein herrlicher Ausblick bot sich uns von der Spitze dieses Riesenrades direkt am Ufer der Themse. Wir genossen den Blick über die Dächer von London und zückten auch das ein oder andere Mal die Kamera.
Weiter ging es über die Westminster Bridge zum Big Ben. Auf der Westminster Bridge stand ein Dudelsackspieler in typisch schottischer Tracht. Insgeheim wünschte ich mir, dass er das Lied „Highland Cathedral“ spielen würde, da mein Vater dieses Lied auch sehr liebt und oft spielt. Wir hielten einen Moment an und hörten ihm zu. Ich war sehr überrascht, als das nächste Lied, was er anstimmen sollte, dann tatsächlich „Highland Cathedral“ war. Ich danke London für dieses kleine Geschenk.
Da Stefan unbedingt ins örtliche Hardrock Café wollte, nutzten wir die Gelegenheit und nahmen dort gleich ein etwas verspätetes Mittagessen in Form von Burgern und Pommes ein. Dazu gab es natürlich wieder ein Bier. Wir staunten allerdings nicht schlecht, als wir die Rechnung bekamen. Die Musik hatte auch nur sehr wenig mit Hard Rock zu tun. So gingen wir dann auch etwas ärmer und auch vom Gesamteindruck leicht enttäuscht weiter unseres Weges. Auf dem Weg zur U-Bahn-Station lief uns noch der Buckingham Pallace und Westminster Abbey zufällig über den Weg.
inzwischen war es dunkel geworden, sodass wir den Piccadilly Circus in seiner ganzen Lichterpracht zu sehen bekamen. Die Carnaby Street sollte unser letztes Ziel sein, bevor wir den Abend wieder in Camden Town, diesmal aber im The World’s End Pub, ausklingen ließen.
Es war Mittwoch, der 4. Februar. Es war mein sechsundzwanzigster Geburtstag. Wir trafen uns wie jeden Morgen in der Hotellobby. Dort erhielt ich auch gleich ein kleines Geburtstagsgeschenk von Sandra. Ich war nicht der einzige, der am Montag im Stadion Shop im Boleyn Ground etwas gekauft hat. Sandra kaufte einen Button, mit der Aufschrift „It’s My Birthday“ und dem Vereinswappen von West Ham United in der Mitte. Diesen Button musste ich dann den ganzen Tag lang tragen.
Nach dem Frühstück fuhren wir mit der U-Bahn wieder zum Buckingham Pallace um uns die Wachablösung anzusehen. Dort angekommen fanden wir allerdings nur ein Schild vor, auf dem folgender Text zu lesen war: „No Guard Changing Ceremony Today“. So ging es dann eben etwas früher als eigentlich geplant in Madame Tussauds’ Wachsfigurenkabinett. Nachdem wir dort das ein oder andere verstörende Bild mit dem ein oder anderen Wachsprominenten machten ging unsere Reise weiter zum Bahnhof King’s Cross/St. Pancras. Sandra wollte sich dort unbedingt das Gleis 9 ¾ aus den Harry Potter Büchern und Filmen ansehen. Am späten Mittag sind wir dann in Camden Town angekommen. Hier verbrachten wir dann auch den Rest des Tages. Ich glaube dies war der Tag der Reise, an dem wir das meiste Geld ausgaben. Das meiste Geld davon sollten wir im Oi! Oi! The Shop lassen. Ich gönnte mir ein T-Shirt von The Business, eine CD von The 4-Skins, sowie einige Aufnäher und Pins. Ich sah auch einen Ring von Trojan Records, der es mir wirklich angetan hatte, den ich aber nicht mitnahm. Auch der Rest der Reisetruppe schlug ordentlich zu. Der ältere Skin im Laden war sehr hilfsbereit, er wusste genau wo die Dinge waren, nach denen wir suchten. Da uns der Pub „ The World’s End“ sehr gut gefallen hatte, beschlossen wir meinen Geburtstag dort noch etwas zu feiern, bevor wir wieder ins Hotel fuhren.
Unseren letzten kompletten Tag in London gingen wir langsam an. Nachdem wir am Vorabend ausgiebig gefeiert hatten, schliefen wir bis in den späten Vormittag hinein. Anschließend fuhren wir mit der U-Bahn in die Stadt um uns ein Englisches Frühstück zu gönnen. Das Frühstück war genau nach meinem Geschmack und es machte so satt, dass man bis zum Abend nichts mehr essen brauchte.
Beim Frühstück berieten wir uns, wie wir den letzten Tag verbringen wollten. Schnell wurden wir uns einig, dass wir alle nochmal nach Camden Town wollten, da jeder von uns gestern beim Shopping im Camden Lock Market noch etwas zurückgelassen hatte, was er/sie noch unbedingt haben wollte. Wir hatten uns einfach in diesen Stadtteil verliebt. Wir besuchten auch Oi! Oi! The Shop wieder, da ich dort einen Ring mit dem Logo von Trojan Records gesehen habe, den ich mir unbedingt noch kaufen musste. Als ich einige Ringe anprobiert hatte und die richtige Größe gefunden hatte, teilten mir Sandra, Florian und Stefan mit, dass sie zusammen gelegt haben und mir diesen Ring zu meinem gestrigen Geburtstag schenken möchten. Sandra gab dem älteren Skin vom Shop das Geld und voller Dankbarkeit nahm ich den Ring entgegen und streifte ihn mir über den Ringfinger. Auf der anderen Seite der Ladentheke fragte der Skin in die Runde, warum sie mir den Ring schenken, schließlich sei er ja nicht günstig. Sandra antwortete ihm, dass ich gestern Geburtstag gehabt hatte und dass der Ring mein Geburtstagsgeschenk sei. Daraufhin schenkte er mir noch einen „Trojan Skins“- Pin. Voller Freude verließ ich mit den anderen den Shop.
Es war mittlerweile Abend geworden und da wir am nächsten Tag wieder sehr früh zum Flughafen mussten, beschlossen wir, an diesem Abend mal nur ein Bier zu trinken und dann gleich ins Hotel zurück zu fahren.
Es war Freitag, der 6. Februar und der Tag unserer Abreise. Schon sehr früh nahmen wir uns ein Taxi und fuhren zurück Richtung London Stansted.
Am Vormittag landeten wir wieder im norditalienischen Bergamo, bevor wir mit dem Auto weiter Nach Südtirol und Sterzing fuhren. Am nächsten Tag fuhr ich wieder mit dem Zug zurück in meine nordhessische Heimat.
Es waren sehr schöne Tage in der englischen Hauptstadt. Auch meine drei Freunde waren sich sicher, sie waren nicht das letzte Mal in London. Diese schöne Stadt würden wir wieder besuchen.
Dieser Urlaub war eine sehr schöne, wenn auch viel ruhigere Alternative zum ausfallenden Besuches am Rebellion Festival in Blackpool. London, Du hast mir viele kleine Freuden gemacht. Dafür danke ich Dir.
Thilo
(geschrieben im März 2015)
How Fred Perry polos became the victim of lazy journalism
Peter ‘Test Tube’ Bywaters Deported from USA for impersonating Trump
British punk singer Peter Bywaters ‘deported from America for impersonating Donald Trump’
Continue reading Peter ‘Test Tube’ Bywaters Deported from USA for impersonating TrumpBagdad
I couldn’t sleep I’d wake and cry, You couldn’t sleep because I lied.
Continue reading BagdadNew trend in 2015. Header Hero
Integer ut neque sapien. Nulla facilisi. Vestibulum maximus laoreet justo, ut elementum orci cursus in. Sed aliquet, ex eget pulvinar vulputate, ex ligula dignissim eros, a vestibulum lacus purus quis lacus. Duis ut varius lectus. Suspendisse eget est sed odio egestas pharetra eu ut nisi. Aenean non varius erat. Nunc dictum eros ac blandit cursus. Curabitur et eros urna. Fusce non eros elementum, pharetra massa ac, finibus mi.
Continue reading New trend in 2015. Header HeroFrom Concrete Jungle Festival to X-ray Spex live at the Roundhouse
What was I thinking, the day I decided to get involved with punk rock. My youth was way behind me, long gone were the days when I thought we were going to change the world.
Skins
This is the story of transformation between youth and manhood
One Day
One day I wish it could be just like it never was, One day I wish that I just didn’t care.
Subcultz Stockholm, Featuring live bands, MindofaLion and Mankind
Great news, Subcultz have teamed up with our Swedish friends to create some regular nights.Our first offering is the Fantastic British Indie band ‘Mind of a Lion’ playing with Stockholm band, ‘Mankind’ This is a free gig. and we are expecting a full house. get there early
Subcultz proudly presents , live at PetSound bar, An evening full of energy with two great bands that will shake you up ;
Mindofalion from Brighton, England
https://www.facebook.com/Mindofalion?fref=ts
http://mindofalion.wix.com/mindofalion
MANKIND from Stockholm, Sweden
https://www.facebook.com/musicofMANKIND?fref=ts
https://soundcloud.com/musicofmankind
FREE ENTRANCE
Come and share this night together with drinks, friends and good music. Bands on stage at 20.00, be there on time…!
//Subcultz Stockholm
Great gig, sell out event, and mindofalion were cheered back for an encore, to a completely new audience.
Return to Humanity (food for all)
The Battle For Bagdad
I couldn’t sleep I’d wake and cry,
You couldn’t sleep because I lied.
But do you really want to know the truth ,
The day I gave away my youth.
They told us to stand upon the sand.
There’s no-one there only the dead,
The planes had all flown over head.
“Stand and be proud” said Mr Bush,
This today our final push.
We’ve been trained for this my highland boys,
We played like soldiers with our toys.
There’s no-one there, just sand and stone,
But its me this time , that goes alone.
Horay we charged, on our way to Bagdad,
The people they cheer, we will all be glad.
There’s no-one there, only the dead,
The planes had all flown over head.
So we ran, oh what a crack,
On our backs, 200lb packs.
There’s no-one there only the dead,
The planes had all flown over head.
I couldn’t sleep. I’d wake and cry,
You couldn’t sleep because I lied.
Over the hole in no mans land,
My rifle held within my hands.
But who was that Mr Bush?
The boy I met on the final push.
A frightened child, with a wide eyed stare.
No prisoners they said, til we make the line,
No prisoners they said, there is no time.
There’s no-one there, only the dead,
The planes had all flown over head.
That day I killed a mother’s child,
My darling mothers Bastard child.
Symond Lawes
2005
Please Support my good friend Jennie Matthias in her charity project, helping those that are not as fortunate as you
Chelsea Headhunters Racism caught on camera in Paris Underground
Taken from The Guardian newspaper We’re racist, we’re racist. And that’s the way we like it.” Just in case there was any possibility that the group of Chelsea hooligans were preventing a man from boarding a train on the Paris Métro for a reason more obscure than the colour of his skin, they helpfully illustrated their actions with a chant. They are racist.
They like being racist. What further justification than their liking of racism could they possibly need? It’s quite menacing, I think, the counterpoint in that chant, with the understated use of the word “like” confirming that half the fun is in embracing a powerfully destructive and hateful identity in a casual way, as if it’s merely a mild preference. These guys don’t feel passionately racist. It’s just something they “like”. No big deal. What’s all the fuss about?
Chelsea and the U.N condemn fans who pushed black man off Paris Métro Read more Are these men still finding their self-identification as racists enjoyable, now that a fellow passenger has filmed them in their petty aggression and taken it to the media? These men will be identified, banned from attending Chelsea matches at the very least, and perhaps face with criminal charges.
In the meantime, we can be assured of further why-oh-why discussion as to why football should continue to attract racists, despite the game’s years of concerted effort to disassociate itself from racism. Maybe I’m missing something here, but it always seems to me that football support is all about feeling that you’re part of one group and are opposed to another group.
In that way it surely shares at least some of the mentality of the racist. Then there’s the even more tiresome question of why these racist men support Chelsea even though it has so many black players. Yes. Why would a racist enjoy cynically exploiting the skills of black people? Such a baffling mystery. When, in human history, has that ever happened? No doubt these men are now feeling that they are the victims – victims of the political correctness that they think it so clever to defy.
It’s a shame, in a way, that the term “political correctness” even exists, that being against ignorant prejudice and vicious hatred can be characterised not as civilised but as “political”, not as right but as “correct”. The phrase implies heavily that a set of rules that should be followed has been brought into being in some arbitrary, faceless, undemocratic power-grab. The saddest thing is that men such as these men, who “like” hating strangers of whom they know nothing, really do feel that they are the ones being oppressed by a sinister ideology, when all that’s oppressing them is their own nasty, small-minded resentment.
By Deborah Orr
Not undermining, the fact a gang of drunks abusing a rail passenger is a pathetic act, its probably worth looking at the root of where the British football hooligan comes from. The rough end of the council estate. Brought up on a gang mentality. Has much changed in 30 years? Perhaps only the colour of skin
But in the scheme of things, should it really warrant such a high level of BBC media coverage Does anyone remember this being broadcast so loudly?
Facebook deletes The Great Skinhead Reunion Group
It seems once again the corporate dictatorship, which is Facebook, has deleted our community group page, for no apparent reason. We at subcultz , have been building the Reunion event over the last 5 years, with no problems at all. We have successfully mixed all non political skinhead music genres together, and are seeing a mass of skinheads, and ex skinheads, young and old, from across the globe coming the Brighton every year. The most frustrating thing, is there seems no right of appeal, or even contact ability, with whoever it was, that pressed the delete button. We have lost our event page and hundreds of photos, held on the page. Its completely against democracy, to take peoples right of free speech and communication away.
The Skinhead Reunion itself is doing really well. We have the best reggae DJ’s on the planet booked up again, We have around 9 bands, and presales tickets are up over 150, on 2014. If anyone out there knows of a way to communicate with facebook please let me know. But otherwise we have to just grit our teeth and keep moving forward. We have no interest at all in Bullshit skinhead politics of left or right. We are here to party and have fun. Everyone is welcome, from whatever background you come, To meet and have a good time, drink some beer and listen to great music. Keep the Faith
However much i hate to have to keep relying on facebook, this is our subcultz page
Whatever Facebooks motivation was to delete us, the most ironic thing, is that Their big Brother HQ is in Dublin. And we have a young band booked to play from there, called the Dodgy Few. we have Skinheads who lived through the troubles in Northern Ireland, from both sides of the sectarian divide, drinking together, with Ex British soldiers. We have created something undreamed of 25 years ago. When the powers that be, had the working classes killing eachother, in a civil war.
What happens when you ‘report abuse’? The secretive Facebook censors who decide what is – and what isn’t abuse
A report from the Independant newspaper UK
The first thing that catches the eye of a visitor entering the lobby of Facebook’s European headquarters is the array of motivational posters stapled to the far wall. “Proceed And Be Bold”, orders one. “What Would You Do If You Weren’t Afraid?” asks another. “Done is Better Than Perfect”.
Stepping inside the gleaming, jagged glass building in Dublin’s docklands is like passing through a portal to San Francisco. Staff wearing hoodies and jeans and clutching Apple laptops negotiate their way through an obstacle course of low-hanging Frank Gehry lights, orange beanbags and ping pong tables.
But appearances can be deceptive. The joyful pop soundtrack in the canteen and the urban art adorning the walls belies the fact that some of the hundreds of people employed here are carrying out some very serious – and very sensitive – work.
To mark Safer Internet Day on Tuesday, The Independent became the first newspaper to be given access to Facebook’s Community Operations team: the men and women tasked with responding to reports of abuse by the site’s users. They are trained to cover everything from low-level spam all the way up to serious cyberbullying, hate speech, terrorist threats and suicidal cries for help.
Dublin is Facebook’s most important headquarters outside California. The Community Operations team based here does not just cover Europe, but also examines reports sent in by millions of users across the Middle East, Africa and large parts of Latin America. In the words of Sonia Flynn, the managing director of Facebook Ireland, they are “the front line between Facebook and the people who use Facebook”.
She adds that while the “vast majority” of reports received require no further action, when a serious concern is raised the team needs to act quickly and decisively. For this reason, a Community Operations person covering Spain cannot simply get away with speaking fluent Spanish – they must also have a good cultural knowledge of the country. Forty-four different nationalities are represented in the Dublin team alone.
“We put emphasis on hiring people from the different countries with the right language expertise and cultural understanding,” says Flynn. “When someone creates a piece of content – whether it’s a photo or a comment – there’s what’s said and what’s meant. That’s why it’s really important for us to have people who understand not just the language, but the culture of the country that they’re supporting.”
The offices of Facebook in Dublin, where the community operations teams is based
In the past, Facebook has been criticised for lacking the human touch in its interactions with its ever-growing army of users (at last count, there were 1.39 billion of them across the world). A notable example occurred at the end of last year, when American web designer Eric Meyer highlighted what he described as the site’s “inadvertent algorithmic cruelty”.
Mr Meyer had been invited to try out the site’s Year in Review feature – an automatically generated list of his Facebook “highlights” from 2014 – only to be confronted by a picture of his daughter Rebecca, who died earlier in the year. The product manager responsible for the feature later emailed him to personally apologise.
Content policy manager Ciara Lyden, who used to work on the Community Operations team, says she often saw first-hand how the public perceive Facebook. “Every so often I’d help someone out with a query that they had, and then they’d be like: ‘Thanks – if you’re a person or a robot, I don’t know’. I’d have to write back to tell them that I really am a person,” she says.
While she admits that Facebook could “do more” to show its human side, she points out that the site has to be built around the fact that it has more than a billion users who are online 24 hours a day. The company has put a lot of effort into what it calls “compassion research”, taking advice from academics at Yale’s Centre for Emotional Intelligence on how to help users interact with each other so they can resolve their differences without Facebook taking any action at all.
Previously, if one user said something that another found offensive, Facebook would simply look at whether the content broke any rules and if it did, take it down. Now it can act as a sort of digital counsellor, giving the offended person the chance to explain to the other why they were hurt.
Facebook could “do more” to show its human side (Getty Images)
Instead of just typing into a blank box, the offended user is given a set of possible phrases to describe how they feel. The choice depends on their age: a teenager will see words more likely to be in their vocabulary (“mean”), whereas an adult will see more sophisticated options (“inappropriate”, “harassing”).
The approach seems to be working, as in the vast majority of cases, the person responsible for the post deletes it of their own accord. “In the real world, if you upset me I’d likely go and tell you that you’ve upset me, and we’re trying to make that mirror what happens through our reporting flows,” explains Flynn.
However, the company is keen to stress that every single report of abuse is read and acted upon by a human being, not a computer – a fact that might surprise most users. The system is constantly monitored by staff based across four time zones in California, Texas, Dublin and Hyderabad in India, so there is never a “night shift” with fewer staff on hand.
When a user clicks “report”, it is graded for its severity and guided to the right team. “If there’s a risk of real-world harm – someone who is clearly cutting themselves, or bullying, anything touching child safety in general, any credible threat would be prioritised above everything else,” says Julie de Bailliencourt, Facebook’s safety policy manager for Europe, the Middle East and Africa.
Although she says the company does have a set of response times by which it aims to help people, it will not make them public – or divulge how many abuse reports it receives overall. Security around the Community Operations team is also strict: to protect users’ privacy, a sign near where they sit reads “No Visitors Beyond This Point”.
Most reports are relatively benign. In Turkey, for example, every time the football team Galatasaray plays one of its big rivals, Facebook notices a spike in reports from supporters of both teams complaining about each other. The same is true of derby-day football matches in the UK.
Most Facebook reports are relatively benign (Getty Images)
“People tend to report things that they don’t like, not necessarily things that are abusive,” says de Bailliencourt, who has worked at Facebook for five years. “It’s not like we can pre-empt things, but we know that during big sporting events we’re going to have an increase.”
News events also cause spikes in abuse reports. In the wake of the Charlie Hebdo terrorist attacks in France, a sudden surge in the number of controversial posts and heated debate resulted in more complaints. Or as de Bailliencourt puts it: “Anything that happens in the real world happens on Facebook at the same time.”
