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The Jam 1982

‘The Jam 1982,’ Co-Written By Drummer Rick Buckler, Due From Omnibus Press

The book, by Buckler and Zoë Howe, is the eye-witness account of the band’s epic last year together.

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The Jam in 1982. Photo: FG/Bauer-Griffin/Getty Images
The Jam in 1982. Photo: FG/Bauer-Griffin/Getty Images

Rick Buckler, former drummer with The Jam, will have a new history of the band’s final year published by Omnibus Press on November 17.

Shop the best of The Jam’s discography on vinyl.

The Jam 1982 is written by Buckler and Zoë Howe and, in full color, glossy format, tells the eye-witness account of the band’s epic last year together, featuring previously unseen images from Buckler’s own collection. A strictly limited edition, signed hardback of the volume, including an exclusive print, will be available on the same day, and can be pre-ordered here.

The book also includes contributions from key members of those in and around the ever-influential band at the time, including DJ Gary Crowley, producer Peter Wilson, A&R manager Dennis Munday, photographer Neil “Twink” Tinning, Jennie Matthias (the member of chart group the Belle Stars who sang on “The Bitterest Pill (I Ever Had To Swallow”), and touring musicians Jamie Telford and Steve Nichol. Other friends and acolytes sharing their tales of 1982 include Eddie Piller, Paolo Hewitt, and Mat Osman.

Beat Surrender

 

“From the moment I teamed up with Paul [Weller] at school to start a band, everything else became secondary,” says Buckler. “We started out as a three piece with Steve Brookes on lead guitar and vocals, Paul on his prized Hofner violin bass and backing vocals, and myself on drums. We also had a name – not a very good name we thought – but it would do until we thought of a better one: The Jam. Dave Waller joined on rhythm guitar, learning to play on the way.

“Rehearsing in Paul’s bedroom,” he continues, “we got together a set of sixties covers and put on an hour of music as we worked towards our first gigs in Sheerwater Youth Club, county fairs, and anywhere around the Woking area we could secure a booking. Dave soon dropped out and in the meantime we continued to go out as a three piece, improving our set and adding in some rather dodgy self-penned love songs along the way.”

Bucker concludes: “Forty years after the split of The Jam, the real inside story hasn’t been fully told. The Jam still means a great deal to me and to so many others. I have always thought it was a great shame that we did not take it as far as we should.”

There’s been quite a few books written about The Jam, who still hold a huge fanbase world wide. Most mod and scooter events will have covers bands and memorabilia, why not get this book to add to your collection.

Available at various outlets
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Author Andy Morling – “Mod Ghosts”

Mods Of Your Generation – Interview – Andy Morling – “Mod Ghosts”

MODS OF YOUR GENERATION·WEDNESDAY, 11 DECEMBER 2019

 Mod Ghosts a first book by new author Andy Morling who grew up in a working class family in the Suffolk market town of Ipswich. This book resonated with me in so many ways, it is a detailed account from many people who grew up in urban Britain featuring first hand accounts from the people who influenced a Mod Revival together with period and present day photographs. The book explains each individuals account on discovering how mod changed there outlook on life, How it shaped their existence and identity. Showing how it lead them from young teenagers into adulthood. Each persons interpretation of mod is different and it means something different to many who attach themselves to the phenomenon. Each persons account is different but it doesn’t mean its not mod. The book also highlights the places these people grew up in and how modern Britian has changed somewhat forty years on. The thing most interesting thing about the book is how the subculture affected people in many different ways and the different experiences each individual had growing up in the respective hometowns across the UK.  

 As mod continues to evolve and many young people discover the scene today each person brings their own adaptation. Despite the book being called “Mod Ghosts” the subculture has stood the test of time were others have faded. I highly recommend this book and its definitely something you need as part of your collection. This book is everything I want to say about mod but don’t have the intelligence, intellect, and vocabulary to explain. I wanted to find out more about the man behind the concept and was excited, honoured and privileged to interview him.INTERVIEW BELOW 

What is the main concept of the book?