Very serious reports – such as someone threatening to kill themselves – are fast-tracked to the police or security services, she adds. “If we feel someone has taken some pills and they’ve posted on Facebook: ‘Goodbye world, that’s it, it’s the end’, we’re obviously not going to send them our usual supporting documentation – we need to go much faster.”
She adds that Facebook has “absolutely” saved people’s lives through swift intervention and has “equally as many good stories” as it does controversies, such as the row over its removal of breastfeeding pictures, which she describes as a “human mistake”. She says it is a myth that the more users that report something, the more likely it is to be removed. “One report is enough.”
Facebook has a clear code of conduct which users must respect, but there are always grey areas. Staff are also aware that a decision to remove something from the site – or leave it up – can be far-reaching, like a powerful court setting a global precedent. Under pressure, the multi-cultural team often has heated arguments.
“We don’t hire people to just press the same button X amount of times per hour,” says de Bailliencourt. “We hire people with very different backgrounds, and they sometimes disagree. It feels almost like the UN sometimes.”
Post deleted: Abuse reports on Facebook
Breastfeeding pictures
In 2011, Facebook deleted the page of a breastfeeding support group called The Leaky B@@b, informing its founder Jessica Martin-Weber that she had “violated our terms of use”. Facebook said later the deletion had been a “mistake” and the page was reinstated. The site says it generally tries to “respect people’s right to share content of personal importance”.
Inciting violence
A Facebook page calling for Palestinians to take to the streets in a violent uprising against Israel was removed in 2011. The page, entitled “Third Palestinian Intifada”, had already attracted the condemnation of the Israeli government, which said it was inciting violence against Jews. Facebook said while the page began as a call for “peaceful protest”, it had descended into “direct calls for violence or expressions of hate”.
Free speech
Facebook refused to remove a “fan” page dedicated to James Holmes, the man accused of shooting 12 people dead at a cinema in Colorado in 2012. Facebook said the page “while incredibly distasteful, doesn’t violate our terms” as it was within the boundaries of free speech.
Suicide prevention
In 2013, New York police intercepted a teenager who was on his way to jump off a bridge after he posted a message on Facebook. When officers were alerted to post, they sent him a message on the site and handed out his photo to nearby patrols. He called the police station and was taken to hospital.
Skinhead.. 2 Me, it began in 82-83 (for me ).. at age 14-15.. my mothers an alcoholic, father unknown.. we were kids on the street, who dident ave a chance against those, back in school, whom had everything, famillies… we formed our own… we were learnt by nature 2 stick together whatever the cost.. cause we knew, we were the ones to pay the price,, i started of as punk, but oi kicked in and i was hooked.. somehow, IM SO GLAD TO SEE ALL THESE YOUNGSTERS OF today, hookin up.. it is with great sense of pride, really.. im myself close to the 50s now… n i dont fuckin regret a minute of it, if i could re- lived my life.. I WOULD!!! At THAT time… in and out of trouble was the only thing we had, i can only speak for my self here, but i know, that trough time, back in that day.. a hell of a lot of us.. came from broken homes, broken families etc.. AND WE WERE ABOUT TO FORM OUR OWN PATH, so to speak.. our own little FIRM.. at that time, i wouldent give a fuck, weither the kids were swung to metal.. or weither they were swung to reggae.. we simply had our own, and we were ready, to fuckin swing YOU, by the neck… brotherhood, pride and loyalty. and u know, well what… were still havent got that kind of recognizion, that we deserve, but on the other hand.. we never wanted it or even asked for it… at this very writing moment.. proud of my bruvs and sis… SKINHEAD TILL THE DAY I DIE!! This … The Great Skinhead Reunion.. Channels all that… through all generations, and different age groups, politics, etc… SKINHEADS MADE THIS ONE CLEAR.. That we can cellebrate the LIFE OF SKINHEAD and take pride in the fact, that we were, we are.. And no one EVER will bring us down or take the history off from us.. EVER!!.. The lost generation!! and ere we are.. Cheers.oioi. // Eddy// Sweden… ps See u all in June -15. Cheers. and double and tripple and a half.. 🙂
Eddy Nord. Sweden
Strength Thru Oi! Fitness Experiment
In 1981, Decca Records released Strength Thru Oi!, a compilation album featuring 22 bands associated with the Oi! offshoot of UK punk rock. The title was reportedly a play on Strength Through Joy, an early LP by the Scottish group the Skids, though some charged curator Gary Bushell with co-opting a popular Nazi slogan. Bushell denied the accusations, but either way, the record was meant to introduce Oi! as a style of music capable of invigorating listeners—fortifying their bodies, minds, and souls.
The title may have been tongue-in-cheek, but music and exercise have long gone hand-in-hand, and with that in mind, we asked three New York City fitness enthusiasts to experiment with an all-Oi! soundtrack during their workouts and help us answer the question of whether one truly can gain strength through Oi!
Our methods, it must be pointed out, were quasi-scientific at best, as this music is—and this is no knock—some of the absolute dumbest shit imaginable.
BACKGROUND (Edited by Subcultz)
In its original incarnation, British punk rock was deceptively simplistic. Genre figureheads the Clash and Sex Pistols were intelligent, self-aware 20-somethings who’d been to art school and attained a set of skills—squatting, figure drawing, discussing politics while drinking and speeding—that left them with few viable career options. Thanks to svengali managers like Malcolm McLaren and Bernie Rhodes, these and other unemployable dole collectors were able to form rock ‘n’ roll bands, and while the music was fast and loud—three-chord 50s rock played with all the anger and frustration you’d expect from underachieving young people—early punk anthems like “God Save the Queen” and “Career Opportunities” bristled with a covert idealism that belied the subculture’s nihilistic reputation.
As exciting and influential as it was, punk was artistically limiting, and by the late 70s, the music had run its course. The Sex Pistols broke up, the Clash branched out into classic styles like reggae and R&B, and other bands—the Damned, the Stranglers, etc.—plugged in synthesizers and joined the ranks of the emerging post-punk and new Wave groups. The music grew artsy and pretentious, and that led to the birth of Oi!—the only style of music whose name is always capitalized and followed with an exclamation point.
Influenced by groups like Sham 69. Angelic Upstarts and Cock Sparrer. 4Skins and Blitz made it real. Championed by members of the UK skinhead subculture—a movement emerged from the British council estates—Oi! is proudly working-class music. Its blunt, aggressive songs center on drinking, fighting, football , and, “Fuck Maggie thatcher, and her boys in Blue, A V’s up to the British class system. I’m not gonna waste my life working at your factory.” Musically, it was and is ’77-style punk stripped of all subtlety. Because the choruses sound like football chants, every song is an anthem, giving voice to the lives many young people were living in 1980’s Britain, Police harassment, and mass youth unemployment. Oi! gobs in the face of authority—the government, banks, the military, teachers, parents, people who don’t like Oi!—and that makes it adaptable and timeless. The music has permeated all corners of the globe, and “Oi! Oi! Oi!” sounds pretty much the same in any language.
In the USA Strength Thru Oi was used in experiments.
EXPERIMENTAL METHOD
For the purposes of this study, we enlisted three individuals from different age groups with unique workout habits:
Kristen, a 32-year-old Pilates instructor, graduate student, and punk fan who hopes to make the synthesis of music and exercise an integral part of her practice once she becomes a doctor of physical therapy.
Spencer, a 28-year-old proponent of CrossFit—a popular exercise philosophy based on high-intensity interval training, weightlifting, and other extremely demanding exercises.
Francis, a 40-year-old runner, computer programmer, and member of the South Brooklyn Running Club.
All three were given an eight-song Oi! soundtrack composed of the following songs:
Cockney Rejects, “Bad Man”
Cock Sparrer, “Riot Squad”
The Business, “Suburban Rebels”
Red Alert, “We’ve Got the Power”
Blitz, “Fight to Live”
4 Skins, “One Law for Them”
Sham 69, “I Don’t Wanna”
The Templars, “New York”
The Oi! mix leans heavily on UK genre favorites from the late 70s and early 80s, though the final selection, “New York,” is a 1994 cut by the Templars, an American band formed in Long Island. “New York” was selected for geographical reasons, as we were interested in finding out whether (a) US Oi! songs stand up to their British antecedents and (b) whether an NYC-centric song might have added emotional resonance with our participants. (Note: None of the selections—and indeed, no aspects of this study—have anything to do with racist strains of the Oi! or skinhead subcultures. We like our punk rock dumb, not ignorant.)
Each participant was asked to rate each song on a scale from 1 to 10, as well as offer a score capturing Oi!’s overall usefulness as a workout aid. Through a series of follow-up questions, we were able to further analyze the athletes’ attitudes toward the music and garner their expert opinions regarding its pros and cons. Again, because we’re dealing with music that’s defiantly lugheaded and generally resistant to evolution, our methodology is extremely suspect and bound to provoke anger in real scientists and medical practitioners. It’s only marginally smarter than what a gang of drunken skins might sketch out on a barroom napkin after their ninth round of Guinness.
RESULTS
Assessing Oi!’s overall fitness benefits, our participants submitted scores of 8 (Kristen), 8 (Francis), and 4 (Spencer). That averages out to 6.3—a respectable number only Spencer would likely argue with.
“On the musical-taste front, I’ll caveat all of my below thoughts with the fact I acknowledge I have really eclectic (read: lame) taste in workout music,” Spencer says. “A random workout playlist is equally likely to contain Metallica, Eminem, Britney Spears, Beastie Boys, club music, classic rock anthems, 90s rock, and miscellaneous Top 40 from the last one to two years. It’s not inconceivable something from Les Mis sneaks in as well. Which is all to say (1) my girlfriend never lets me pick music, and (2) I seriously doubt I’m the general Oi! demographic.
“That said, I was excited to try working out to something new. And now that I have I can confidently say I do not enjoy working out to Oi! I seriously could not differentiate these songs while they were playing; it all sounded like a cat from the East End of London being beaten with a Stratocaster.”
Spencer cites the “cool accents” and fact that the music is “better than speed metal” as its major selling points. The cons, he says, are that it “does not provide the workout fuel of James Hetfield/Adam Levine.”
“Not liking it makes me feel like I’m yelling at kids to get off my lawn,” he says.
Relative to the other test subjects, Spencer’s preferred form of exercise involves arguably the most intense physical exertion, and his testimony would seem to refute the idea there is, in fact, strength to be derived through Oi! The music may, however, have benefits for people involved in activities like running, where a steady rhythmic pulse helps offset fatigue. Unfortunately, our findings suggest, the positive effects are negated when the music gets too fast, and any Oi! worth its salt is way the hell too fast.
“Overall, Oi! music has an aggressive upbeat beat that can give your mind something to stay focused on during an intense workout,” says Francis. “I found myself looking forward to the songs with more catchy hooks. The cons of Oi! music was that I found the tempo too fast for running, so it was hard to stay relatively in synch with the music. It felt like some of the songs were urging me to run faster than I could or wanted to during the workouts.”
Oi! might also be good for the core muscle groups, as Kristen has emerged from the experience “definitely inspired to create a Pilates punk playlist.”
“This genre has the ability to inspire energy and hard work which is great for a high abdominal endurance type of workout that is Pilates,” she says.
In terms of individual song scores, the Templars fared best, suggesting that hometown pride plays a role in enjoying Oi! This is not surprising, given the music’s association with packs of loutish London lads getting blitzed and head-butting one another at their local pubs and football stadiums. Oi! is tribalistic, and songs are pegged to specific cities and neighborhoods in a way that first-wave British punk wasn’t. All three athletes were asked to pick a favorite lyric, and Kristen’s comes via the Templars: “New York City is where we wanna be!”
“NYC is always a motivating factor,” she says.
Cockney Rejects and Cock Sparrer also proved popular among our participants, achieving average scores nearly as high as the Templars. Both “Bad Man” and “Riot Squad” have anthemic qualities that, while found in all eight selections, are arguably more pronounced, and that might explain the scoring.
The song-by-song ratings are below. The first number is the total score, followed by the average in parenthesis.
The Templars, “New York”: 24 (8)
Cockney Rejects, “Bad Man”: 22 (7.3)
Cock Sparrer, “Riot Squad”: 21 (7)
The Business, “Suburban Rebels”: 19 (6.3)
Red Alert, “We’ve Got the Power”: 16 (5.3)
Blitz, “Fight to Live”: 16 (5.3)
4 Skins, “One Law for Them”: 14 (4.6)
Sham 69, “I Don’t Wanna”: 13 (4.3)
“I liked Cock Sparrer’s ‘Riot Squad’ the best—I think because I found it had a catchy beat and interesting lyrics,” says Francis. “Also, the tempo wasn’t too out of synch with my running pace.”
CONCLUSIONS
Having crunched the numbers, taken a close look at the anecdotal responses, and consumed a six-pack Newcastle Brown Ale, we’re prepared to draw the following conclusions.
1. Oi! does not make you physically stronger—at least not in any way that might prove useful to hooligans looking to throw heavier objects through storefront windows or smash the jaws of street-fighting adversaries with fewer swings of their meaty fists. According to Spencer, “there wasn’t much of an energy boost for me from the music. My brain mostly seemed to tune it out after awhile. But, again acknowledging my terrible taste in music, I could easily see someone throwing down hard to this stuff. There’s clearly a ton of energy to the songs and some real anger and passion behind the lyrics, which I think could drive some solid gym time if a listener liked the sound of the music itself. And had any clue what the lyrics were.”
2. If you listen to Oi! while running or doing Pilates, you might slice your mile time or strengthen endurance in your legs, abs, hips, back, and arms. But after you take the lyrics to heart, go to the pub, and knock back a half-dozen pints of stout, you’ll likely undo whatever good you’ve done your body. That goes double if you get into a brawl on your way home, and if you’re really an Oi! fan, you will get into a brawl on your way home.
3. Oi! is far too boneheaded to warrant scientific study—even a half-assed one like this. This whole thing might have been a complete waste of time. Wanna fight?
Kenneth Partridge is not a scientist, but he plays one on the internet. Keep up with his research on Twitter – @kenpartridge
Great Skinhead Reunion, Brighton, England 2015. Full line up details
This event is now done, but we are back for 2016 on 3-4-5th June on Brighton beach again, for The Great Skinhead Reunion big 6. we will be putting things together as we go, finding the very best bands on the scene, organising DJ’s, sorting out peoples tickets and hotels. To make the big 6 even bigger. Massive thanks to everyone who has supported the skinhead subculture, and the reunion. see you all soon.
Tickets for 2016 are available HERE
Bands and DJ’s wishing to perform, all info and enquiries, contact Symond at subcultz@gmail.com
Details below are the 2015, New bands will be performing for 2016.But i will leave this link up, to give you the idea, of what the reunion is all about
Video made in 2013
THE TICKETS ARE £40 EACH, WHICH IS FOR THE FULL 3 DAYS EVENT, YOUR WRISTBAND IS VALID THROUGH OUT, YOU CAN USE IT FOR AS LITTLE, OR AS MUCH AS YOU WANT. THE EVENT WILL SELL OUT, AND THERE WILL BE NO ADVANCE DAY TICKETS AT A REDUCED DAILY RATE , IN ADVANCE.
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The line-up maybe subject to change, as so many band members and dj’s are involved. Babies coming along, alcohol, world wars and famine can be unforeseen, but the great skinhead reunion, is more about coming to Brighton to see all your friends and making some more, for 3 full days of mayhem.
DISCOUNTED HOTEL RATES QUOTE REFERENCE SUB001 When making a booking Hotel rooms, of all sizes. 3 hotels available to fit your requirements email Ed at info@granvillehotel.co.uk or phone 0044 1273 326302. You must quote the reference SUB001 to get your rooms. The rooms vary in size and cost, to fit your needs. all within an easy walk to the skinhead reunion venue. These hotels are exclusive to the Great Skinhead Reunion guests and bands. So no public to worry about. party party !!
YOU CAN NOT BOOK THESE HOTEL ROOMS VIA THE HOTEL WEBSITE, YOU NEED TO CONTACT THEM DIRECTLY, AND GIVE THE CODE, AND SAY YOU ARE ATTENDING THE SKINHEAD REUNION
For those on a low budget, its worth checking Hostels and campsites, but my advice, is to get in the reserved hotels, for a nice stress free holiday in Brighton
PARKING ZONES – one of the worst aspects of Brighton, is a lack of affordable parking. my advice is to use street parking on the suburbs of brighton, its a reasonably safe place. a good bus service will take you into brighton centre (churchill square) and a short walk from there to the sea front. worth allowing the extra hours work, to save yourself serious parking charges
All Event Enquiries email Symond at subcultz@gmail.com. phone (uk) 07733096571
The Facebook community group Facebook group
Brighton can lay claim to being a big part of the birth of Skinheads. During the Mods and Rockers battles of the 1960’s when London lads would descend on the South Coast for bank holidays to Peacock and cause ‘Bovver’ the term Skinhead was born, to describe the short haired Mods.
Becoming probably the biggest and longest standing of all the youth fashion subcultures, Skinhead has matured and now become a worldwide community. Distinctly recognized by almost military shaven head, boots and braces. The real skinhead is a working class product of the British council estate ‘salt of the earth character’ fiercely proud of his identity,with an obsession for clothing, style and music, equaled only with his love of beer.
On the first weekend of every June, since 2011, Brighton has seen an ever increasing number of Skinheads and their lovely Skinhead Girls invade Brighton. Boots, Braces, pristine clothing and a cheeky smile. Attracting scene members from right across the globe, to Madeira Drive, overlooking the beach. A full three days of Skinhead related entertainment is laid on. DJ’s playing hyper rare vinyl, from the early days of Jamaican Ska, through to modern day Street Punk and Oi. Live bands hit the stage of the Volks bar each night. With various aftershows happening until the early hours, to keep the party buzzing.
Acts appearing so far booked
Peter and The Test Tube Babies
Make no mistake! Peter And The Test Tube babies have written some of the best punk songs ever. In the early ’80s they stood out, above all other bands to emerge, with their tales of the hazards of being young punks in Brighton – “Banned From The Pubs”, “Intensive care”, “Run Like hell”, the list goes on…all had the Test Tubes hallmark, combining personal experiences, real cool tunes and, most important of all, maintaining a great sense of humour.
At the time, their gigs were fun filled events with electrifying tunes and plenty of entertainment. Harmless humour of those early gigs was captured on their debut album, “Pissed And Proud“. From those early gems, the Test Tubes just got better and better. The next crop of songs, “Jinx”, “Blown Out Again” and “September” all featured on “The Mating Sounds Of South American Frogs“, which stayed at number one for four months at the top of the independent charts. A US tour followed, climaxing with a 4,000 capacity sell out show at the Los Angeles Olympic Auditorium.
The Test Tubes first US domestic release, “href=”http://www.testtubebabies.co.uk/discography/discography04.htm”>Soberphobia“, is probably one of their finest moments. The use of keyboards and sax on some tracks may not have been what people expected but it worked a treat. The much sought after CDs “Cringe” and “The $Hit Factory” again proved the Test Tubes unpredictability in the early ’90s.
The mid ’90s saw the release of “Supermodels” and the departure from the band of Trapper and Ogs (bass and drums), excellent musicians. The band brought in fresh blood, the young and dynamic Rum and AD on bass and drums respectively. To promote the Supermodels album the band then went on a 25 date tour of Germany, Holland and Switzerland.
On their 20th anniversary in 1998 the band flew to Germany to record the “Alien Pubduction” album, their first with AD and Rum. The band also undertook a massive US and Canadian tour that lasted five weeks, lots of UK gigs and of course the annual German Christmas tour.
Rum quit in 1999 due to the punishing tour schedule. Paul ‘H’ Henrickson, known to the band and a Brighton stalwart, took over on bass. The band hit the road with renewed vigour touring repeatedly throughout the UK, Germany, Ireland, USA, France and making an impact on the summer festival circuits. Early in 2001, after years of taking punk to the masses, the pressure took its toll and A.D. left the band. Harp playing Christophe from Paris took over on the drums, beating other hopefuls to the job in hard fought auditions. The band were soon back on the road touring all over the world including a visit to The Shetland Islands!
Drums rolled again in 2003 as Christophe yielded the role to Dave ‘Caveman Dave’ O’Brien. Christophe joined Peter and Del in the studio to aid with their creation of vibrant Test Tube material for the twenty first century.
In 2005, after a seven year hiatus, the band released “A Foot Full of Bullets“, recorded at Ford Lane Studios, Ford, West Sussex. The album was definitely worth the long wait demonstrating a familiar core sound matched with smart self assurance gained from decades of experience. Storming on with characteristic vigour, the Test Tubes gained praise as “the best band of the weekend” (Lars Friedrickson) at the WASTED festival before closing the year with the annual German Xmas Tour 2005.
A remix of “A Foot Full of Bullets” was produced with contributions from Campino (Die Toten Hosen) and Olga (The Toy Dolls) at the start of 2006. “For a Few Bullets More” was released in August. Not long after, web master Dr Nigel announced he was bowing out of the band’s website after years of valued service. The band are all indebted to Nigel and wish him all the best. Creating a new web presence took the band through to the next big tour date…The band flew down under in September to play Australia and New Zealand for the first time.
The Test Tubes remain one of the best punk bands to come out of Europe. Appearing on the first Oi! albums in the early 80’s, The Test tubes have remained a favourite for many of us, ever since. See them live at the Great Skinhead Reunion
Rough Kutz (SKA)
The Rough Kutz where formed by Hazza (Hammond organ), Brigga (vocals) and Rat (guitar) in 1994. The band changed the band line-up over the years, the current line-up consists of four other members; Mucka (vocals), Tony (bass), Sean (lead guitar) and yatesy(drums). The first studio album, A Bit O’ Rough was released in 1998 on Antwerp-based ska label Skanky ‘Lil Records. After this release the band began touring Europe. They released second album Welcome to our World in 2002 and, in 2006, followed with Another Week Another War. On this album Roddy Radiation from The Specials played guest lead guitar.[1] In 2006, they also performed a European tour with Radiation on guitar.in 2010 the Rough Kutz released their fourth album gangsters playground on Rk records.in 2012 the Rough Kutz recorded a version of the specials song Rude Boys Outa Jail, for the specialized charity album in aid of the teenage cancer trust.they performed live at the cd launch gig in the home of Two tone records, Coventry.
The Crack. Although they are best remembered as being members of the Oi! punk movement, the Crack were actually closer to the musical stylings of punk popsters 999 and mod rockers the Chords than any of their Oi! brethren (the Business, Cockney Rejects, etc.). On the musical scene since 1982, often compared to Slade, in their musical sound. They won a national televised battle of the bands, probably one of the only skinhead bands to have gained any positive recognition on British Televisions history. the Crack didn’t release this debut album until 1989. Like many bands of the era, as the main skinhead culture nose dived in the UK. The Crack, together with Argy Bargy and Cock Sparrer fought the hard times in Europe, to bridge the gap, and keep the flame burning, taking Skinhead and Oi music worldwide.
Franky Flame. A legend of the Skinhead culture. Franky will be there for his one man Cockney Joanna ‘Pie n Mash’ knees up
In the scene for many years,with his band superyob, Franky plays a traditional london dancehall version of oi tunes, making a great sing a long, beer filled malarkey
Last Seen Laughing (Denmark)
For a long time now Aarhus has been Denmarks Oi! capitol and Last Seen Laughing is another band in that tradition, which we are proud to belong to!
Last Seen Laughing is a 3 piece band, with members who all come from OI/Punk/Hardcore musical backgrounds. We’ve all played in various bands over the last approx. 20-30 years. We have played together about 4 years and had our debut in our hometown of Aarhus, Denmark in Dec. 2008.
The Line-up is:
Steen – Bass, Chorus : Frontman, leadsinger & guitarist in legendary Danish punk band The Zero Point still goin’ strong since 1979. Drummer in Hardcore outfit War of Destruction.
JP – Drums, Chorus : Drummer in Oi! band The Hoolies. Singer in Oi! Band The Outfit. Drummer in 80’s punk band Dayli Kaos and 90’s punk band deFuldeprofeter (The Drunken Prophets).
Kres – Guitar, leadvocal : Guitarplayer in 90’s Hardcore band Toe Tag, bassplayer in 90’s Hardcore band Tiny Toons. Guitar in 90’s punk band deFuldeprofeter and Guitar in The Hoolies and The Outfit.
After The Outfit decided to call it a day, Kres as being the main idea holder of the band, had tons of unused material, decided to start on his own along with brother JP on Bass. Back then we called ourselves The Jutland Muster. Jutland being the part of Denmark where we live. After about 8 months JP couldn’t find the extra time to play music, but Kres kept on with various bass players and drummers (very hard to find musicians that want to play or know oi music in Denmark). It was always kept as a 3 piece band to keep it minimalistic, aggressive and tight. After approx. 2 years of practicing and creating songs JP decided to join back in and took over the drums. 3 months later in late 2008 we hi-jacked Steen to play bass and Last Seen Laughing was born.
In late 2009 we went into the studio to record a demo with 3-4 songs, but ended up with recording 9 songs! We sent out the material to different labels and negotiated with especially one of them. Things dragged on and time went by and we played more and more shows both at home and abroad, and we kept on writing more material until we by the end of 2010 was ready to hit the studio again. This time we recorded 5 songs. 1 song was for a local comp which hasen’t been released yet and the 4 remaining songs was together with the 9 previously recorded songs was going to be our debut album. Suddenly we were contacted by Randale Records in Germany, who had received our 9 song cd earlier, and they wanted to do an album with us. We seized the opportunity and accepted their offer after a bit of negotiating with both them and the other label we had talked to earlier. That resulted in our debut album being released in June 2011. The vast majority of people who have heard it are very pleased with it and reviews of the album are all in all very positive.
Then later that year we landed ourselves a part of a christmas comp. That song brought about the idea of a split christmas Ep together with fellow hometown band The Guv’nors. It’s a picture Ep in the shape of a christmas tree. It has to be the ugliest record you’ve ever seen!!!
We recorded material for the next album & an EP in 2012. The EP containing a teaser from the new album and a song that’s solely on this release. It was available from Randale Records on dec. 20’th 2012. It sparked the interest for the new album to come and the response was really good. The plan was that the new album should be released a couple of months later but due to circumstances it was delayed untill October 2013. The titel of our second album is “As true as it gets” and it’s also released by Randale Records. The impact of this album has really lifted the band to a new level and made our name more well known.
Last Seen Laughing is inspirered by the second wave of Oi! from the 80’s as well as the Oi! Revival of the 90’s. We take bits and pieces from many different bands and mix it into our own sound. The style is aggressive, minimalistic and catchy!
Last Seen Laughing has already made quite an impact on the scene in Denmark especially with the song ”Tæsk” (translates Beating or more precise ”to get your head kicked in”), which is somewhat of a hit or anthem in the underground. These last couple of years has also seen a very fast growing interest for Last Seen Laughing from abroad and we’ve already been to England, Norway, Sweden, The Netherlands and Germany to play gigs. So far Last Seen Laughing has played a lot of concerts in Europe and we still have more to come.
The future for Last Seen Laughing looks remarkably bright if you look upon the bands history so far!
The Dodgy Few (Ireland)
A new young band from The heart of Ireland. The amazing vocal talents of female vocalist, Shannon Doyle, Playing their own original Reggae /Ska songs. already kicking up a storm, right across the ska scene in Ireland and the UK. We are very excited to see what they can pull off infront of a full house of skinhead veterans, at Brighton.
Gerry Lane (Guitar),
Ciaran White(Drums)
Alan Daly (Bass)
Robbie Collins: Trumpet
Andy Mullan: Saxophone.
Skinheads from across the pond, Minneapolis, USA
Degeneration is Oi! with a capital “O!” These boys have been having a laugh and having their say for 20 years. The band formed in 1994 in Minneapolis, where the music scene was not to favorable for a bunch of skins to be shining out. But they carried on, despite the negative press skinheads were having at the time. The band storms the stage and play unrelenting music, with scorching guitars, heavy bass, and growling vocals. They know what they what needs to be done and then proceed to get it done.
The boys released their first single “Blind.” in 96. They played hundreds of gigs and then put out “Oi! For the Kids”, where they had their first success. They quickly followed that up with a new drummer, who’s still here today, and 2 more 7”s. “Boots and Braces-Studs & Chains” and the “Young Life EP”. Going from strength to strength, they put out their first cd “Carry The Torch”.
Moving forward, always staying true to their Oi! roots the band, continued on. They recorded a few songs for compilations, and things slowed down. They stepped away from the stage and raised some families. Never forgetting the music they love, they knew it was time to let the world know that they were still standing tall!
Their new LP “Standing Tall” will be released on 11/11/15 and they will be coming to Europe for the first time to play both old and new songs. What a better place for a bunch of skinheads to hear them then at the Great Skinhead Reunion!
Degeneration is
Jason is Lead GuitarGreg on DrumsPhil “Ox” on BassMe VocalsChris “Joker” Rhythm GuitarOi OI Music
SKAbretta, is a 6 piece band that takes you through the years of SKA and Reggae from the early Blue Beat sounds of Prince Buster to the 80’s revival, covering everything in between. Created in mid 2012 they have quickly become a local favourite as there blend of old and new styles caters for every taste whether your in to 2-tone or the more traditional Trojan groove you are in for a night to remember.
In less then a year Skabretta have gone from playing local boozers and clubs to playing venues such as the 12 bar Club in Denmark Street, Folkstone SKAfest and the iconic 100 Club on Oxford Street. With a packed diary and gigs coming in up and down the country, they will be coming to a town near you soon.
Our DJ’s are selected like a fine wine, from around the world of skinheads. Each DJ has a strong history. They all come and play the best music you are ever likely to hear, and most run their own nights elsewhere. so please support these guys and girls, who are the backbone, of the Skinhead Reunion and the scene overall
Gary Olas, The Upsetter
Olas has been hosting our Friday nights since the first Reunion.Old school vinyl sound system playing the best in all types of reggae with gigs all over the world. This is also runs the OLAS BOSS REGGAE RADIO SHOW. Twice a week OLAS BOSS does two internet radio shows, Wednesday at 7pm until 9pm playing the very best in roots and dub reggae across all time dates. The later Wednesday, from 9pm till midnight, show is boss reggae/rocksteady/ska – two tone at ten for fifteen minutes – then at 11pm, the world famous Dabble Under the Duvet. An hour of the finest old school lovers rock. All genres of reggae are covered over the two shows. You can also listen again at any time. the radio site iswww.channelradio.co.uk. OLAS BOSS REGGAE RADIO SHOW.
Barry ‘Bmore Mcvowty’
From the Wycombe skinheads, been active in the skinhead scene since 1979. One of the very best DJ’s, with a wide knowledge of eclectic music. Dont miss Bmore performing as he spins. And dont be surprised with what hits the decks, Bmore plays from the soul!
Skavoovie
SkavooVie! .. Infectious SKA Beats and Killer Diller Rocksteady rhythms. WHERE? Currently enjoying a monthly residency at Upstairs at the Mez, 4th Saturday of the month. Serious SKA choons on original 45’s from the vinyl vaults of Blue Beat, Studio One, Dr. Bird, Top Deck, Treasure Isle and many more…Scorchers!!!
A regular and key player in Brighton, with a record collection, most DJ’s would die for.
Weekend tickets are available at www.subcultz.com
Lee Evans. Has been around the London scene, longer than red buses. From the Wycombe Skinheads, Lee was a well known face DJ’ing around London in the 80’s with bands like the Riffs and Hotknives, Desmond Dekker and Laural Aitkin shows, to his credit. Now running regular DRC nights
Martin Long..I’d like to welcome Martin Long from Portsmouth, to our list of guest DJ’s at the Great Skinhead Reunion 5. Martin has been a long term skinhead and very active in the skinhead and scooter scene for many years, and its a pleasure to have him play for us in 2015
Rob ‘Double Barrell’ Powell. Is active on the London circuit and Carnaby Street skins, and Elephants head meet ups of the modern day. And his only fools and scooters events. Playing a cross section of skinhead related tunes
Fuxy AKA The Hungarian’s Boss Sounds
Active on the Dublin scene, Live and direct from Hungary.
Playing, punk, Oi! and Boss sounds
Skashack Toast, will be back in residence for 2015, playing his saturday setS
Feckin Ejits OTFH Album CD
Feckin Ejits Album. The first 100 people to order,and pay for their copy, can send their photo and have your image, a friends, old or new, put onto the sleeve. to be forever enshrined with the Feckin Ejits. Probably the greatest band of the 1980’s, that never made it to vinyl. (the pub got in the way of the giro) place your order now. Due for release by Subcultz in the Spring 2015, with a world tour in the offing. OTFH
Support the Feckin Ejits
Skinhead and Punk Muslim girls at Malay Oi! festival
A Malaysian fan gesturing at a live band performance during a skinhead meeting in Kuala Lumpur. Hundreds of people turn up to watch skinhead bands from Japan and Thailand performing live at the two-day event. – AFP pic, January 18, 2015.Asian “skinheads” converged in Kuala Lumpur over the weekend for two days of full on Oi music
shaven headed, tattoo-covered torsos, boots and braces, the roughly 200 skinheads from Japan, Thailand and Malaysia gathered to spread their anti-racism, anti-drugs credo.
The event was organised by the Malaysian chapter of SHARP – Skinheads Against Racial Prejudice – a group that first emerged in the United States in the 1980’s, as a reaction to the overkill media version of Skinhead equals Ku Klux klan, White Supremacist.
Bob Panjang, one of the SHARP organisers, said it was the first time such a gathering had been held in Muslim-majority Malaysia.
“We are not the Nazi skinhead groups that are racists. We don’t promote Malay power in Malaysia,” he said, referring to the country’s ethnic majority group.
“We promote the spirit of brotherhood. We oppose racism and we have Chinese and Indians in our group.”
Religious authorities today condemned the event, saying the skinheads’ tight, torn jeans and leather jackets project a bad image for youths, despite SHARP’s “good message”.
However, authorities have so far done nothing to stop the festival, held at a converted shophouse venue called “Fire House”, which was plastered with slogans denouncing racism and drug use.
The skinhead movement first emerged among working class youths in Britain in the 1960s, an offshoot of the Mods. But in the 1970’s picked up a political edge, as Britain fell from power, Huge unemployment, and civil unrest. To some a fashion, but to others, a way to project anti-establishment, anti-hippy sentiment,
However, the movement’s spread overseas was accompanied by a splintering in core values, with neo-Nazi elements becoming notorious for their violence against racial minorities in Europe, sparking a push-back by anti-racist skinhead groups.
Malaysia has tiny communities of relatively tame skinheads, rockers and other Western-inspired subcultures, which are frowned upon by Islamic authorities.
Panjang said SHARP has about 2,000 adherents in Malaysia, including “skinhead girls”. The group also opposes sexual violence.
“I joined the skinheads because I am attracted by its brotherhood and the fashionable outfits we wear,” he said.
Pictured here, is an image of the opposing side. Malay power, too some, might seem quite a contradiction, when the media version of racist’s are pictured as white skinned. Could be just ‘Punk Rock Fashion’, But disenfranchised people, from whatever race they belong, will react, rebel and possibly blame another race of people, for their situation.
The concerts featured live bands from Japan, Thailand and Malaysia playing music by late Jamaican star Desmond Dekker, an earlier pioneer of reggae and ska, as well as music from the “Oi!” skinhead subculture, and the Skatalites, – AFP, January 18, 2015.
Here at subcultz. We think it just shows the reach the skinhead culture has, across the planet. Who would have thought, when the British media and authorities were crushing us, branding and slandering the British working class kids, that it would be alive and kicking in Malaysia 30 years later. That is a surely a two fingered salute to the middle class media, if anything is.
Life on Standby
Life on Standby
Alternative Electronic Rock
About Life on Standby?
Erin Donnachie: Erin’s interest in Music started at a young age learning piano and later singing in choirs and jazz bands. It was when she was approached by Gianluca and Gavin to join their band that she adapted to becoming a strong rock vocalist.
Gavin Williams: Gavin picked up a guitar at 17 years old after idolizing legends such as Slash and Black Sabbath since he was quite young and formed a band with his best friend Gianluca before forming Life on Standby.
Gianluca Demelas: Gianluca asked for a drum kit for his Christmas after seeing a friend learn drums and dreamt of being like John Bonham. Through school Gianluca jammed with Gavin and the two soon formed a band which became Life on Standby.
Liam Walker: Liam (originally a guitarist) has an interest in blues and John Mayer. Liam joined Life on Standby as the band’s bassist while he was still in school.
Biography of Life on Standby:
Life on Standby is an Alternative Electronic Rock band who formed in Greenock, Scotland in 2011. Since their formation, the four piece have released two EP’s ‘Set the Sail’ and ‘Masquerade’ as well as 3 singles. However since the release of ‘Masquerade’ the band have climbed up the ranks of the Scottish live music circuit from playing the Glasgow O2 Academy and Garage Main Stages to Headlining King Tuts Wah Wah Hut and sold out Oran Mor. 2014 has been a big year for the band, being invited to perform with bands such as Marmozets and The Hype Theory, Life on Standby were invited down to the Red Bull Studios in London to record a live track and video while observed by Alternative break through band Don Broco, which ultimately led to their first ever performance on English soil at Download Festival followed by a very successful first UK tour. Life on Standby are now looking forward to releasing their debut album in March 2015.
Live Shows and Tours:
Past Venues: (2011-2012)
Garage Attic (Glasgow, Scotland)
Garage G2 (Glasgow, Scotland)
Word Up (Greenock, Scotland)
Tonara Fest (Tonara, Italy)
Bar Bloc (Glasgow, Scotland)
O2 ABC (Glasgow, Scotland)
Recent Venues: (2013-2014)
O2 Academy (Main Stage – Glasgow, Scotland)
King Tuts Wah Wah Hut x 2 (Glasgow, Scotland)
Gig on the Green (Greenock, Scotland)
Oran Mor – Sold out Headline show (Glasgow, Scotland)
PJ Malloy’s (Dunfermline, Scotland)
Download Festival 2014 (Donnington, England)
Recent UK Tour: (Oct 2014)
Green Room (Perth, Scotland)
Eagle (Inverness, Scotland)
Nice N Sleazy (Glasgow, Scotland)
Lomax (Liverpool, England)
Lounge 41 (Workington, England)
the Victoria Inn (Derby, England)
Future Live Events: (2015)
Audio – Glasgow, Scotland: Fri 30th January
Lounge 41 – Workington, England: Sat 7th March
The Swan – Stranraer, Scotland: Fri 13th March
The Green Room – Perth: Sat 14th March
Fanny by Gaslight – Kilmarnock: Sun 15th March
Reviews:
“Incorporating snatches of electronica affords them an eclectic variation on their hard-chugging, contemporary sound, with front woman Erin Donnachie’s spirited performance lending them a streak of punk edge” – Jay Richardson, The Scotsman.
“One of the best unsigned Alternative Electronic bands in Scotland” – Daily Mail.
“Definitely a band to look out for” – Duncan Gray, Triple G Music.
“Life on Standby were the standout act of the night, such a mass of raw energy and emotion” – Underground Uncovered.
“One could perhaps argue that Greenock’s Life on Standby don’t fit the usual mould of a Download Festival band, but don’t be fooled by their electronic leanings. Behind the synths and front woman Erin’s soothing vocals lays a body of eclectic, crunching riffs that will shake off any Sunday hangover.” – Daily Dischord
“SINCE forming in 2011, Life on Standby has emerged as one of Scotland’s best unsigned alternative electronic bands.” – Evening Times.
Social Media:
Facebook: www.facebook.com/lifeonstandbyuk
Twitter: https://twitter.com/life_onstandby
Soundcloud: www.soundcloud.com/lifeonstandbyuk
Instagram: http://www.enjoygram.com/lifeonstandbyuk
YouTube: https://www.youtube.com/user/LifeonStandbymusic1/videos
How the Music Industry can stop the extinction of British Venues
A few years ago, i flew over to USA to see friends in California. But also, to go see one of my friends bands, called Cock Sparrer. As we drove down from LA to The Great American Music hall in San Fransisco, listening to the car radio, it really struck me, how important British music is to the world. Here i was heading down to a sell out show, by an obscure punk band, in the cool capital of the world. The average British person, would have never heard of this band.