 Mod Ghosts is the first product from The Mod Project which I began in 2016. The thinking behind the broader project is to offer a series of slightly different perspectives on the Mod experience. My ambition is to follow up the book with further multimedia sub-projects hopefully including film and the visual arts.To answer your specific question, the idea behind Mod Ghosts was threefold. Firstly my aim was to identify and contrast iconic photos of original and revival Mods with shots taken at precisely the same location in the present day. I’ve always been very attracted to these ‘then and now’ type image comparisons and, as a lifelong Mod, this was a natural choice in terms of subject matter.I’ve been doing this on Twitter for a few years now and, in time honoured fashion, the positive reaction led me to consider publishing a book. As a child of the sixties, my thinking was that books are somehow more permanent than social media. I’m not sure that’s actually true but either way, I really wanted the memory of these places and these people to endure.In addition to the photographic comparisons in the book, I was also lucky enough to secure first hand accounts from revival Mods by way of interview. Each story was unique and fascinating and I hope this adds context and a human dimension to the atmosphere created by the photos. In simple terms, I wanted to illustrate how both the urban settings and the people depicted in the photos have changed over the last four decades.The third and final element of the book is my own commentary on the Mod phenomenon. Quite apart from the external, visible signals of Mod observance, for me, Mod has been a powerful internal driving force. A philosophy. Astute readers of the book will no doubt notice references and quotes from the great Stoic philosophers from ancient history. I’ve long believed that Stoicism captures the very essence of Mod. I would hazard a guess that this is the first time this school of thought has featured in a book about Mod! As a friend of mine said in jest recently, the Romans were the first Mods.I also wanted the book to capture some of the lasting emotional impact of the subculture on me as a person. Sounds a bit introspective and indulgent, I know, but I hope at least some of that resonates with many others. I’m also an opinionated old sod so I had one or two controversial views that I simply had to surface! 

This book highlights how mod changed the life of those who followed it. Why was it important to tell their story?

I’m under no illusion that Mod Ghosts isn’t the first book to tell the story of those who were there during the Mod revival. In fact, its not even the first this year. With the very greatest respect to those featured in the book, what I wanted to do with Mod Ghosts was to focus on the lives of the subculture’s more ordinary participants from across the country.By the start of the 80s, every village, every town and every city supported a population of Mods. These folk made the movement the culture tour de force it was to become. These were the last generation truly to have experienced youth subculture in its purest sense so their experiences need to be recorded. They are also good people whose lives have been shaped to some extent by their experiences forty summers ago.Forging an identity from the assimilation of musical, stylistic and other cultural cues in early adolescence was standard fare for those of us born in the sixties. I think sometimes we fail to appreciate what an unusual trajectory this is for our 21st century counterparts. For that reason alone, I think these are stories worth telling.

The book covers accounts from various people throughout the UK. I imagine this meant a lot of travelling. What was that like and did this become challenging?

Fortunately I was able to carry out interviews by correspondence so travel wasn’t an issue in that regard. Where I racked up the miles was in identifying the locations for the period photos and then taking the present day shot. There were one or two Homer Simpson moments when I arrived home after a day on the road only to find that i hadn’t quite captured the correct angle or, in one notable case, I’d taken a fantastic photo of the wrong house. I’m indebted to John Gale for saving me from having to make a third long trip to Hastings in as many months for a few shots I’d totally messed up twice previously. 

Why was it important for you to tell the story of the people but also the places in which they grew up, discovered the subculture and attached themselves to it?

I think we are all the product of the place of our birth and upbringing. The history and culture of these places imprints itself on our personality, attitudes and beliefs more than we recognise. Location leaves a trace on our DNA. I like to think of it as the human equivalent of terroir in wine production.So in the book I wanted to contextualise the lives of these young Mods by telling a small part of the history of the geographical backdrop of their young lives. I’m particularly fascinated by the spiritual artefacts that attach themselves to certain places. Tens of thousands of special moments lived by tens of thousands of ordinary people leave a palpable feeling in a single place over the course of history. Hard to explain satisfactorily but I find it mind boggling. I particularly enjoyed researching the historical origins of the legendary Phoenix in London’s West End. I don’t think I’ll ever walk past the pub again without thinking of its near and very distant past. 

A lot of books highlight how the mod scene grew in London. Did you purposely choose how the mod scene affected many of those beyond a particular place?

As our political and cultural capital it was impossible to ignore London when writing about Mod. I take my hat off to the influential London based figures that gave the rest of us this wonderful thing and those that have written so eloquently about them.But yes, it was a conscious decision also to focus on the small town Mod experience. I lived my Mod life in nondescript town in Suffolk with fewer than 100 others of a similar persuasion for company. The passion and commitment we provincial peacocks had to Mod’s core principles was in no way diminished as a consequence. I was never a face by any measure, not even in my home territory of central east Ipswich, but I certainly gave it all I had. I think the same can be said for those whose story I had he privilege to tell.

The book demonstrates how the urban landscape has changed over many years. Why was this an important factor to depict through photography showing the places then & now?

As I said earlier, I’ve always enjoyed comparing ‘then and now’ images. The urban environment has changed dramatically in the last forty years, particularly with the slow collapse of high street retail, the decline in the pub trade and the cultural vandalism of the working class home. I wanted to say something about this pictorially. Few of the present day photographs illustrate an improved landscape so I also wanted to stimulate conversations between the generations about why this might be. I don’t have the answers but I hope my book will at least pose the questions. 

Why do you think mod means so much to many different people and why it has stood the test of time from a small group of young teenagers in the 60’s to become a worldwide phenomenon?

That’s a tough question. In the blurb to the book I say that it is the capacity of Mod to change with people that ensures its continuing relevance today. What I mean by that is that Mod remains accessible, even in middle-age, in a way that no other subculture can manage. I enjoy the knowing glance of recognition when my eyes meet those of a fellow Mod on a crowded underground train in London, for example. The signals are generally subtle but we both know instantly. I love that about Mod. It’s not about parkas or patches but about heavily nuanced influences and vanishingly small stylistic cues.I talk at length in the book about the way in which Mod provided a robust platform from which to launch into adult life. From my own perspective, I believe my life would have been very, very different had I not discovered Mod. I think this is the same for many of my peers. The continuing value of a comparatively sophisticated appreciation of music and clothing and a broader sense of style should not be underestimated. 

The book has already had many great reviews in a few short weeks of being published. What has people response to the book been like?

Truly humbling. I’ve been genuinely staggered by the enthusiasm with which the book has been received and the kindness of the comments made about it. As a first time author rather than an established name in Mod literature, an investment in my book was always going to be a leap into the dark financially. I’m extremely grateful to those who are open-minded enough to make that leap and I hope the content of the book repays their faith. My aim all along was to offer something a bit different and something that is beautiful to look at and own. I’ll be more than happy if I’ve managed to achieve those things alone. 

Can we expect any further books, projects or anything else in the future?

Oh yes. I’m already planning Mod Ghosts 2 and as I mentioned at the start of the interview, I hope to take the concept into other areas such as film, television, photography and maybe even poetry and fine art. Watch this space.Despite a healthy catalogue of Mod related books in recent years, I still believe there is more to be said about this thing of ours. I’m less interested in showcasing the razzmatazz of Mod culture and the bigger ticket aspects of the scene. For me it’s all about the ephemera and those beautifully elusive, almost indefinable subtleties that give Mod it’s unique meaning. 

Is there anything else you feel you’d like to highlight about the book?

It would unforgivable if I didn’t thank the wonderful people that allowed me to tell their stories in words and pictures. To John and Ed Silvester, John Gale, Dave Ratcliffe, Billy Drinkwater, John Nicholson and Del Shepherd, I thank you all. True gentlemen each one. Many more contributed original photographs for which I’m eternally grateful.I also really appreciate the opportunity to have this interview and I wish you continuing success with Mods Of Your Generation.

To get your copy of the book use the link belowhttps://modghosts.co.uk/product/mod-ghosts/Like & share there Facebook page belowhttps://www.facebook.com/Mod-Ghosts-202944413598062/  Copyright © Mods Of Your Generation, Johnny Bradley & Andy JM 2019, All Rights Reserved. No part of this review may be reproduced without the permission of the authors.

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Punk To Save The Planet

Chris Packham: “Punk is coming back to save the planet”

The naturalist sees punk pioneers getting excited again – and it’s down to Extinction Rebellion and youth climate strikers. He recalls his youth pogoing to God Save the Queen and draws parallels to today in Forever Punk

It’s April, it’s sunny, and I’m humming…

‘We’ve heard it all before / We’re learning to ignore / You must confess this awful mess /Isn’t just a bore’

I’m unnaturally jovial…

‘It’s more than we could bear / But you don’t really care / Kiss of life to save our life /All you do is stare’

It’s one of my favourite songs from way back in 1978…

‘I’m back in full attack / Never give in until they crack / Emergency’

It’s Emergency by 999, perhaps the most underrated punk band, and I joyously recall vocalist Nick Cash reeling around the stage spitting out this song. So, so good! I’ve always liked the ‘never give in until they crack’ sentiment, and it’s particularly relevant today – because today is all about the biggest emergency ever.

When I reach Extinction Rebellion’s pink boat, moored on Oxford Street [in April], there’s a festival atmosphere and thousands of people are clearly delighted by the DJ’s choice of London Calling by The Clash. The bass is thumping through the colourful crowd, many of whom are singing along. I’m tempted, but I’m no Joe Strummer, so I keep my voice to myself. Well, my singing voice anyway.