Everywhere you go, you will find it playing. its not only The Rolling Stones, Beatles and Elton John, or Oasis, but Punk Rock, Indie, 70’s, 80’s and every other decade of popular music. The same in Argentina, Brazil, Scandinavia, all across western Europe and beyond. Gone are the days that Britain is known for military, or railways. Whatever Governments have come and gone, British music has found its way to every corner of the Globe. A major export, not only for financial benefit, but for British cultural benefit. The welcome you get as a British person, in so many countries, is due to the love affair many nations have to our, British Music. Many of those music fans making a pilgrimage to the UK, to see where it all began.
But before it reaches those places, it is a seed in a kids garage, then a local pub. if they get lucky, they step up to the next town or city, playing their songs, working, promoting, and slogging away. One in a thousand, then get a bit of radio play, a larger gig, a record deal. One in 20.000 get BBC acknowledgment. A hard , hard career to follow. With no support from the UK Government. There are many reasons why live music, is in such a bad state. No more Top of the pops, no financial support, a lack of imagination with record labels. But the extremely high price of beer, is killing pubs at a rapid rate. Every town, is being raped, of the grass roots venues. Venues being sold off for development, for a fast profit.
Symond Lawes.
Independent venues are more than just places to see bands – they’re at the heart of their communities. But if the music industry doesn’t step in soon, we’ll be writing even more obituaries for these vital outposts of culture
What makes a great venue? From the perspective of musicians, it’s when owners realise that good customer service is at the core of everything they do. Give the musicians the basics so they are able to do their job. That includes a comfortable and warm backstage room, plenty of time for a sound check, a respectful crew and a good sound system. Most of these things can be achieved with common sense more than money. But can owners of venues really raise the bar if all they offer is a fridge stuffed with Red Bull? Sadly the lack of resources is keeping standards too low for independent music venues in the UK, compared with, say, the rest of Europe.
Often, venues don’t feel like an artist’s home any more. They’re treated as normal, independent businesses rather than being valued as centres of culture in their communities. Venue owners are often former musicians and they are passionate about live music. But even the best of them are forced into dark alleys to survive, making compromises and potentially killing their passion for the music as it’s dragged down into the shit with them.
Last week, I was a panelist at Venues Day, a conference that was organised by the Music Venue Trust and Independent Venue Week about the future of independent music venues in the UK. I was asked to represent the point of view of the artist, discussing what makes a good venue great.
Mindofalion Live and raw in 2014. The grass roots of music, which becomes a worldwide export
Madame Jojo’s
Placards outside Madame Jojo’s nightclub in London. Photograph: Justin Tallis/AFP/Getty Images
The event took place at the Purcell Room, in London. It was the first time I’d taken part in a conference. Venue owners from all around the UK had filled the room, and someone had told me the participants were “very angry”. I had no idea what to expect, although I knew very well that many small, independent music venues have been in crisis for a long time.
I got involved with the issue the day my favourite venue in London, the Luminaire, shut down in 2009. That day, I lost more than just a place to see live music – I lost my second home. As I walked into the Purcell Room, it was even more clear to me that the owners of such venues need help. They need money, and they need it now, or more of the hundreds of venues that are essential to the culture of the UK and the music business in particular, will follow the fate of Madame Jojo’s and the Buffalo Bar in London, which are each soon to become extinct.
“This has to be addressed at the very top of Government, Live music venues are the training ground for one of Britain’s largest exports, and Icon of pride, which excludes, no class, age or race“
The disastrous financial situation of independent music venues has direct consequences for everyone, including musicians. Take branding. No artist should have to play with a Jack Daniel’s logo on the stage if they don’t want to, or a Vodafone sticker on their monitors if they don’t want to. Artists should not become vehicles for advertising if that’s not how they choose to run their business. Don’t get me wrong, I am not 100% against branding; I understand the need to raise money. But the stage is a sacred place, and if a venue makes a deal with a beer company, it should not involve the musicians.
Let’s take another example: during Venues Day, many owners acknowledged that club nights are how they’re able to survive these days, which means they book two events in one night. Who can blame them? They need money. But what does it mean for the artists? Well, it means that even if they sell out a show, the promoter might book a club night to start after you finish. They eject you, your crew and your fans at 10pm, then a DJ comes in and a whole new crowd invades the premises. Instead of playing at 10pm, your show needs to start at 8.30, which means support bands have to play at a painful 7.30pm. Obviously, there is no time after the gig to sell your merch or to meet your audience. Not only does it kill the band’s small chance of making extra money, but it also kills guitar music. Who wants to see rock’n’roll at 8.30 at night?
Another iconic Music venue, the 12 Bar, on Denmark Street, London. Right in the heart of Britains world famous Tin Pan Alley. Been handed the death sentence, at the end of 2014, by Westminster council, In favour of commercial short term property speculators.
It is urgent that we find solutions to finance independent music venues which respect the spirit of live music and musicians. Artists are their customers, too, and we know that branding and club nights are not enough to keep some of our venues afloat.
How can we achieve this? One solution became apparent during the conference, where owners were joined by promoters and booking agents. Let’s do the maths: the venue owners need money and the large agents need to make a healthy profit. Got it? The last panel of the day, entitled What’s Next?, was supposed to address solutions available to venue owners. I took the mic to suggest that the industry itself should fund small venues. Agents, big promoters and venue groups should reinvest part of their annual profits into small venues. This is an idea my friend Andy Inglis, who used to co-run the Luminaire, has been talking about for years. After all, they belong to the same industry, don’t they? Just because small venues are the grassroots of the industry, that doesn’t have to mean they can’t benefit from the profits the others make.
I was surprised by the audience’s lack of response. The Music Venue Trust cautiously expressed its intention to create a charity system to support small independent venues, but I didn’t get the feeling it would pick up the funding idea and make it a priority. From what I understood, the two main ideas taken from the day were the need for tax cuts for small venues and an online resource for venues to share ideas and advice. Although it is important to begin with a couple of rallying points and get recognition from government, I still believe that music industry support is essential for the survival of independent venues.
At this point in the conference, I didn’t get a sense of much anger or desperation in the room. I could only assume people were too scared to speak up. Or maybe I’m totally wrong and most venues don’t want funding to come from the industry. I believe the idea is more popular among professionals than we think, but maybe it demands a bigger effort – or someone, a hero, to fight for it.
Next January, The band Savages and I will settle in New York City for three weeks to play a series of club shows. Sold out all nine shows in just one hour, which has never happened to us so fast before. Could this become a new model? Audiences love to see live music in small venues. Let’s hope they survive before we realise how much we needed them.
Find more information about Venues Day 2014, the speakers and partners on venues-day.com
Immortal Machinery
“Immortal Machinery were formed in the winter of 2013, fuelled by a desire to make dark, melodic and uncompromising music. The trio first met at a gig in central London in 2011, and spent the next two years jamming, experimenting and doing occasional bits of session work. After taking up writing his own songs, guitarist and vocalist Steph K soon became absorbed with the menacing sounds of Danzig, Type O Negative and the Misfits. Fused with bassist Mat G’s jazz sensibilities and drummer Tom S’s hard-hitting grooves, they soon found themselves making their own brand of sinister rock’n’roll. They are due to release their first album At the End of Time on 27th February 2015 – its lead single is set to feature an appearance from one of thrash metal’s Big 4 lead guitarists. Until then, they can be reached on Facebook and on twitter with @immrtlmchnry Their early demo work
Supported by the newly-started record label Roxeavy Music, Immortal Machinery continue to perform up and down the country. They also host their own self-promoted gigs in London, with the aim of promoting other underground bands who share their ethos. If you are interested in playing at one of their shows, send a private message to their facebook page or email immortalmachinery@gmail.com“
Indonesian punks forced into re-education
By Karishma VaswaniBBC News, Jakarta
The punks and skinheads were rounded up at a local concert
Dozens of young men and women have been detained for being “punk” and disturbing the peace in Aceh, Indonesia’s most devoutly Muslim province. They are being held in a remedial school, where they are undergoing “re-education”.
Rights groups have expressed concern after photographs emerged of the young men having their mohawks and funky hairstyles shaved off by Aceh’s police.
They look sullen and frightened as they are forced into a communal bath.
But Aceh’s police say they are not trying to harm the youths, they are trying to protect them.
The 64 punks, many of whom are from as far away as Bali or Jakarta, were picked up on Saturday night during a local concert.Aceh police spokesman Gustav Leo says there have been complaints from residents nearby.The residents did not like the behaviour of the punks and alleged that some of them had approached locals for money.
Mr Leo stressed that no-one had been charged with any crime, and there were no plans to do so.
They have now been taken to a remedial school in the Seulawah Hills, about 60km (37 miles) away from the provincial capital Banda Aceh.
“They will undergo a re-education so their morals will match those of other Acehnese people,” says Mr Leo.
But activists say the manner in which the young people have been treated is humiliating and a violation of human rights.
Aceh Human Rights Coalition chief Evi Narti Zain says the police should not have taken such harsh steps, accusing them of treating children like criminals.
“They are just children, teenagers, expressing themselves,” she says.
“Of course there are Acehnese people who complained about them – but regardless of that, this case shouldn’t have been handled like this. They were doused with cold water, and their heads were shaved – this is a human rights violation. Their dignity was abused.”
But Mr Leo disagrees.It is the second time the police have cracked down on punk culture in Aceh
“We didn’t arrest them, they haven’t committed any criminal offence,” he says.
“They are Aceh’s own children – we are doing this for their own good. Their future could be at risk. We are re-educating them so they don’t shame their parents.”
This is the second time Aceh’s police have clamped down on punks in the province, which is the only province in Indonesia allowed to implement shariah law.
There is a thriving underground punk music scene in Aceh, but many punk-lovers are viewed suspiciously by local residents.
Many of the young teens sport outrageous hairstyles, in keeping with punk culture, but against the norms of the keenly religious in Aceh.
Aceh is one of the most devout Muslim provinces in Indonesia, and observers say it has becoming increasingly more conservative since Islamic law was implemented a few years ago.
Indonesian punks stand in line before prayer. Indonesian punk rock fans, their head shaved clean, stand in line before prayer at the police school in Aceh Besar, Indonesia. Photograph: Heri Juanda/AP Mohawks shaved and noses free of piercings, dozens of youths march in military style for hours beneath Indonesia’s tropical sun – part of efforts by the authorities to restore moral values and bring the “deviants” back into the mainstream. But the young men and women have shown no signs of bending. When commanders turn their backs, the shouts ring out: “Punk will never die!” Fists are thrown in the air and peace signs flashed.
A few have managed briefly to escape, heads held high as they are dragged back. Sixty-five young punk rockers arrived at the police detention centre last week after baton-wielding police raided a concert in Aceh – the only province in the predominantly Muslim nation of 240 million to have imposed Islamic laws.
They will be released on Friday, after completing 10 days of “rehabilitation” – from classes on good behaviour and religion to military-style drills aimed at instilling discipline. Nineteen-year-old Yudi, who goes by only one name, said it was not working. He tried unsuccessfully to shake off police when they took an electric razor to his spiky mohawk. At the sight of his hair scattered in the grass, he recalled, tears rolled down his face. “It was torture to me,” he said. “I can’t wait to get out of here,” he added. “They can’t change me. I love punk. I don’t feel guilty about my lifestyle. Why should I? There’s nothing wrong with it.” His girlfriend, 20-year-old Intan Natalia, agreed. Her bleach-blonde hair has been cut to a bob and dyed black and she has been forced to wear a Muslim headscarf. “They can say what they want, but I like life as a punk,” she said. “It suits me.” Two young men hated it so much at the detention centre, they tried to escape. They pretended they had to go to the bathroom then fled to the provincial capital, Banda Aceh, 30 miles away. Police found them strolling the streets nine hours later and brought them back. It was just after midnight. “They said they missed their parents, but it’s pretty clear they were lying,” said the local police chief, Colonel Armensyah Thay. “They didn’t go home. How could they? They’ve been living on the streets.” The crackdown marked the latest effort by authorities to promote strict moral values in Aceh which, unlike other provinces in the sprawling archipelagic nation, enjoys semi-autonomy from the central government. That was part of a peace deal negotiated after the 2004 tsunami off Aceh convinced separatist rebels and the army to lay down their arms, with both sides saying they did not want to add to people’s suffering. More than 230,000 people were killed in the towering wave, three-quarters of them in Aceh.
Mankind
Here’s MANKIND:
There’s something going on. An emerging scene reacting to the overwhelming EDM rains that floods every single garage here without mercy – wiping out the kids trashy hang-outs where they desperately tries to ruin their lives. Garages are turned into silent aquariums.
It is such a perfect clean-up. But hey, the aquarium is cracking up.
It’s explosive, dark, potent, and psyched out. And the main little monster fish here is the band MANKIND.
Currently whipping up the underground and warehouse parties in Stockholm with their runaway, throbbing and decadent show, Swedish MANKIND is getting attention.
MANKIND, four guys that could have been seeds planted at Pere Lachaise cemetery in Paris, drawing strength from the graves of Jim Morrison, Chopin and Gertrud Stein.
Instead the plants grew in Ingmar Bergman’s land of held back silence – bonded by a mutual musical love and existential brooding.
The bands first track “Blood, Sugar” – not least apparent by the video (directed by Johan Stolpe) – is unmistakably Scandinavian with Fever Ray-ish aesthetics. It’s produced by Gordon Raphael (The Strokes, Regina Spektor). Although early recognized and loved by The Needle Drop, “Blood, Sugar” was never sent out in the world. So lo and behold, this is now corrected. Needle Drop:
MANKIND were brought up on music released long before they were born and in boroughs far from where they lived (the early 90’s Seattle scene, the Velvet’s New York, The Door’s California, London 60s…) and that’s exactly where they belong artistically. But in addition they also have their own DNA, a unique sound full of odd MANKIND figments, twisted song structures, lyrics that are clever, angry, darkly funny, upsetting and on-point and a world of imagery and ideas that we know will keep us busy and alert.
Band are Arthur Batsal (vocals), Oliver Boson (drum), Alexander Ceci (guitar), Fredrik Diffner (bass) – just over 20, lives in Stockholm, Sweden
SC: https://soundcloud.com/musicofmankind/sets/blood-sugar
YT: https://www.youtube.com/watch?v=bedN-v9QMwc
Pics: https://www.dropbox.com/sh/gb6h1xqtifugsdu/AADn-tZYhx56kIyGTnJF7EYSa
Laurel Aitken
Let me tell you about Sally Brown . . .
So I love me some Laurel Aitken, and I’m singing along in my car to Sally Brown driving down the highway and my son starts laughing. I’ve belted out these lyrics so many times I don’t hear them anymore, but my son’s fresh ears pick up on perhaps the silliest words to ever grace a ska song–yes, the cukumaka stick. What the heck is a cukumaka stick? I decided I’d find out.
The cukumaka stick is actually a coco macaque stick. It was first used by the Arawaks in battle, even though they were largely a peaceful people. The Arawak, or Taino Indians as they were sometimes called, were one of the native people of the Caribbean. They came to the islands of the Caribbean from Guyana or perhaps from other islands in the Greater Antilles and the Bahamas. They were still a Stone Age people whose tools were primitive and they were an agricultural and fishing people.
The Arawaks used the coco macaque, a heavy solid strong stick or club, as a tool, but they also used it to bludgeon their victims or enemies in combat. In Haiti, the coco macaque stick was called “the Haitian Peace Keeper.” In Cuba, where Laurel Aitken was born, it was called “the Cuban Death Club.” And in New Orleans, the coco macaque stick is called “the Zombie Staff” or “Spirit Stick.”
The coco macaque stick was used in Cuba and Haiti as a weapon and became a part of the cultural vernacular after it was used by the dictatorial regimes in Cuba and Haiti against political activists. During the regime of Papa Doc in Haiti, the coco macaque stick became a symbol associated with the “guaperia,” or his military. According to one article, the “Cocomacaco was the main weapon of the notorious tonton macutes, his the personal body guards.”
The Daily Gleaner on March 1, 1915 wrote of a coco macaque stick when reporting on a corrupt Haitian dictator who stole money from the country’s coffers. It stated, “He could only find a few thousand pounds to seize, though he sent an army to make the levy: an army strongly armed with superdread-nought cocomacaque sticks.”
Aitken is likely informed by many of these interpretations of the coco macaque stick, but perhaps none as much as the one in his own country which saw the coco macaque stick as a weapon associated with slavery. On the Cuban sugar plantations, slave owners beat their slaves with a coco macaque stick. The weapon later became a “tool of correction” used by men on women, and there was a Cuban proverb that said that wives should be “corrected with cocomacaco hard,” which may also shed light on why, when Laurel Aitken was once asked about this lyric, he hinted at a sexual connotation, as was common in the calypso, mento, and subsequent musical traditions–just think of Jackie Opel’s “Push Wood” for an example with a similar object–wood–but there are dozens if not hundreds of others with different objects–shepherd rods, needles, etc.
The coco macaque stick also had a life all its own. The Taino Indians and Haitians who practiced Voodou believed that the coco macaque stick walked by itself. The owner could send the coco macaque stick to run errands or dirty work, and if the coco macaque stick hit someone on the head, they would then be dead by morning.
Here is some information I found in an article on voodoo: “Coco macaque is what many refer to as a very real magical Haitian vodou implement or black magicians helping tool. Made of Haitian Coco-macaque palm wood or what ever wood one has at hand it is basically just simple thick 1 to 2 inch wooden cane, which is supposed to be possessing one of many magical powers, The strangest one is that to be able to stand up and walk on its own. Though it’s appearance of walking is described more like a hopping or bouncing action. This Voodoo Magic walking stick is not bound by gravity and is said to bounce off of houses and homes and even roofs as it travels to it’s commanded destination. Sometimes many people might refer to them as Voodoo Zombie Canes and swear that by all known accounts and means that they or it is possessed by the spirits of the dead. By all old Haitian accounts many will tell you that it is a simple design or sometimes crudely hand carved by a voodoo black magic priest using what ever found wood is available to them at the time. And it is a cursed or controlled by specific spirit that causes the walking stick to appear to move all by itself.”
Here are the lyrics to that classic Laurel Aitken tune, Sally Brown:
She boogey, she boogey, she boogey down the alley
Let me tell you about Sally Brown
Sally Brown is a girl in town
She don’t mess around
Let me tell you about Sally Brown
Sally Brown is a slick chick.
She hits you with a cukumaka stick
Cukukukukumaka stick
Hits you with a Cukumaka stick
Heather Augustyn
SONGBIRDS: PIONEERING WOMEN IN JAMAICAN MUSIC. BY HEATHER AUGUSTYN
SONGBIRDS: PIONEERING WOMEN IN JAMAICAN MUSIC
BY HEATHER AUGUSTYN RELEASED
CHESTERTON, IND.—Songbirds: Pioneering Women in Jamaican Music by Heather Augustyn has been published by Half Pint Press and is now available. The book is a comprehensive look at Jamaican vocalists, instrumentalists, record producers, dancers, wives, mothers, and deejays who helped to shape the course of Jamaican music on the island and worldwide. Songbirds: Pioneering Women in Jamaican Music is the fourth book from Augustyn on Jamaican music and culture.
The book features dozens of interviews with women who found a way share their talent in a culture and industry that was marked by brazen displays of masculinity. They endured harassment and received little or no pay to perform as backup or alongside or in front of the male musicians. They sacrificed family and home for a life in the spotlight, or they brought their babies with them on the road. They took over the studio and made it their own, or they suffered unimaginable violence, even murder. They changed the course of music all over the world. The book also features over 100 exclusive photographs and memorabilia that supplements personal narratives and archival material.