When I address the fabulous party and salute their energies and endeavours to put the climate and environment emergency on the map and in everyone’s mind, I finish by asking them to continue to “shout above the noise”, to embrace the musical mantra that has informed, fuelled, directed and given integrity to my life for the last 40 years.

 

Fast forward a few weeks and I’m tiptoeing on tenterhooks into the basement of a North London pub to meet the maker of that essential and integral part of me, Pauline Murray – the vocalist from Penetration who penned that awesome anthem to independence, defiance, self-determination and rebellion.

They say you should never meet your heroes. They are wrong. She is wonderful and nurtures me through my starstruck interview and ends by handing me a handwritten copy of the lyrics. It’s framed now. It hangs prominently in my home and would be grabbed if fleeing from a fire. It will be in the casket with me for the terminal fire. It defines me and what I’ve done and what I do.

You see, for me the attitude and ethos of punk still pumps through my veins. Not just the music, the politics, the fashion, the art, but the method and the ferocious desire to change things – to never take ‘no’ for an answer, to make this a better place, to rail against injustice and always, always challenge authority. And maybe tear it down…

But am I just a sad old geezer trapped in the past, nurturing the nostalgic ideals of a youth, no longer of any contemporary relevance? Worse, am I, Chris Packham CBE, a sell-out, a hypocrite? Have I become the bastard I would have hated when I was pogoing to God Save the Queen?

Is it just me or are there a generation of other spiky old gits out there still angry, still fighting, still fired up by that social maelstrom that ravaged the UK in the mid-1970s? Well, that was my summer’s quest for BBC Four – to find them, quiz them, get the measure of them and then to see if their philosophies have been reborn and empower today’s activists, protesters and game-changers.

Spoiler alert. When I asked my stellar cast of punk’s original playmakers whether their ideology was alive and well, to a man and woman they cited “Extinction Rebellion” and the “youth climate strikers”. They smiled, got excited, shifted in their seats, punched the air – their eyes sparkled.

The consensus was that punk had finally woken from hibernation and was re-emerging to excite a new wave of very angry young people. They might be short of studs and safety pins, but they are not mincing their words and they are not afraid of the establishment.

They are breaking down doors, put ethics before the law, and, critically, these “stupid idiots” are not going to “shut up and go back to school” (that’s what Jeremy Clarkson said about Greta Thunberg). No these “truants” and “uncooperative crusties”(the last insult courtesy of our PM) will suck up such antipathy and use it like kryptonite to detonate essential creative and positive change. They might not know or even like it, but they are punks. I’ll leave Pauline with the last enduring and pertinent words…

‘Silence is no virtue in a crowded world / Where no-onehears / Feast your eyes upon the fools / Who follow theleaders without thought / Don’t let them win / Don’tthem drag you in / Shout above the noise.’

Chris Packham’s Forever Punk is on BBC Four on January 10

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Modern Rap, The New Punk Rock attitude

There are few things more exhilarating than being stuck in the middle of a mosh pit during a JPEGMAFIA show.

On stage at this year’s Primavera Sound festival in Barcelona, the 30-year-old US rapper’s topless body, dripping with sweat, contorts urgently as he channels the aggression of the crowd into brutal bursts of movement that sit somewhere between an intoxicated Iggy Pop and an irate DMX.

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With vocals that quickly shift from gentle to vicious, the artist, real name Barrington Hendricks, raps rapidly like a machine gun, with lyrics, couched in internet speak, that are often scathingly satirical. One of his songs is called I Might Vote 4 Trump, while on his typically experimental new album, All My Heroes Are Cornballs, he raps, as a black man, about wanting to be adopted by Madonna and merrily drinking the tears of “rednecks”.

JPEGMAFIA (Credit: David Hanes-Gonzales)
JPEGMAFIA (Credit: David Hanes-Gonzales)

JPEGMAFIA is a scathingly satirical artist with a sound that incorporates thick waves of distortion and screaming synths

But the fact he does all this over ugly, uneven beats, built around thick waves of distortion and screaming synths, means Hendricks could just as easily be categorised as punk rock as hip-hop. Free the Frail, one of his new LP’s standout tracks, speaks directly to punk’s anti-capitalist values, as Hendricks claims: “I don’t rely on the strength of my image”.

Back in the 1980s, rap and punk were both genres that got frowned upon by the elite just for being what they were – JPEGMAFIA, aka Barrington Hendricks

In Barcelona, as dozens of teenagers enthusiastically bang heads to songs with subversive titles such as I Cannot Wait Until Morrissey Dies and Digital Blackface, it’s easy to draw a parallel between Hendricks and the bold onstage personas of legendary anti-establishment acts like The Sex Pistols or The Clash, artists who also knew how to channel youthful angst into something euphoric and liberating.