Heather Augustyn spent two years researching and talking to such women as Millie Small of “My Boy Lollipop” fame who rarely grants interviews, and she obtained photographs from her personal photo album. Others include Enid Cumberland of Keith & Enid who is now in her mid-80s; Janet Enright, the country’s first female guitarist who performed jazz in the 1950s; Marcia Griffiths of the I-Threes, Bob Marley’s backup singers, and vocalist for the Electric Slide, the staple of every wedding reception; members of the first all-girl ska band, the Carnations, featuring the parents of Tessanne Chin, winner of The Voice; Doreen Shaffer of the Skatalites; Patsy Todd of Derrick & Patsy and Stranger & Patsy; Althea & Donna, and dozens of others.
Augustyn is also author of Don Drummond: The Genius and Tragedy of the World’s Greatest Trombonist, McFarland 2013; Ska: An Oral History, McFarland 2010; and Ska: The Rhythm of Liberation, Scarecrow Press 2013. She is a correspondent for The Times of Northwest Indiana and an adjunct professor at Purdue University’s North Calumet campus. She lives with her husband and two boys in Chesterton, Indiana. Songbirds Pioneering Women in Jamaican Music is available at Here and amazon.com.
Skinhead footwear survey, London school of fashion
Dear Symond,
Thank you for accepting my request into the Skinhead Classics Group. I’m currently studying footwear design in my final year at London College of Fashion and am doing my final major project on the evolution of the rude boy and the skinhead subculture. I am looking in to consumers and specifically members or admirers of the skinhead subculture. Would it be okay to post a survey to gain insight towards consumer habits and motivations to help with my degree?
Thank you for your time.
Kind regards,Eleanor Mills
Thankyou for showing an interest in the skinhead subculture, i am sure people will be pleased to help
Click here to take part in the survey
Skinhead attacked in Ramsgate UK
Colin Harvey aged 47 was attacked on his way home, late Friday night/Saturday morning 1am 1st November 2014
All he knows of The attackers, was a group late teens about 5 or 6 of them, Chatham Court, Station Approach road, Ramsgate.
Sherina ‘Rena’ Burke says. One lad was about 6.2 the others about 5.6 /5.7 about 1am yesterday morning
Don’t know if, or who who’s dealing with it at the Police station, as we left about midday so he could get cleaned up and have a sleep. Not even sure he was going to proceed with dealing with the old bill !
Oh and his wallet was missing too.
Locals we think, but Colin didn’t recognise any of them. The poor neighbour phoned the police, but was too frightened to open the door as she was elderly, I’m sure some one will find out something as they are bound to brag to the wrong person !! Colin’s spirits remained high, he had us all laughing, not sure if I’d have been so upbeat, I’m glad they didn’t knock that out of him. What a trooper !
This attack happened feet from his door 6 youths (late teens) were sat on the steps leading to his door he asked them to move and they attacked like a pack of animals ..he has remained in good spirits and still has his sense of humour, even after cracked ribs, Broken nose, fractured jaw, missing teeth, two black eyes and a large shoe print bruise across his face x
Been a skinhead since his teens not that it makes a difference !!
Skinhead for Life
Colin is well liked, born and lived his whole life here, has had the girls arriving in droves yesterday with beer baccy soup etc. Colin is a regular attender of skinhead events, and is a big ska and oi fan, one of the crowd. He was wearing one of our Great Skinhead Reunion Shirts, So this is an attack on all of us. Do your bit for a brother
Anyone in the area, can you please post this around. The lads are probably boasting, and could be local.
Ramsgate , is situated on the South East coast of England in Kent, quite a run down area, and is mainly recognised as a major ferry port for Europe. A close knit local community, but does attract alot of transient people. If you saw, or know anything, lets help to get justice for Colin.
If you have any info, please let us know,or contact Kent police on 101
Southall Skinhead Riots, A witness account
Rob Smiths Account
Friday, July 4th, 1981 had been a hot summer’s day in the Western suburbs of London. Late that afternoon, a small group of us took the bus from South Harrow to Hayes and met up with Hayes skins. From there about 15 of us travelled the short distance up the Uxbridge Road and arrived early at the Hambrough Tavern in Southall. As we walked from the bus stop, along the pavement and into the pub’s forecourt, we hadn’t noticed a hint of trouble anywhere and we weren’t expecting any either!
The pub was a good size. Inside it was bright from the evening sun thanks to the large bay windows but more on those later… The pub is located on the edge of Southall, on the main road leading into a town renowned for its large Asian population but we never thought that going to an Oi! gig on the edge of Southall would provoke a large part of its population to riot. Oi! bands had played in other areas across London with large immigrant populations before and there had never been any trouble.
Inside the pub, it grew noisier as more skins started to arrive. The atmosphere was buzzing – the 4-skins, the Last resort and the Business were going to play.
Inside, I remember thinking this gig had very little that was extreme right wing about it. I was aware of this because I’m of mixed race. There were no Nazi flags, no siege heils and it definitely didn’t feel like an extremist’s right wing get-together. Everyone was there – for this much looked-forward-to gig – for the bands, and to hear some good Oi! music.
Round about 8 O’clock, the crowd was getting a little impatient because the 4-Skins hadn’t yet arrived – you could see the gig organisers were getting a bit impatient too; but sure enough, through the large bay windows, we saw the band arrive, hurrying through the forecourt, ready to go straight on stage.
While the 4-Skins were playing something else was going on. Through the large windows, out in the darkening Uxbridge Road, we could see more and more Asians arriving and gathering by the wall of the forecourt. Inside it was stiff upper lip and the music carried on but there were a lot of murmurings as it became obvious there were going to be a lot of trouble.
The crowd outside got surprisingly larger by the minute. A few police had arrived and were forming a barrier between the restless, shouting Asians and the pub but as the crowd outside became larger and noisier, it became clear that the music inside would have to stop.
Events passed the point of no return when a brick came crashing through one of the bay windows. The music stopped and everyone inside took up defensive positions but no one would go outside – that would’ve been suicide. In the falling darkness, more bricks and missiles came hurtling in through the windows and it wasn’t long before we knew we had to get out… petrol bombs were being thrown at the pub. Many of us weren’t sure if we were going to get out alive because the police outside were looking as if they were failing to contain the situation. Inside, what had just been a calm evening’s entertainment had turned into a war zone. Broken furniture and glass lay all over the place as we fought to defend ourselves.
As more busloads of police arrived, a passage was formed to escape through. As bricks and bottles flew from 100’s of amassing Asians, we headed out of the pub across the no-man’s land forecourt, into the Uxbridge Road, behind the protection of police lines. Looking back, we saw a hijacked police car being set on fire. It was then rammed into the pub by Asian youths, sending the Hambrough up in flames. Fire engines, ambulances and more police cars arrived. Blazing sirens were drowned out by the noise of the riot. The night sky turned a reddish hue from the huge blaze. Even after we’d got back to Harrow, 4 miles away, we could still see the red glow of the sky from the burning pub!
The national newspapers, and radio and television news headlines the next day and for the next few days, were full of it but what I read in the papers and heard on the news didn’t match what I saw that night. The media were pinning all the blame on us skinheads, accusing us of going to Southall to start a riot and throwing petrol bombs at Asians. But I clearly remember going to Southall for a drink and a gig in a pub. There were no Nazi saluting skinheads in the pub. There were no skinheads throwing petrol bombs at Asians and there were definitely no plans to incite a riot.
Because of what happened at Southall, left-leaning media outlets and much of the right-leaning middle classes found every excuse under the sun to marginalise skinheads and Oi! music but their prejudices were based on false accounts! It was the assembled Asians that were the cause of the rioting that night, no matter how much they thought they were justified in doing what they did. They even continued rioting long after the last skinheads left the scene! But it was skinheads who got blamed, even though it was the police who had to defend us, not the other way round. We were the small minority needing police protection from the 100’s of rioting Asians! In fact, there were a few Asian skinheads inside the pub for the gig… these Asians weren’t rioting, the ones outside were! There were a few Black and Greek skinheads inside too.
On a lighter note, one funny thing I heard, don’t know if it’s true, was that the manager of the 4-Skins band chased the pub manager up the Uxbridge Road, wanting his money for the gig!
Seriously, the Southall night changed the course of Oi! – From that time on, the media ensured that Oi! would never get the positive publicity it deserved but despite all attempts to stamp it out, Oi! is still around and now global and long may it be so, but it will always be at home in London, where it all began.
cheers
Rob Smith
Hounslow Robs Account
I also went to that gig at the Hambrough tavern in Southall, the area itself is not too far from where I was living in Hounslow so it was an ideal opportunity for me to get to see a couple of the bands I was well into at that time, the 4skins and the Last resort.
Anyway, being only 15 at the time (turned 16 later that month) I hadn’t been to that many gigs, one that I had been to was at the Hambrough tavern a few weeks earlier. It was the Meteors and I hadn’t even planned to go; I’d been hanging around Hounslow bus garage which was a meeting place for the younger skins in my area when a local skinhead girl turned up and asked me to help her find the pub. Being a true gentleman (and because she was a right looker!) I went with her. As soon as we got off the bus on Southall Broadway we started to get abuse shouted at us by groups of Asians that were hanging around. Feeling nervous but putting a brave face on we headed towards the pub after asking one of the few white people we saw for directions. We noticed a group of Asians up ahead and as we got closer they blocked the road and surrounded us, there were maybe a dozen of ’em and looked to be in their late teens or early 20’s. One of them said “what are you doing in our area? “, as I turned to answer I got punched from the side and they all piled in. Would love to be able to say I had a good go back but didn’t have a chance really and ended up curled up on the ground getting a good kicking! To be fair they didn’t hit the girl although that was the only fair thing about it! Eventually they ran off and I found I wasn’t in too bad a condition, a few cuts & grazes but nothing serious. We made it to the pub and saw the band and I’m just mentioning that night cos it gives a bit of background to the area and how the Asians saw it, they regarded Southall as their town and you even had graffiti on the walls saying “whites out”!
Going back to the night of the riot I obviously had bad memories of the place but wasn’t gonna miss the chance to see the bands so headed to the bus garage in Hounslow where I knew some older local skins would be meeting up, an advance guard had already left but another 20 or so were there so I tagged along with them. Luckily we got a bus to Hayes and then another into Southall, I say luckily cos if we had taken the direct route it would have taken us to the Broadway and we’d have ended up on the other side of the massive mob of Asians that had already gathered by the time we got there.
I don’t remember any talk on the bus about it kicking off with the Asians that night, the only time I can recall someone mentioning trouble was about the possibility of old area rivalries between skinheads coming up at the gig.
On reaching the Tavern there was a line of police further up the road heading into the main part of Southall and you could clearly see the Asians on the other side of them. In the pub itself there was a good crowd and it was mainly skins but I noticed a few rockabillies and straights. As was mentioned by Cockney Express and London Rob there were also a few black skinheads in the pub and although there would have been right wing skins in there as well I don’t remember any friction between the skins inside.
As for the bands themselves, the gig itself is a bit of a blur and my memory has failed me a bit there. I’d never heard the Business before but enjoyed their set. The Resort I did like, having heard the 3 track tape on sale at the shop. I remember Hodges & co on stage and have read elsewhere that they were playing “Chaos” as the windows came in, dunno about that but it would have been perfect timing!!! I do remember the bricks coming into the pub ‘tho, were standing quite near to the big bay windows where the curtains had been drawn. Looking back I suppose this stopped the bricks and flying glass doing more damage but a number of people did get hurt. I got a small cut on the cheek myself but others had much worse, can still picture a skinhead girl who had blood all down the side of her face. Of course everyone moved away from the windows but many also headed for the door, partly because you didn’t know what was gonna come in next but also to get out and get stuck in if they could, Skinheads were breaking up chairs and tables to use as weapons & to say people were angry would be an understatement!
Outside it was chaos, the old bill was trying to keep the Asians away from the pub but because of the numbers they were struggling. It’s true that some skins were in the front line standing shoulder to shoulder with the police, through the lines you could see the Asians were going mental and were well tooled up, waving sticks, bats and even swords above their heads! Some skins actually managed to get into them, talk about suicide missions! One guy came back with the whole inside of his lower arm opened up, said it had been done with a meat cleaver! From the look of it I didn’t doubt it!
We were being pushed back away from the pub and I can remember seeing the petrol bombs flying, didn’t actually see the moment the pub was hit or when the van was pushed into it but recall seeing the pub burning and the flames high in the sky. Looking back now I dread to think of the outcome if a petrol bomb had entered the pub whilst everyone was still inside really doesn’t bear thinking about!
On our side of the police the skins were pretty much able to do as they wanted as the police had their hands full trying to control the Asian mob. A few lighter moments did occur, a number of shops had had their windows smashed and some skins had entered into ’em to find weapons or just to do a bit of looting! One of the older Hounslow lot reappeared out of a shop with a box full of crisps! A full blown riot going with petrol bombs flying around and you’ve got skinheads walking about munching crisps! I’m sure some were even asking what flavours he had! (I was at the back of the line so had to make do with ready salted!) Cockney Express mentioned in a post that he saw people throwing bottles of cresta at the Asians; I remember that drink, they should have tried setting fire to it, probably would have burnt better than petrol!! At one point word went round that some Asians had managed to get around behind the police line and were up one of the side roads, we all went steaming up there but it was either a false alarm or they had thought better of it and scarpered. Anyway on the way back a couple of skins started knocking on doors and whacking any Asian that answered, out of order maybe but then again the circumstances that night weren’t normal! One door flew open and a bloke came running out waving his arms and shouting “I’m white, I’m white, paki’s 2 doors down”!!
Eventually most of the skinheads were rounded up by the police and we were marched away from the area towards Hayes and Harlington station where the skins from other parts of London were to be put on trains. Those skins from west London carried on as we didn’t want to get trains into town. One thing I did notice was that the further we got away from the pub the worse we were treated by the old bill, we were being stopped every 100 yards or so and searched and hassled by ’em. The police earlier in the night had been fine with us because they knew what had happened and knew the score. Now there were coppers being brought in who hadn’t been at the front line and probably thought we had been the ones who had kicked it off, maybe not the case but it might explain their attitude and actions.
Also on that walk there was a confrontation with a group of white geezers who had pulled up in a van and jumped out with baseball bats calling us Nazi bastards, we were well spread out by this time and only about 10 of us were together in a group but we stood our ground and after a short stand off the police turned up and the blokes jumped back in the van and sped off, dunno who they were but they’d obviously been watching the news!
We ended up getting a night bus back to Hounslow and found a few local skins that hadn’t been to the gig waiting at the bus garage. Of course we played it up and you could tell they were gutted to have missed the night. I must admit I was guilty of the same when I met up with my mates the next day, probably bored ’em to tears going on about it, just like I’m doing now to anyone whose bothering to read this!!
Eventually got home about 4 in the morning, my mum was still up. She just looked at me and said “I don’t have to ask where you’ve been, I’ve been watching you on the telly”!
Looking back now the young Asians in Southall must have planned to attack the Hambrough tavern that night, they were just too organised for it to have been a spur of the moment thing, and they would never have got those numbers out at short notice.
I personally think Southall happened cos the local Asians were never gonna let a skinhead gig take place on their manor without having a pop at it. They did see it as their town and thought they had to put on a show of strength. The fact that most of ’em probably thought (as did most people not in the know thanks to the media) that every skin was a raving Nazi obviously played a part as well!
Still. it was a lively night! Wouldn’t have missed it for the world!
Cheers
Hounslow Rob
Cockney express (terry London) Account
Before I go any further I should point out that the following is my version of what I saw at the Southall riot. It is my own view of what lead up to the riot and it is my own view on the bands and the era itself. No disrespect is meant to any person/persons or bands.
As far as I know there are only two people that have taken the time to sit down and write what they saw. Both of those versions lead to the same end but, differ because of the people that wrote them and perhaps where they were on the night.
At the time of the riot I was Living in Bethnal green in London’s east end which was just a stone’s throw from the shop; The Last Resort. This shop at the time was world famous because of the Skinheads that used it on a regular basis and, because it was just THE place to be. Living so close didn’t mean that either me or, any of the other Skinheads that lived nearby used the shop or went to it regularly. To us it was just a shop that was around the corner. Any novelty the shop held had long since worn off. We left people from outside the East end to hang around the shop and look hard? And indeed get ripped off by the owner a certain Mickey “Millwall” French and his wife in crime…Margret and of course who could forget their fellow muggers of Skinhead money…”Fat Andy and “Shorditch” Ian.
Anyway before I lose my thread……………….
I had followed first Sham 69 then obviously the Cockney rejects but as these two bands either lost their way or, turned heavy metal I needed to find something new. That something new came in the form of a fellow that lived just a few streets away by the name of Gary Hodges and of course the now legendary 4 SKINS. To most at the time they were THE oi! Band. To us no one came close to them and if the truth be known it’s my opinion that since they (Hodges line up) split no one ever has. As far as I’m concerned since mid-1982 everything that came after has just been clutching at straws but please remember that is just my opinion. It is however an opinion that is shared by many that grew up during that time; living in the birthplace of oi! And, as a lot see it the eventual death place of oi…London’s east End. Yes I am aware of the bands that carried on and in some cases went from strength to strength I/e the Angelic upstarts and the Business but for me what followed was second rate. I will add that yes it was good music but to me it was second rate. If you like oil! at this time had started to grow up and spread throughout the country and in doing so newer bands injected their meaning into the music.
For me oi! Was about life in London, no, life in the East end….tuff, hard and a slum where no one gave a toss about us…the kids. The only ones it seemed that cared were the bands of the time. Listening to the likes of Blitz from Manchester or the Angelic Upstarts from the North east just wasn’t the same as listening to the Cockney rejects/The 4 Skins/Eastend badoes or, Cock sparer. Perhaps the only band that came later that made us listen again was the Ejected. You could call this narrow mindedness and I couldn’t give a f**k if you did…hey it’s not the first time I’ve been called that and, I doubt it will be the last. My take on it is simple….we came from an era which was very tribal and as such listening to what we called a foreign band Like the Upstarts was a no no. Of course we went to see them and of course we bought there albums and played them until they wore out but they just didn’t speak for us in the same way as our own. Just as a side point regarding the Upstarts; in later years I have spoken to many people from the North east and they felt the same way about London bands as we did about, non-London bands…like I said we were tribal. Who knows perhaps this is the real reason for the demise of the oi! Scene. Some say that it was the right wing whilst others say it was the left wing. Some even say it was when Skinheads grew their hair. There are many factors that contribute to its demise but, without a shadow of a doubt the main one IS the now infamous Southall riot.
Could this album really cause so much trouble for the Oi! scene? In the eyes of the media/government and any other dimlo that wanted to jump onto the “lets ban Oi! bandwagon” it could…or could it?
The album ‘strength thru oi’ which takes its name from a Nazi slogan ‘strength thru joy’
has been used as a scapegoat to justify the unfounded claims of the media from the day of its release until now. It’s true that the front cover had a photo of the late Nicky crane who was a member of the British movement and, head of the leader guard. It’s true that he had British movement tattoos. It is also true that he was a last minute stand in because the cover should have featured Carlton leach the notorious West ham and ICF hooligan but due to one thing and another he didn’t show. It’s also true that on the rear of the cover it pays homage to various non-white peoples.Thats as far as I will go with that because I don’t feel it’s worth going into detail about what Jesse Owens did or who he was or/Sugar ray Leonard etc. etc. What I will say is this. It has been common knowledge for a long time now that the Front cover was changed because of the real cover model not showing. What you might not know is this. Others who I cant mention have indicated it was actually the rear cover that was changed due to its right wing content…..think about it! Either way that album was and always will be the best of all the Oi! Albums in the series. To me everything that came after carry on oi was a waist of money.
I and others were due to leave on coaches for Southall that were to leave from the Last resort in Goulston Street, East London. As it turned out around twenty of us didn’t because a couple of weeks before we had arranged to meet Skinheads from Ealing (West London) at Ealing. We had met the Ealing Skinheads at various 4 Skin gigs and got to know them and would travel to a pub that they used called the Victoria. I also knew a couple of the Green ford Skinheads who at the time were working at the same place I was in Old Street. One of these Skinheads was talking about the planned gig at the Hambourgh
Tavern in Southall one Monday morning at work. To come to the point the same Skinhead told me on the Wednesday of the same week that he wouldn’t be going because he had heard that the Southall youth Movement was going to try and disrupt the event. Talking with some Ealing Skinheads later that day it was confirmed that they had also heard the same.
This is a bit of information that to my knowledge has never been mentioned anywhere by anyone that has ever spoken or written about what happened on the night.
It turned out that we got held up in Ealing and arrived in Southall almost forty five minutes late. As we made our way to the Tavern it was obvious that what I had been told was quite true because of the huge amounts of Asians that were gathered and, armed.
We were a good thirty in numbers and just cut straight through these people without any sign of them even trying to have a go at us. As we came near to the tavern there was about ten Police already on duty outside. We got the usual bollox that they tended to give Skinheads back then but it did them no good because they were just ignored which I don’t think they liked all that much. Now, at this point I would like to point out that the media has established a myth which goes something like this.
They, the media claim that what sparked the riot was us. Skinheads came into the Southall area and were abusing Asian woman/daubing walls with Swastikas and racist slogans etc. This is complete and utter bollox. The real reason is this. Two months prior to the event a gang of Asians had been arrested and two had been beaten whilst in Police custody (something that was quite common back then). The end result of the tension that this event caused lead straight to the doors of the Hambourgh Tavern. The Asians were looking for an excuse to get back at the Police and despite three meetings with the elders of their community and the Southall youth movement to keep the peace it was going to go off. Claims that the British Movement and National Front were in the pub were complete rubbish. Claims that on one of the coaches that brought people from the Last Resort there was a National Front flag in the rear window are rubbish. Perhaps what people don’t know is that inside the pub there were Black Skinheads that had travelled from the Kilburn area.
It was these that were the first to be hurt as the windows came through and believe it or not it was these that were pulled to safety by white Skinheads. Any notion that this was a right wing motivated event is an untruth. Obviously there were right wing supporters in the pub as there was left wing. We all knew each other and it was an unwritten rule that on a 4 Skins bill you kept that at home. Who would want to tangle with Gary Hodges and those that he had with him? Only a fool that’s who.
Playing on the night were three bands…they were. The Last Resort. The Business. The 4 Skins.
It was those Black Skinheads that were hurt first and as ive said were pulled clear. I don’t know if they were in the bay window on purpose to wind the Asians up or what but if that was the case then it worked. One of their names was Lenox and he came from Ladbroke grove and as a side point was also injured at Acklam hall during another event that went tits up.
As the windows came through i would have to say that we were still not too worried inside the pub about what was going on outside because we thought the Police would move the Asians on. I have never worked out why they didn’t or, why it got so out of hand.We have to be honest here because the Police could have been heavy handed and forced the issue but obviously the event with the Asian gang had something to do with it. The only thing people were concerned about was the woman that were there…one of whom was pregnant and the younger ones. I’ll never know how everyone got out safe and sound but, we did. It certainly hasn’t got anything to do with the Police because they just lost it.
I was in a group of East end Skinheads which included Gary hitchcock/The 4 Skins and Lol Prior. Because we all knew each other we all stayed together and stayed in the pub until we were forced out by the fumes and smoke that at this point was pouring in through the smashed windows. The now legendary story about Lol prior trying to get the bands equipment out before it burned is quite true. He was beaten back by the flames and he was dragged out kicking and screaming.
Just a head of us as we came out of the pub were the bulk of the Skinheads that i presume Rob is talking about when he says they were escorted through the Asians.
There are many stories about that night that have been told since and some i smile about because i know that they are rubbish. One is when Hoxtom Tom the bassist with the 4 Skins was supposed to have knocked on the door of an Asian seeking help and was knocked over the head with a frying pan…funny but untrue. Another is that Gary Hitchcock jumped into the back of a Police van and wouldn’t come out. also untrue. These people were all in the same group together until we arrived back in East London safe and sound.
One thing that is true is this. As we left the pub and tried to charge at a group of Asians that had begun to fight toe to toe with the police that were trying to get away from the pub; they ,the Police screamed for us to help them which we did. With hindsight this was a mistake on both ours and the polices part because this just enraged the Asians even more. I mean, there we were with a solid line of police between us and the Asians and we were beating the living daylights out of ten or more Asians that had been caught as the police reinforced their lines. I suppose it must have looked or was seen by the press as a racist attack but……one of the black Skinheads was also having a go at the Asians…figure that out.
Rightly or wrongly but those Asians that were caught and hurt and, i do me they were hurt deserved it. What stuck with me as i sat and thought about it over the following days was the amount of camera flashes. What the f**k was all that about? how did anyone from the media arrive on the scene so soon? In the papers the following weekend these photos began to appear along with photos of burnt British movement and National front leaflets?
One word can describe these leaflets and I’ll leave you the reader to make up your own mind…the word is…PLANTED.
During a conversation with Gary Hodges he came up with the idea that the police had put those leaflets there the following morning as a ploy to avoid any questions raised about their complete incompetence over the tactics they used on the night. I’d say that is as true an explanation as I’ve heard. I don’t recall seeing any leaflets being handed out. The only leaflets i was given were for future Oi! events and one for a gig which was to take place in the pub two weeks later for a Rockabilly night with the band the Deltas.
The police gathered up the Skinheads that were left over from the pub and tried to force us to the Local British rail station and onto Paddington I believe.
Gary Hitchcock gave them a simple two word answer “fk Off”. The police couldn’t argue because they had other things to attend to. For some unknown reason we ended up in North Harrow When we arrived they MADE us all buy a ticket or they would arrest us. Anyway, whilst on the platform another group of Skinheads arrived who obviously had the same idea as us which was to somehow get back to Southall and have a go back. Among the group which was mainly Chelsea and the South London Skinheads was Chubby chris of Combat 84.By now we were a good forty in numbers and these were all the people that you wanted with you. Thinking on it these days it was quite a surreal situation because there on that tube train platform were two sets of people who probably hated each other more than any other group. The hatred all came down to East/South London and West ham/Chelsea. Funny though, because none of that was mentioned as the hate for the Asians was a lot greater. Well as it turned out we didn’t get back to Southall because we were being followed every step of the way by the Police who were at all the stations we went through. I would like to be telling you how we did make it back to Southall and, how we did take revenge on the Asians but if I’m honest its lucky we didn’t. Looking at it now im older there’s a good chance that i might not have lived if we made it back. It goes without saying that the amount of weapons we had gathered up and the mood we were in we would have killed or been killed. As it was many Asians throughout London fell foul to Skinhead attacks in the following weeks and during one of these attacks one Asian that got a little too mouthy was knifed to death. I don’t have a problem with that because not one Asian when asked by the media said that what happened in Southall was wrong. We are aware of the tightknit community these people have and we were aware at the time that they knew the truth that was hidden behind that riot so ,fk THEM. You could say that im a callous bastard but i was at Southall and was also there the night the Asian was killed. I don’t think it too relevant to go into detail about his death but he deserved what he got as did those that turned up on the night in question. What you have to remember is tensions were running high within the Asian community and, amongst Skinheads. Some of the younger Asians took what they read in the papers as truth. Lets just say that when a group of Asians turned up to gloat and gave it large to a group of Skinheads that were at Southall then they were inviting trouble…..like i said tensions were running high.
The story came out about the Asian gang and the beatings the police gave to two of them but by now people’s minds were closed. We all thought f**k it then…if this is what you think we are then that’s what we will be.
We eventually ended up at Harrow on the Hill where there was also a large number of Skinheads but by now the police had, had enough.
Everyone just drifted off onto the tube and went home.
Obviously we all knew it was on the cards that there would be a backlash but i don’t think that anyone realised it would be on the scale that it was. At the time it was as if the whole world and his sister had something to say about the oi! Movement and, everyone wanted to have their say. The papers were full of it each and every day for two solid weeks or more and no one wanted to touch an oi! Band or, even touch and oi! Event. Clubs and pubs that were due to host an event pulled out and gave some lame reason.
It really was a case of us and them at the time.
Skinheads were getting grief from every direction; even those Skinheads that were still at school were being threatened with being kicked out if they didn’t grow their hair. Those that were putting the records out were it seems fighting a losing battle with the music industry and the bands were being slaughtered by people that had been all ready to promote them just a few weeks before.
The right wing was claiming a victory over the left and in turn the left was claiming one over the right.
It was even spoke of in parliament…………………
None and, i do mean NONE of this dampened the spirits of those that were involved in the scene because all though at the time we didn’t realise it, this is what we all thrived on and lived for……Confrontation. That is what the whole meaning of oi! Was and should be about even today.
What an absolute victory the Carry on Oi! Album was and, what a sigh of relief was breathed on the streets. Out of all the Oi! Albums this one might not be the best but, it certainly was the most well received of them all. This album to us at the time represented two fingers firmly stuck up to the them……………………………..The establishment.
I would have to say that most if, not all didn’t like the cover notes because to us they went too far…..they were too apologetic. It was if the words wrote on the rear of that cover played straight into the hands of those that were trying to destroy the Oi! Movement. It felt like the establishment had said, either toe the line or, we WILL destroy you. This was too much for some of the more loyal within the Oi! Scene and so they left it. Gary Hodges and the 4 Skins came in for so much flak that it got too out of hand and caused too many arguments so he (Gary Hodges) did the natural thing and left the band. It goes without saying that he went out in a blaze of glory and this was all down to the track that was on the carry on Oi! Album…………….Evil, it says it all really.
Once Gary left the scene it began to fill with what can only be described as kiss arse apologists who played straight into the hands of both the right wing and, the left. It was these people that really brought politics into our movement with their bullste rantings. You only have to have a look at the so called Oi! Albums that came after Oi! Oi! that’s yer lot. Just have a look at the bands that were on these albums and also the cover notes………….Bollox to all that ste. With the exception of perhaps the new 4 Skins/Vicious rumours and of course the Business the following albums were rubbish.
It was the people that were behind the said albums that played straight into the hands of the right wing. You can try all you like to pull that statement apart but history will prove you wrong. By mid-1983 the door was well and truly closed on the whole Oi! Movement; it wasn’t a shadow of its former self and because of those that were now running it….Oi! was lost.
Everything was turned on its head by the middle class, suburban rebels that had taken it upon themselves to try and speak for the kids.
These people were on a collision course with a man that came onto the Skinhead scene kicking, growling and causing havoc. He met these people head on and; with his band he just took over and, blew away the cobwebs and told the establishment exactly what they could do and, where they could go. Oi! Was dead but, Ian Stuart had arrived and, in style.
The left put up a form of resistance but it was just too weak……..
Who honestly could take Chris Dean, Nick King or Martin Hewes of the Redskins seriously? Please, If anyone is in any doubts then think…..Jubilee gardens.
Probably the biggest pile of bullste that came out of those few years was that the Redskins were signed to Decca records which in my mind says it all. The Redskins were supposed to be what they the establishment wanted Skinheads to be like Bollox to that idea because there was no way that any self-respecting Skinhead would listen to three middle class drop out types that had nothing in common with us. These people openly supported the Socialist workers party anyway. Correct me if I’m wrong but the way i see it is like this; if you can’t have the right then you can’t have the left Oh! But of course these type of people don’t think like that do they….too much bullste floating around in their heads and not enough streetwise suss’. It’s at this point in the history of Skinheads that the so called S H A R P Skinheads began to pop up. Yes i don’t understand them either. The bit i can’t seem to get my head around is when they say they are non-political…..errrrr if you say so.
Now before i get accused of championing the right wing let’s just get something straight. In Ian Stuart those people that were beaten down by the media over Southall saw someone that again spoke for them. Those people would be the ones that came from the street., the real Skinheads/the real Herberts and the real football thugs. Not the Sussed Skins as they were known as at the time or the loony left wing lets ban everything and support everything that just isn’t worthwhile, types.
We are all aware of where Skrewdriver went and what they did and that’s not relevant so, it won’t be spoken of. By the time Skrewdriver had announced their true intentions most if not all of the original Oi! scene had moved onto either; Football hooliganism and the casual way of life or were too busy earning a crust to give a fk. As the 80’s wore on under a Thatcher government people began to think in a different way to a few years before i mean…like her or hate her she gave us money/jobs and a meaning. The spirit of Oi! Was about changing the way we were living and getting ourselves out of poverty. She gave us that and, we took it. We are all aware of the miners’ strike but we didn’t give a toss about that because it was a case of “were all right jack”. It takes me back to the point i made about being tribal so nuff said. In any case a lot of the Skinheads that i grew up with watched our Dads being made unemployed as they the establishment closed down the docks in the East end of London…the same applied for the hated ones that lived over the river in South London. We had experienced it…..i don’t recall any miners standing alongside my Dad on picket duty in the 70’s.His favourite saying to me as i grew up was “Boy, the dosh is out there so grab it with both hands and never let go…fk everyone else” too bloody true. Now if that aint Oi! then i don’t know what is.
2004.
Oi! Can never be as it once was because of the way we live today but that doesn’t mean the bands that have emerged and in some cases re-emerged cant still play good old fashioned Oi! The way it should be played.
There are allot of bands that call themselves Oi! but as far as I’m concerned the only two that are worth a mention are…Argy bargee and Section 5.These two have the spirit of the old bands. The rest are too busy with politics which was not what we were about.
It’s good to see younger people getting involved in the newer scene and enjoying the music of the older one.
The future
Who knows, let’s just take it as it comes and try to enjoy it while it’s here. It could soon be gone.
And lastly, It would not be right to end this article without naming the bands and recordings that made it all worthwhile.
The Bands……
1.The 4 Skins (Gary Hodges line up)
2.The East end badoes.
3.The Cockney rejects.
4.The Business.
5.Vicious Rumours.
7.Cock sparrer.
8.The Gonads.
9.The Ejected.
10.The Last Resort.
The Records……
1.One law For Them.(The 4 Skins)
2.1984.(The 4 Skins)
3.Class of 82. (The Ejected)
4.England belongs to me.(Cock Sparrer)
5.We can do anything.(The Cockney Rejects)
6.Working class kids.(The Last Resort)
7.Work or riot.(The Business)
8.The Way its got to be.(East end badoes)
9.Vicious Rumours.(Vicious Rumours)
10.Fighting in the streets.(The Cockney Rejects)
As i said at the start, this article is not meant to upset or insult any band/bands/person or persons. If it has then…toughen yourselves up and get a life you mugs.
The Final words come from Max Splodge when asked for his opinion on the riot and i quote…
“I think it was a conspiracy between Esso and Unigate”.
Follow that.
Cockney Express ( Terry London
Jinkys Account
So much rubbish has been wrote about what really happened and I’m not sure I have ever read anywhere either in a book or on the internet anything by people that were there.
Well that summer was a scorcher as those that remember will tell you and tempers were running high among a lot of people on the streets hence all the riots.
I had been to the Hambourgh Tavern before the night of the riot but that was a Rockabilly gig. In fact I had been there a month before. Whilst on our way we got no end of grief off the local Asians but just pushed through them to the pub. I had gone the month before with two Rockabillys and another Skinhead and it was us the Skinheads we thought they were targeting but as we found out inside everyone had been given grief so we just assumed it was because we were White. Now some people have said that the Skinheads going to Southall was provocative but what a load of old tosh because explain the grief the Rockabillys got or the grief that the Soul boys got when they went there. We were told by someone that worked the bar that everyone that came into that pub on gig nights was greeted with the same hostile reception from the Asians and hey ho…they were ALL White so go and figure that one out.
What Tel says about the geezer from Greenford is quite true.. Tel his name was Greg Page in case you had forgot mate. I knew Greg through the Ealing Skinheads. Jason Harrison (Arty), Tony Jarvis (Samson) and the others; you should remember them Tel.
So Greg tells us about the gig but a few days later he explains about the Southall youth Movement and what they had threatened to do if it went ahead. As a point on the side I think that if the Police had called the gig off they would have still gone on the rampage because I don’t think to this day that it was us that they really wanted to have a row with…it was the Police and the reasons have already been pointed out. Also, why didn’t the Police stop the gig because they MUST have known all the things that we knew. Maybe they wanted to use this as a way of avoiding a full on riot by the Asians against them and its far easier to blame us the Skinheads than have questions asked about them…..now there’s a thought for you to mull over.
Right, I got one of the coaches that left from the last resort along with a few other pals from the East end, yeah it’s true that there was a Union jack in the back window of one of the coaches and why not?, And so what?
Those that I’d gone with had already had a right good drink up and were still at it on the coach. On the journey we gave all the usual waner signs to everyone and that included the filth; Funny coz id have thought they would have stopped the coach and wiped us off but no? maybe im reading something into this that isn’t there but how about this for an explanation…the old bill knew where we were going and they knew what was going to happen and that’s why they waved us on ,sit you never know.
Right, we arrive at the Hambourgh tavern in good time but you couldn’t help but notice that the little journey that we had to take from the coaches to the pub was not pleasant at all. The Asians that were gathered were making cutting gestures across their throats to us and giving the wan*er sign but I don’t think any of us realized that this was any more than a few locals giving it large. We understood what they thought we were i.e. Nazis and so we swallowed it. Some returned the gestures but can you believe that those old bill that were with us threatened us with arrest and started to get heavy handed. At the time I didn’t think on it but now I reckon that is was all for the Asians benefit but it did them no good because those that were being shoved about shoved back.
Inside the pub now. I won’t talk about what happened there because Tel/Rob and Rob have spoken about that.
I want to talk about what happened as we came out. Tel talks about the group he was with being the last ones out and by rights that should have been me as well but because of where I was in the pub I had to leave because I couldn’t breathe. Correct me if I’m wrong but those bay windows had large curtains hanging from them and they caught on fire and gave off smoke. It had gone from enjoying ourselves and told by Hoxton to keep calm to sudden chaos and blind panic. I thought I was going to be burned alive and I’m not afraid to admit it. As I say I was forced out of the place and was shoved towards two rows of Police and bundled forward still coughing my guts up.
I managed to find two pals that I had gone with and we mobbed up with all the other Skinheads some one hundred feet from the pub. It was at this time that the last lot came out of the pub and got straight into some Asians that had come across to where a few Police had got in front of a small wall. To me it looked like these Skinheads were trying to make a stand and this caused some of those that I was with to try and get back but it was all done in a few minutes and we were bundled away. It was just as we were being told that we would be taken to the local BR that a huge bang went off then a flash that lit the place up; the Asians were all cheering and I have since found out that it was the Police car that was rammed towards the pub.
There was no way I was going to get on a train and go to Paddington or wherever it was because my only interest was getting back home to East London and the same went for the seven or so I was now with. We managed to escape from the police escort and walked what seemed like miles through all these back streets. Along that way we just kept bumping into one mob of Asians after another and they wanted it and they got it. I hope this doesn’t sound like we were some kind of super heroes because trust me I was shitting myself and I don’t give a toss about admitting it either but we had to fight our way through a good fifty plus Asians in little gangs for about fifty In one of those little rows we had we came across ten or so Asians that I think wanted to kill us. As we turned a corner they were coming the other way and it went straight off but we managed to get the better of them and get them on their toes. It was as we were leaving them behind that another lot came out of an alleyway and I was hit over the head with a bottle. I tell you I went down like a ton of bricks but those that were with me stopped the Asians from putting the boot in and fought the cunt’s off me. These Asians also ran off but the talk was that a huge mob will come back our way so we had better get off ourselves. I honestly can’t remember too much about getting home because I was dizzy and seeing double. One thing I can remember is the looks I was getting from people on the bus we had jumped on and this was down to the claret coming out of my head. None of us knew where we were or where the bus was going but as long as it was heading away from that pub I don’t think any of us really care. As it turned out we ended up in a place called Eastcote where we got a tube train all the way home. Now that was luxury I can tell you.
By the time we got back it was all over the TV and radio and guess who got the blame?
The following day after getting along to the hospital to be stitched up from cuts I bought the papers and they were full of it and I still can’t understand to this day what the press thought they were doing. They made out that Skinheads had gone to Southall looking for trouble and got turned over by the locals. One report said that a Swastika had been sprayed on a window. If that is true I can’t see why the riot happened. The press basically said that the Asians gave us a good hiding because some of us gave them some verbal….the press were gloating over it instead of condemning it which they should have. It seems that the press were saying that two wrongs do make a right so if that was the case then why did all the revenge attacks that took place across London get bad press?
No, something was most defiantly dodgy about that night and I think that somewhere in a Government vault is a paper with the names of the ringleaders from the Southall youth Movement and the names of the Police that let it all happen to protect themselves.
My account (very boring one)
My Memories of that night – said in short quick version.
We had been drinking in the Hambrough for a few weeks before the gig It was just inside Southall on the border of Hayes. Obviously, it was mainly skins from Hayes and Southall and local areas pre the riot night and there hadn’t been much trouble every time I had gone there. I had gone there as usual but was looking forward to the gig. It was slow to start but the atmosphere was great inside. I was getting hot so went outside for some air and saw groups of Asians gathering. Suddenly Peter Soda a black guy that had gone to the same school had spotted me and came rushing over to me. He asked me why i had come tonight and that i shouldn’t have come with my skinhead as it was going to be kicking off in a few minutes and he said “loads of them have got petrol bombs ready”. He grabbed my hand and told me to go with him. (By the way I forgot to mention he was a friend) He walked me through the gathering groups to the other end of Southall – the wrong end!!! He left me near a copper close to the police station and said i should be far enough away to be safe. The Petrol bombs started going off and i saw the smoke from a couple of cars that had been set alight and could hear screaming and shouting. Loads more police shot out of the Station and towards the trouble. The copper i was standing with shot off so i dashed right into the front of the station. Some police were coming back bleeding as the Asians were attacking them too. It was getting dodgy near the station too so a copper told me to get in his car and drove me to another part of southall down the backstreets that could connect up to Yeading. He left me there then drove off, I started walking and not long afterwards I heard my name being shouted. It was my mum who had driven round the back way with the minibus from the children’s home and she was picking up some stray skinheads she found and was dropping them over to Hayes via Yeading. There were both black and white skins in the pub that night and my mate who was Black had gone with me. She had got out and got back to Hayes and had told my mum she didn’t know where I was, my mum then came out looking for me.
My mate Peter told me that the Asians had gone prepared with the petrol bombs. It was a load of crap that the skins had gone there for trouble but the next day on the news it was saying we started it all and were provoking the Asians but the rioting carried on with Asians attacking the police even after all the skins had left.
Adam and the Ants
November 1980 Adam and the Ants ‘Kings of the Wild Frontier’
Tour programme – interview and reviews – Animals and Men – Human League
The Cure – The Passions – The Scars – Another Pretty Face
Adam and the Ants: Kings of the Wild Frontier
‘Vague is growing a deserved reputation as one of the best about; in fact could prove the eventual successor to Ripped & Torn… It’s got that hard punk attitude, lots of colour… and plenty of spirit. Suffered even more than Panache from being an Antperson to the extent that it sold 4,000 copies of an Ants special on their last tour, and then spent the whole of the next issue slagging them off. Good value as much as anything though. It’s frequently scruffy, badly printed and incomplete, but must be the most regular fast-growing fanzine about.’ Tony Fletcher Jamming
November 9-December 15 1980 Welcome to Vague 7, which is really Vague 5 made into an Antzine (with the z the wrong way round on the cover) for the November tour after the great demand for the original. Terrible capitalists aren’t we? I bet Mark P is turning in his grave… Issue 7 was the Adam and the Ants ‘Kings of the Wild Frontier’ tour programme, consisting of the Adam interview from issue 5, Animals and Men from Vague 4, some other Ants related stuff, the Cure, the Passions and Human League again, and a different colour cover. Here also is stuff from the Ants retrospective in Vague 12, reviews and reports from Channel 4 fanzine and the earlier Vagues, and the Frontier tour report from Vague 8; rehashed from the cobbled together version I tried to get published as an Ants book in the early 80s. The nearest I got to a deal was one publisher who said he might be interested if I re-wrote it as a girl.
Never Trust a Man with Egg on his Face
Pete Scott, in Vague 12 on the original Ants experience: When I first saw Adam and the Ants I felt as if I’d walked straight into one of those weird paintings where watch faces hang limply over tree limbs. The Ants were like nothing I’d ever experienced before – 4 figments of make-believe carefully superimposed on a real setting. Both musically and visually, they were quite unique. Their songs were not just your ordinary, run of the mill rock�n’roll clap-trap – by turns they were gross, violent and beautiful. Maybe best of all, they were also very funny. If you’re a regular Vague reader, then you don’t need me to tell you how good the Ants were back then. Nevertheless they had their faults. In the last issue of Vague, Tom pointed out that ‘their ideology was always a bit dodgy,’ and in retrospect I’m inclined to agree. As you may have already guessed by now, this is yet another bitter, disillusioned article on Adam’s rise to fame and fortune, written by yet another bitter, disillusioned former fan.
I don’t want to waste a lot of time and energy explaining why Adam’s vintage (pre-‘Dirk Wears White Sox’) material was superior to his current output. But with ‘Deutscher Girls’ currently riding high in the charts, and Do It’s new ‘Antmusic’ EP looking all set to follow it, this seems like a good time to look back over Adam’s career and discuss certain aspects of it. This article may well represent my last word on the subject of Adam and the Ants, so pay attention. In the early days, the Ants’ career was marked by instability; line-up changes were frequent. Things were made worse by the fact that Adam had a tendency to base his songs around controversial subject matter. The Ants’ repertoire included titles like ‘Bathroom Function’, ‘Beat My Guest’, ‘Il Duce’ and ‘Whip in my Valise’. As a result, the press soon came to hate the band, and Adam was subject to some pretty nasty critical abuse.
Adam defended his use of taboo subject matter by likening himself to Mel Brooks, the director responsible for such films as The Producers (with its controversial ‘Springtime for Hitler’ sequence) and Blazing Saddles. At the time, the comparison with Brooks seemed reasonable and I went along with it, remarking that Brooks’ work, like Adam’s, has undoubtedly offended a lot of people. Nowadays, when I look back over the lyrics to songs like ‘Juanito the Bandito’, ‘Cleopatra’ and ‘Day I Met God’, I find it hard to understand what I ever saw in them. They seem cheap and nasty somehow, almost like the kind of thing a naughty schoolboy might write to amuse his friends during a rainy dinner hour. Then there was Adam’s admiring references to Nazi concentration camp officer Ilse Koch, his Cambridge rapist mask and his constant use of sexist imagery in the Ants graphics.
I don’t want to convey the impression that I now hate all the old stuff. Despite a few reservations, I still love most of it. I love songs like ‘Nietzsche Baby’, ‘Ligotage’, ‘Hampstead’ (the original Oi song), ‘Redscab’ and ‘Boil in the Bag Man’. I love them, and I wish Adam would honour all the promises he’s made to release them. ‘Deutscher Girls’/‘Plastic Surgery’ lacks impact – the production on both tracks is terrible. So all we’re left with is ‘Dirk Wears White Sox’ and ‘Antmusic’. ‘Dirk’ is an intriguing album – punk rock’s book of grotesques. It explores the dark side of modern pop music with humour and perception. A few of the tracks, ‘Digital Tenderness’ and ‘The Idea’, fall pretty flat, and even the good ones are spoilt by an inexcusably weak production job. But on the whole, ‘Dirk’ remains an offbeat, imaginative LP with much to recommend it. The version of ‘Cartrouble’ on the ‘Antmusic’ EP is superior to the one on ‘Dirk’ – louder, heavier and more exciting. The version of ‘Physical’ is less sluggish and ponderous. It’s also a good illustration of what the phrase ‘Antmusic for Sex-people’ used to mean. ‘Kick’ is a real blast from the past – a scathing outburst of undiluted noise. ‘The Pure Sound’. Screaming guitars, pounding drums – the works.’ Do-It’s ‘Zerox’ was the first great Antsingle and ‘Antmusic’ looks like being the last.
Adam and the Ants speed pop history – The New New Super Heavy Punk Funk: 1975 Adam Ant started out as Stuart Goddard in Bazooka Joe, who were supported by the Sex Pistols at St Martin’s College of Art. 1976 Adam formed the B-Sides with the bassist Andy Warren, Lester Square and Bid who went on to the Monochrome Set, and Max who ended up in Psychic TV. 1977 ‘The first time I saw Adam Ant he had just had ‘Fuck’ carved into his back by Jordan with a razor blade and World’s End was stained with his blood…’ Adam and the Ants formed at the Roxy during a Siouxsie and the Banshees gig. Their debut at the ICA was cut short after ‘Beat My Guest’, which Adam performed in a ‘Cambridge rapist’ leather mask. Then they played with X-Ray Spex at the Man in the Moon pub on King’s Road, the original Sex shop Jordan became their manager and Dave Barbe succeeded Paul Flanagan as the drummer. They also appeared in Derek Jarman’s Jubilee film and at the opening night of the Vortex punk club. The guitarists were Lester Square, then Mark Ryan ‘The Kid’, Johnny Bivouac, and (from ’78 to ’80) Matthew Ashman.
Sanctuary in Salisbury
September 22 1978 Adam and the Ants, the Glaxo Babies and the Screens at Salisbury Tech College – where I had just started a building studies course – on the Friday of the first week of term. The first time I saw Adam and the Ants was a riot – literally, the first Salisbury anti-punk bikers’ riot. I recalled the gig in the Ants retrospective in Vague 12: Christine was off being a young Parisian, much to her annoyance (she was even more obsessed with them than me), so I was driving and like a good citizen I only had one drink then went into the hall to see the support bands, the Screens and Glaxo Babies. Salisbury had never seen anything like it. I was used to having exams in the hall, but there we were waiting to see Adam and the Ants; students dressed up punky for the night, everybody from Southampton and Bournemouth, a large contingent from London – some of whom boasted of seeing the Ants 40 times already; most of the London lot looked really young and they had their own style, consisting of cardigans, Ants or Seditionaries T-shirts, studded belts, bondage trousers and kung fu slippers – and there were rather a lot of bikers.
At the time nobody knew what was going on, even when it was actually going on, but I later pieced together roughly what happened. Some bikers went into the Star, which was full of punks including the London contingent, generally taking the piss, and one of them came off worse in an incident involving Duncan, the drummer of Martian Dance (and later Chiefs of Relief). However, there was a United Bikers rally on and after a few phone calls bikers started infiltrating the gig at the college. When there were sufficient numbers amassed, they began picking punks at random and dragging them out to the foyer for a kicking. Martin Butler (who helped organise the gig) heard about the trouble in the students’ union office and went down to try and calm things down. He was saved from a kicking by the Ants roadie Robbo from Liverpool who dragged him into the hall. Then a biker girl was (at least said to have been) stabbed in the toilets and all hell broke loose.
In the hall things were still relatively calm, although there was a generally uneasy atmosphere and the word soon got round. The weekend swinger student punks (Salisbury was the only place the Ants ever played their ‘Weekend Swingers’ track) started frantically flattening their hair and wiping off their make-up. I missed out on most of this because, for once, I was more interested in what was happening on stage. The converted were apprehensively paying homage, everybody else had either gone home or were outside being beaten up, apart from me and mate Howler. The Ants provided a suitably stunning tight and intense soundtrack, starting with ‘Plastic Surgery’, everyone who stayed was bonded together as they did a defiantly long set featuring: ‘Bathroom Function’, ‘Il Duce’, ‘You’re So Physical’, ‘Weekend Swingers’, ‘Song for Ruth Ellis’, ‘Cleopatra’, ‘B-side Baby’, ‘Friends’, ‘Never Trust a Man (with Egg on his Face)’, ‘Catholic Day’, ‘Deutscher Girls’, ‘Lady’, ‘Puerto Rican’, ‘Fall In’ and ‘It Doesn’t Matter’.
You just couldn’t leave till the end and it was just as well we didn’t, as anyone who left early was being picked off one by one outside. I still only just got out in one piece as a bouncer stopped me walking right into the middle of a gang of chain wielding hairies. During a lull in the fighting, Howler and me eventually sneaked out and made it to my Mini unscathed. I was one of the few lucky ones, everyone I’ve met who was at the gig got beaten up to varying degrees, apart from the Scouse rockabilly Ants roadie Boxhead, who talked his way out of it – saying he was a rocker and having a quiff to prove it, Terry Watley who recalled fighting back with a money bag, and Rob Chapman, the singer of Glaxo Babies (who went on to ‘Christine Keeler’ and ‘Who Killed Bruce Lee?’ fame), now of Mojo magazine; he recently told me he doesn’t remember the biker aggro as they left early.
Later on came Adam and the Ants, 2 guitars, drums and Adam. They start with ‘Plastic Surgery’ and are met with a mixed reaction. They all look great and immediately create an atmosphere. The Salisbury people are obviously not used to good music and some leave after feeling alien to something disturbingly real. Adam Ant looked like a human gargoyle and sings with a clear-cut very sexual voice. Most of the songs are based around the bass lines and are Stooges/Velvet Underground influenced. I feel that there is a barrier between the group and the audience which is the fault of both parties, although is probably intentional by the Ants.
November 1978 The Ant Manifesto by Adam Ant: We are 4 in number; we call our music Antmusic; we perform and work for a future age, we are optimists and in being so we reject the ‘blank generation’ ideal; we acknowledge the fanzine as the only legitimate form of journalism, and consider the ‘established’ press to be little more than talent less clones, guilty of extreme cerebral laziness; we believe that a writer has the right to draw upon any source material, however offensive or distasteful it might seem, in pursuance of his work; we are in tune with nothing; we have no interest in politics; we identify with no movement or sect other than our own; there are no boxes for us or our music, we are interested in Sexmusic, entertainment, action and excitement, and anything young and new; we abhor the hippy concept and all the things that surround the rock’n’roll scene; we admire the true individual; and above all the destruction of the social and sexual taboo; finito muchachos.’
Young Parisians in Wales
January/February 1979 The ‘Parisians’ tour: January 21 The Ants and the Lurkers at the Electric Ballroom. January 31 The Ants at Newport Stowaways – Young Parisians in Wales: In the ‘winter of discontent’, at the time of the fall of the Shah of Iran and Cambodia to the Vietnamese – In Wales at Newport Stowaways club on the ‘Parisians’ tour we got mixed up in some Cardiff v Newport aggro, after Tim Aylet bravely but unwisely went to the assistance of a kid getting a kicking on the floor, and chucked out by the bouncers before the Ants came on: We’re standing on the dance floor patiently waiting for the Ants to come on, when we notice that the kids dancing keep rushing up to the front and attacking these other kids. Like true heroes (ie. fucking idiots), we stick up for them and consequently get mixed up some local Cardiff-Newport feud.
I remember Tim getting a kicking on the floor. I grab his assailant and explain to him that Tim is alright. He seems to understand so I let him go, whereupon he headbutts me and his mates push me out of the way. Simultaneously, Martin is getting similar treatment while Taz is trying to get Chris out from underneath a table, and Akbar and Rodent are hiding somewhere else. I explain what’s happening to a bouncer, who says, “I’ll teach you to start to trouble,” and lays into me as well. Then he throws me out, along with what I presume to be the Cardiff lot who started the trouble. I recall hiding under some steps round the back when Martin opens the fire exit and calls me over. I’m just about through the door when the bouncer reappears and throws both of us down the steps. At one point we think we hear a shot being fired. Then the police arrive. Martin and I explain about the bouncers beating everybody up. They say they’ll do something about it, then come back after a while and beat us up as well.
The first gig anywhere near us was at, you guessed it, Newport Stowaways… In the Mini I told Chris, that if anything should happen to me, get me back across the Severn Bridge before I die. On arrival it’s very quiet, too quiet, we’re not sure if the gig’s still on. I’m quite prepared to go straight back home but this Ants fan Tarrack tells us it’s still on as far as he knows. The doors eventually open but we’re the first in and we discover the support band Protex had pulled out of the tour, so there would be no support at all and another long wait. We sit in the least conspicuous place and just grin and bear it… Then suddenly this fucking enormous great bloke with about 10 others, all dressed in black leather and studded belts, come in and head for our table. The big bloke sits down at our table and says, “Hello, haven’t I seen you at Ants gigs before?” I say, “Yeah, I expect so. You were at Salisbury weren’t you?” “Yeah! Salisbury. The bikers!” “Yeah, that’s where we come from.”
It soon transpires that the big bloke knows Russ, Christine’s boyfriend, a London punk who had ended up in Bournemouth/Ringwood. The big bloke was none other than Big Pete Vague. The others were Duncan, Howard, Mark from Newcastle, Ferguson… These soldier Ants were going round the bar getting to know everybody there. Later we discovered that you don’t do this just to be friendly but sometimes it’s the only way to find somewhere to stay the night. However, the mostly London lot create a slightly better atmosphere than last time… It’s lucky that we met somebody to talk to because it seemed like hours before the new Gary Glitter and ‘Missa Luba’ intro was played. The ‘Missa Luba’ track ‘Sanctus’ Ants intro is from the Lindsay Anderson film If… (see Vague 16). On the Zerox tour the Ants dropped most of their old stuff and played material that would become the ‘Dirk Wears White Sox’ album.
The best explanations of the Ants phenomena were by Pete Scott. In his review of the ‘Kings of the Wild Frontier’ album in Vague 8 he wrote: At one time being a fan of the Ants was like belonging to a very exclusive club or street gang. Adam was fond of describing his following as ‘clandestine’, a very appropriate word. Tony D, writing in Kill Your Pet Puppy, defined it as an ‘all powerful force’. It was a highly individual combination of energy, inspiration and commitment. In fact, it was unique. Consequently, the Ants were always separate and distinct from the common herd. They didn’t play pop, rock or punk music, they played Antmusic… August 1 The Ants at Plymouth Woods. August 5 The Ants, the Monochrome Set and Angelic Upstarts at the Lyceum. After which ‘Dirk Wears White Sox’ was recorded.
To tell you the truth I didn’t take a lot of notice of the first 3 bands – I was too busy ligging with such notables as Seditionaries shop assistants, Ants roadies and a bunch of Taffies who beat us up at the Newport gig. The Distractions were a non-event. A Certain Ratio were alright but a bit too cosmic. Classix Nouveaux, so I heard, are made up of the remnants of X-Ray Spex. Their bald-headed lead singer had a good stage presence and they were not too reminiscent of their predecessors. I’m sorry about the sketchy review of the support bands but the main object of the expedition was to see the Ants. So here goes; this will be the first good review of them you will have read (as in favourable rather than well-written). Actually the Ants were not their usual selves – a rift was appearing between Andy and Matthew, the guitarists, and Adam. Since then we have heard from Pete that the aforementioned (Andy Warren) has quit the band, but Adam has supposedly got something really good sussed out.
November 1979 Adam and the Ants ‘Dirk Wears White Sox’ album was released. After going to London to buy copies (at Rough Trade?) with Christine, we reviewed it in Vague 2: Well, this is it, at last the Ants have gone on to vinyl in album form and quite frankly it’s not too much of a disappointment, in fact it’s quite good. This album has been in the pipeline for over a year now and to live up to expectations it had to be pretty sensational. Like the singles it fails to capture the essence of an Ants gig. The main thing that is missing is the strong bass line. This enables the vocals to come across clearer which is good in a way. However, I can’t help thinking that anybody who hears this album and hasn’t seen the Ants is just going to dismiss it as arty crap. There is a good selection of tracks here but I don’t think the album is very well produced at all. It certainly doesn’t do the Ants justice. They are essentially a live band though.
Malcolm McLaren relaunched Dave Barbe, Matthew Ashman and Leigh Gorman (Andy Warren’s replacement) with Annabella Lwin as Bow-wow-wow. Adam teamed up with the guitarist Marco Pirroni formerly of Rema Rema, the Models, Siouxsie and the Banshees at the 100 Club with Sid Vicious, the Infants and Beastly Cads. March The new Adam and the Ants’ re-working of ‘Cartrouble’/‘Kick’ was released and then the Ants left the Do It label. April 27 Adam Ant: ‘Dear Tom and Vague fanzine, have just read your rather distressing letter of February 18 1980. I must apologise for the lack of response from the Bivouac, but I have had to move it and get a new secretary to take care of it all and no letters have been given to me for about 4 months. I would be grateful if you would send any questions you want to ask to the new Bivouac secretary at: Wanda, Cathedral House, 1 Cathedral Street, London SE1. My regrets once more, muchos regardos, Adam Ant. Antmusic for Sexpeople.’
May ‘Adam and the Ants: Dear Tom at Vague, thanx a lot for a most exciting and well put together fanzine (Vague 4). Hope to meet up and interview the new Ants on the forthcoming tour. Enclose dates for you. Please excuse lack of time. Am very busy, muchos regardos, Adam Ant.’ May/June The Ants Invasion tour 1980: May 22 The ‘Invasion’ tour began at the Electric Ballroom and The Great Rock’n’Roll Swindle: Forsaking my college exams, I hitched to London; to take some Vagues round to Rough Trade, go to see The Great Rock’n’Roll Swindle on Oxford Street, and get to Camden Town tube station with a few hours to kill before the gig starts. I make a few hopeless attempts to get in to do an interview/avoid paying… get something to eat, then join the queue being viciously surveyed by gangs of prowling skinheads (which is a bit of an exaggeration but not much). Things start to look up when I meet Abro from Manchester and we eventually get into the Ballroom. Once inside I head for the bar… Everybody’s there, except Withie who’s supposed to be giving me a lift back…
First band on is Johnny Bivouac’s Lastarza… they’re fresh and entertaining but apart from that all you can say is they’re like the Ants. Then Duncan’s band Martian Dance have their moment in the limelight… All the band are old Ants fans and this obviously influences them a lot. But if you’ve got to compare them with anybody they’re more like the Psychedelic Furs. Lead singer Jerry overcomes his nerves but not his Andy Warren haircut as their act progresses and the place fills with expectant Antpeople… Returning from a jaunt to the bar, a tape of ‘Press Darlings’ can be heard coming from the Ballroom. We squeeze our way in, Pete disappears into the crowd, me and Kilburn Chris stay near the back… They start with ‘Physical’ and it’s nothing like new year’s eve, it’s new, more exciting… This gig is of course the debut of the new Ants… The sound of the 2 drummers is fantastic… Marco Pirroni is shit hot – if a bit large… The next number is the first from the Ant/Pirroni writing partnership, ‘Kings of the Wild Frontier’. Its thudding tribal beat sends the crowd into real action, although it’s the first time it’s ever been played live…
May 23 The High Wycombe Ants anti-skinhead riot – the Do Long bridge of the Antapocalypse Now: At High Wycombe Town Hall on the ‘Ants Invasion’ tour, the London Ants lot gave the local skins a kicking/chairing and we narrowly caught the last train before a skinhead reprisal attack: After the Electric Ballroom, Pete put up Abro and me at his Kilburn towerblock and we got a lift to the next gig at High Wycombe off the Ants lighting engineer Malcolm Mellows… A lot of the talk on the way is about rumours that the Wycombe skins are going to try to have the London Ants lot. By the time we get there I’m a little apprehensive. We wander around High Wycombe and it seems cool enough. At about 6 we go into this Rastas’ pub. Everybody else thought it was great but I thought it was really heavy. By then I was a nervous wreck, convinced that I wasn’t going to get out of this one in one piece, and I was nearly right.
Once in the gig things start to look up again. The bar’s crawling with soldier Ants from all over the country and there’s hardly a skin in sight. Martian Dance, who are apparently doing the whole tour, do another great supporting set. They are really growing on me. There’s a bit of a ruck upstairs in the bar but Pete sorts it out… The hall is about half full, there’s a funny atmosphere but no outstanding trouble spots. ‘Kings’ really gets everybody going (well, almost everybody). Then it’s virtually the same set; ‘Press Darlings’, ‘Ants Invasion’, ‘Cartrouble’… The Antpeople go mad and a few times I thought a scrap had started. Then there’s a bit of a scuffle and a few sieg heils from the right side of the hall. Adam says, “We’re not interested in the past, only the future and Antpeople!” Then Kevin Mooney joins in and stirs up chants of “Ants! Ants! Ants!” There’s some more verbal exchanges and then the Ants try to ‘calm things down’ by doing ‘Beat My Guest’.
To give the skins their due, there was only about 20 of them but they still had a go. Suddenly there was a hail of chairs from their side of the hall. In response the whole floor clears and a few hundred Ants fans proceed to kick shit out of the offending boneheads. Some of them managed to escape into the foyer, but when the bouncers saw there was trouble they locked the front doors… At one time I thought it was dropping to their level, but we all went to see the Ants, the skinheads as usual tried to spoil it, but this time they were out of their league…Meanwhile, the Ants rise to the occasion, applauding their fans and playing an extra long set. A lot of people leave early to avoid a skinhead backlash but I stay to the end so as not to miss ‘Plastic Surgery’ – putting myself in danger of needing some. Then Emu and me make our way to the station. Pete, Abro and Malcolm were going on to Manchester.
Paranoia really starts to set in as I thought the obvious thing for the skins to do would be to get all their mates and wait for us at the station. But we get there without incident and it’s deserted. A guard tells us to go on through because our last train is about to go and we have to run across the lines to get to it. The train’s packed with Ants fans but suddenly the engine stops. Everyone is looking out the windows back at the platform where some skinheads have appeared (or someone said they thought they saw some?). “Move this fucking train!” Someone pleads. And as if by magic the engine starts up and we’re wafted away from the Wycombe skins. The atmosphere on the train was as exhilarating as at the gig, like a battle had been won, rather similar to how I used to feel coming back from football (but of course I’m above all that now). It was a free trip as well, as we all rushed the gates at Marylebone…
May 27 1980 Highlights of the Vague Adam and the Ants interview by Tom and Chris at the Bournemouth Roundhouse Hotel on the ‘Invasion’ tour, published in Vague 5, 7 (in its entirety) and 25. The new Ants, Marco Pirroni, the bassist Kevin Mooney, and the drummers Chris Hughes (aka Terry and Merrick) and Terry Lee Maill (from the Models), were also present most of the time.
Adam: “This tour is unique in that the theme is clandestine. There is no record company backing what so ever. We’re not signed to a record company. There has been no notification to anybody other than street posters and 350 handbills I sent out personally to members of the fan club, and a handbill we had pressed up for the Electric Ballroom… The thing is that every gig we’ve done has been a success, from the point of view that the spirit of the gig has been identical. One of a real good time and kids looking bright faced and excited. They’re not looking that way because they’ve been told by the rock press that it’s hip to be there, they’ve come there because they’ve taken the trouble to find out in some way or another. It’s a great feeling because 200 of them is worth 1,000 of other audiences. This tour is done by local promoters, we didn’t want to play toilets. We’ve been playing toilets for 3 years, toilets stink, they’re shitholes. We won’t change in toilets anymore because, for 2 reasons; one, I don’t like living like a sub-human; two, it’s a shitty awful show, you can’t put on an exciting show, no light show in clubs, and also the bulk of the thugs in this country tend to get their kicks in clubs and it’s heavy and I don’t like it.”
Chris Hughes on the 2 drummers set-up: “It came about when Adam was getting his new group together and in the transition period Adam was involved in recording the rework of ‘Cartrouble’. We went down to a studio in Wales and we talked about Adam’s ideas, having a tribal influence in music. He’s heavily into Burundi and I had some Burundi tapes. We discussed the approach the drums should have and did ‘Cartrouble’, which is a question of arriving at the right formula on the drums.” Tom: “Nothing to do with Gary Glitter?” Chris Hughes: “No, if you listen to Mike Leander’s production it doesn’t actually sound like two kits that much. But drums-wise, Adam and Marco came over and we did some demos. Then it was a question of finding two drummers, Marco knew Terry because he’d been in groups with him and we all got together in London. It was just one kit originally, I wasn’t going to play, I was just producing.”
Adam: “It’s been the hardest period in my career, overnight they split and consequently I couldn’t get out there and play to the kids. The Electric Ballroom was a triumph for us. I was faced with a large amount of bills to pay off, then I just went round to Marco’s house because I’ve always liked his sound. And I said I want to collaborate with you; not just having you playing guitar but I want to write with you. I thought the time had come to collaborate with another sound and another mind. We got together and started to write stuff. Any old numbers that are in the set are purely because Marco said they’re alright, we can do something with them. They are radically different. We were looking for a new approach to it, with two drummers it has to be different, I mean ‘Beat My Guest’, now it kills, ‘Fat Fun’ is lethal. And songs like ‘Press Darlings’, it’s very ironic but record companies are very interested in it as a single. They find it commercial, purely because these guys are playing. It’s never been played before, it’s the difference between the men and the boys… it’s a totally different world, I don’t want to get into a bitching match about the old band, I wish them all the best. That’s history to me, but the two records we’ve made since prove it. I wish to Christ I’d had these guys on the album because it would have been one fuck of an album.” Chris Johnson says he was disappointed by ‘Dirk Wears White Sox’ after the Ants live.
“I want them to love us or hate us. I want it clandestine. An Ant kid once wrote to me and said, to him, an Ants concert wasn’t a concert, it was an event, it was a meeting of the clans. Kids from different areas that were into one idea and know there is a group on who are going to give 100%. They’re going to achieve purely by their own efforts a great night and not allow anyone to fuck it up for them. So, consequently when I said that at the Ballroom it had been eating away at my guts. I’ve been constantly compared to these groups like the Upstarts. Promoters say, oh the Ants, they’re just like these groups. And I ain’t mate. I ain’t no fucking Toyah. Nothing to do with us. The Ants are the Ants and everybody else is everybody else.” Tom: “Who have you got any respect for?” Adam: “Hardly anyone now. They’ve all got too fucking esoteric, just crawled up their own arseholes. Punks have become hippies in the last 9 months.” Tom: “What about Lydon and PIL?” Adam: “John Rotten’s a poet. It depends whether you like poetry or not. He made a very good first single and I haven’t liked anything since.” Marco: “Johnny Rotten and the Sex Pistols lost it for me after they did Bill Grundy. They done it all before that.”
I unwisely say: “The album got some good reviews.” Adam: “The album was fucking slagged off, what are you talking about?” Tom: “What about Record Mirror?” Adam: “Pete Scott likes the fucking group. He hated us then he had the guts to come and see us live again on the ‘Zerox’ tour and wrote me a letter saying he’d made a big mistake, and that takes a lot of guts. Songs like ‘Press Darlings’ aren’t about Pete Scott and people like you. I’m glad to see you’ve got it together this much, I’d buy that (Vague 4), that’s worth the money.” (20p) Then Chris Johnson incites Adam into another great blast at the music press with: “How did this mutual hatred between you and the press come about?” Adam: “It isn’t a mutual hatred. Look, if I came up to you in the street and said, ‘You’re a fascist,’ but I said it 250,000 times, I tell you man, I’m going to knock Nick Kent out one day. And there’s no way he’s gonna get out of it, unless he publicly apologises. He upset my mother, my family, and me, and I don’t like that. I also think they’re lazy, bad at their jobs; that is the most unforgivable thing, they’re just bad at their jobs, they’re useless. It’s old hat. I’m going to bring out a record and if it goes into the charts it’s going to be 250,000 people who know exactly what I think of those arseholes for the rest of time. Their comments about me lasted one week. Mine about them will last till the day they fucking die…”
Chris Hughes: “I think there’s a lot of point in doing a fanzine, provided you convey accurate information, if you can get a fairly accurate impression of what we’re about and secondly you’ve got to show NME and all the arsehole papers how to write. As soon as it goes to print there’s a different value to those words and you’ve got a lot of impressionable kids reading it. You’ve got to make sure you’re being more accurate and precise than the stuff you don’t appreciate from Fleet Street.” Adam: “I don’t think this is very different from In The City, I know the guys that do it, they research hard, they spend a lot of money on this sort of format. This paper will eventually get through to the general public, they’ll say what the fuck’s this about and look at it. It’s like when you make a record, who do you make it for? Your fans or everybody? I make it for everybody. The reason why everybody knocks In The City, especially Tony D of Ripped & Torn and Kill Your Pet Puppy fame, he used to have a sense of humour, now it’s worse than the worst political hippy magazine. Keep politics out of art. Ask us a good question.”
Chris Hughes: “One of the original mottos of punk was no heroes, I personally never aligned myself to that, I’ve always had heroes and always will have. When your hero does something that you don’t agree with and realising that, that is part of growing up. You don’t get 40 year old people idolising pop stars because they’ve experienced a lot more. Older people may well have heroes but they’re more capable of assessing when their hero does something they don’t like. You’re a lot most impressionable when you’re young. An Ant fan might at 13 take everything Adam says as gospel but at 20 he won’t take everything as correct.” Adam: “I don’t believe in preaching, I think it’s boring. I’ve tried never to preach. Every interview I’ve ever done has been answers to questions, which is purely my opinion, my opinion may be a whole load of bullshit, probably is, but at the time I’m asked a question, I think about it and I tell you what I feel. Like I’ve always said, if I give you pleasure, great, if I don’t, fine. I’m going to enjoy myself tonight and nothing’s going to stop me…”
JWe’re not disturbed until about 6 when the bands arrive. Most of the Ants acknowledge us but Chris Hughes is the only one not frightened of another interview. We chat for a while until it’s time for the sound-check. To finish Adam dedicates a song to Middlesbrough and they do ‘Anarchy in the UK’. Valentino’s is a very small but smart disco with the lit-up floor and everything, unlike the night before it doesn’t fill to bursting and the locals are friendly. The only similar thing is the bouncers but aren’t they the same everywhere? The Flowers shakily hit the stage but when they settle down I can see what Adam was on about. I thought they were a local band but the audience response is not too good. The same goes for poor old Martian Dance, but they continue to play their best gig so far, probably because Jerry didn’t have to dodge glasses for a change.
J
November 22 Aylesbury Friars. 23 Lyceum. 24 Doncaster Odeon. 25 Oxford New Theatre. 26 Exeter St George’s Hall. 27 St Austell Cornish Riviera Lido. 28 Southampton Gaumont. 29 Lewisham Odeon. Back in London, I interviewed Martian Dance at Queen Elizabeth College on Campden Hill. Adam’s girlfriend Mandy, the actress Amanda Donohue, appeared on the tour at Aylesbury Friars and we somehow walked through a skinhead riot outside unscathed. At the Lyceum the original SEX shop Jordan was the ‘Antmusic Revue’ DJ. A skinhead with a hatchet appeared in the Oxford New Theatre bar. In Exeter we stayed in the squat of ‘Antperson of the night’ Cherokee Mark. There was another brush with the law hitching to Cornwall with Pete Vague; by which time we were getting disillusioned with Adam and sick of hearing him say: “This one’s for you Sheffield (Doncaster, etc)”, “You showed ‘em Exeter (St Austell, etc)”, and “Are you feeling sexy Birmingham? (etc)” I hitched back from Cornwall through the night to sign on, as Nige from Liverpool got nicked in St Austell; bunked the train back to Bournemouth after the Southampton gig; and hitched back to London with some hippies, to hang around at Better Badges on Portobello with Sarah and Scrubber before the Lewisham gig.
November 30 Cardiff Top Rank. December 1 Brighton Top Rank. 2 Coventry Tiffany’s. 3 Stoke Victoria Hall. 4 Derby Kings Hall. 5 Taunton Odeon. 6 ‘Antmusic’ was released. 7 Bristol Locarno. 8 Birmingham Odeon. 11 Newcastle Royalty. 12 Ipswich Gaumont. 13 Chelmsford Odeon. 14 Canterbury Odeon. 15 Manchester Apollo. After narrowly avoided a kicking in Cardiff due to the intervention of our Welsh mates Frenchie and Stumpy, further aggro in Brighton didn’t come to much. About a dozen of us tried to sleep in the kitchen of the tour support band God’s Toys in Coventry. There were sieg heiling skinheads in Derby, Mick from Liverpool was beaten up and the Vagues sold out. Spent the night in a derelict house by the coach station after the Bristol gig. Heard the news that John Lennon had been killed at Victoria coach station, on my way back west to pick up more Vague 7s and finish issue 8, as the Ants appeared on Top of the Pops. In the days after the Lennon assassination we were back in Liverpool; Stumpy and me signed on saying we were there looking for work. Then we stayed with the Geordie Mohican contingent including the famous Rezillos/Revillos roadie Mitch who had a double Mohican. We bunked the train from Ipswich to Chelmsford and tried to sleep in a multi-storey carpark. Ended up ejected from Manchester Apollo for slamdancing and congratulated by the short-lived Ants bassist Kev Mooney.
October 4 Moved to Walpole Road, Bournemouth. Revillos at Southampton University. Signed on in Bournemouth. London Rough Trade with Vague 6. Punishment of Luxury and Program at Salisbury cancelled. October 11 ‘Dog Eat Dog’ by Adam and the Ants was released. October 16 Signed on and interviewed Bauhaus at the Stateside. October 22 UK Subs interview for Point of View fanzine last punk gig at Stateside/Village fanzine stall. November 2-6 Vague 7 was printed and stapled. Negotiated with the Ants manager Falcon Stuart to sell it on the next Ants tour as the programme. November 7 London Better Badges to get inserts. November 9 The Ants Frontier tour began in Liverpool.
Tom Vague
(Vague Publishing, 1980)
Jenny Woo
Bootgirl Power – By Jenny Woo
When I was thirteen years old, I was miserable. I had acne, I had only hand-me-down clothing from my older sister (who was 3 sizes smaller than me), I had no friends, and worst of all, I felt like I didnt belong in any crowd. I was exposed to pictures, music videos, and songs from major mainstream pop stars, and I just could not relate. I had no idea what they were singing about. The supposed universal topics of broken hearts, dancing, and the expression of teenage sexuality all seemed like distant and irrelevant subjects to me. I knew that I would never look like them, I would never live their lifestyle, and more importantly, I knew I never wanted to be like them. I felt lost, different, and profoundly alone. Then, one day, my life changed forever.
I was in junior high, eating alone in front of my locker as was my usual routine, when I came across an old fanzine lying on the floor of my school hallway. One of the other students in the school had probably been reading it and accidently left it behind. Having nothing better to do, I started flipping pages. My eyes caught an image that I had never seen before in my life a woman with spiked up blue hair, studs all over her black leather jacket, and wailing on a guitar. It was a picture of Bekki Bondage, and that was my first exposure to women in punk rock. I decided then and there that instead of unsuccessfully trying to fit in all the time, I would do my best to stand out. I was inspired by Bekki outrageousness, her energy, her unfaltering self-confidence, and I made it my own mission to find that sense of passion and assurance in myself. I ripped the picture out of the magazine and pasted it into my locker as a reminder, and I’ve still got the photo after all these years.
Going punk was one of the most liberating experiences of my life. Instead of trying to squeeze myself into whatever teenage girl fashion there was at the time, I cut my own path and made my own clothes. I found that by creating my own aesthetic, I avoided a lot of the societal pressure placed on adolescent girls to look and act a certain way. Instead of focusing on my body image, I embraced the fact that I was a unique person with a multi-dimensional world view and personality. Through bands such as The Wednesday Night Heroes, Cock Sparrer, and Riot 99 I learned to triumph the values of authenticity, independence, and critical thinking, and I have no doubt that this subculture helped me create the strong sense of self that I have today. Punk rock is a potent medicine that I would prescribe to any young woman going through a crisis of confidence.
However, as the years went by I found myself getting more and more interested in oi! music, and eventually cropped in as a skinhead. I still loved punk, but I no longer felt the need to spike my hair out in a million different directions in order to show the world that I was different. I already felt the difference on the inside, and I wanted to find a subculture whose values incorporated not only the importance of being distinct, but also a sense of community, a sense of self-pride, and a sense of loyalty. I love the fact that oi! music is still working-class DIY music, but I also love the fact that behind its