Hendricks is happy to indulge in the comparison. “Back in the early 1980s when rappers couldn’t perform in the fancy venues because the police were too racist and scared, it was the punk venues letting them in to perform,” he tells BBC Culture. “I guess race was the big thing separating [rap and punk] in the general public eye, but they were both resilient genres that got [frowned upon] by the elite just for being what they were. They gave a home to outsiders. I [have] always felt like they were just the same thing, but both wrapped up in a different way.”

Growing up, he explains, he was equally enthusiastic about political rappers like Ice Cube and Chuck D as hardcore punk bands like Bad Brains and Fear. “I saw Fear perform live at a young age, so I guess you could say I draw from that same energy.”

Modern punk heroes

Today, JPEGMAFIA is one of dozens of young rappers and rap acts drawing heavily from the DIY ethos of punk rock to create music to be moshed to. The likes of Death Grips, Run The Jewels, Denzel Curry, Danny Brown, Sheck Wes, Rico Nasty, Ski Mask The Slump God, and Travis Scott (who was arrested back in 2017 after the police accused him of inciting a riot at one of his shows) perform with the same transgressive vigour of 1970s punk icons. When Sheck Wes plays the stirring Mo Bamba live, it recalls the renegade firecracker spirit of Nirvana’s iconic Smells Like Teen Spirit video.

In the UK, snarling Northampton rapper Slowthai thrillingly struts around the stage like a modern-day Sid Vicious. He blasts what he sees as the toxicity of Brexit Britain in a way that’s pure punk provocation. It’s no surprise, for example, that he carried around a fake severed head of Prime Minister Boris Johnson during his performance at last month’s Mercury Prize amid ugly beats inspired just as much by Gang of Four as Dizzee Rascal. His punk-ish rap peers include Scarlxrd and Master Peace. On the other hand, you could also point to the hip-hop influence of lo-fi British punk bands like Idles and Sleaford Mods as a sign of the convergence between the two genres.

Slowthai
Slowthai the new face of British Punk Rock

UK rapper Slowthai is like a modern-day Sid Vicious, blasting what he sees as the toxicity of Brexit Britain (

Prolific Long Island producer Kenny Beats, real name Kenneth Blume III, has worked with many of the aforementioned artists, helping shape the punk-rap sound that’s currently ruling the underground. He believes the fact more and more rap artists are gaining a penchant for primal screaming and ugly production is simply a reflection of our times. “The other month I played a show just 24 hours after there were two mass shootings here in America,” he says. “The planet is literally on fire, so what more can an artist like Rico Nasty do but scream? It’s instinctual to rappers at this particular moment. It’s how they process the world.” He says he’s currently producing a record for hardcore punk band Trash Talk “that’s pure thrash with no electronic drums, but that way of working isn’t too dissimilar from when I work with JPEGMAFIA or Slowthai.”

A 21st-Century protest

In this age of social media, where people fire off snarky political opinions every couple of seconds, Kenny believes that anti-establishment protest music can have trouble cutting through. To have a real impact, it’s less about what you say than how you say it. “You need to make people think about society in a less literal and more primal way,” he says. “It’s about using the least amount of sounds to make the most amount of noise and energy, and making a bass stab really feel like you’ve been punched in the face. A lot of the rap I produce really has that kind of punk essence. When I work with JPEGMAFIA he asks me for the worst beat possible as I guess a rapper that makes something that’s raw and ugly and chaotic is definitely going to stand out and feel more human right now, because things aren’t pretty out there.”

Rico Nasty, real name Maria Kelly, is a 22-year-old Maryland rapper every bit as enigmatic and hell-raising live as JPEGMAFIA – the fact she’s pushing similar buttons as a woman makes her, arguably, even more important. On songs like Bitch I’m Nasty and Rage, which are both produced by Kenny Beats, who also guided the music on her most recent album Anger Management, Kelly attacks the gnarly guitars and cutting drums with real venom, every word delivered like she’s face-to-face with her worst enemy. Sometimes she just starts screaming in between bars.

I’ll see straight guys moshing with the gay guys and I love that – Rico Nasty, aka Maria Kelly

Evoking the DC comic book character Harley Quinn, her bold onstage look is about reclaiming the colours white female punk artists wore before her and showing her fans, many of whom feel like outsiders, that they can be anything they want to be. It’s quietly revolutionary.

“If you come to a Rico Nasty show you’ll see all kinds of people, dancing together as one in the mosh pit,” she explains. “I’ll see straight guys moshing with the gay guys and I love that. A lot of these people aren’t able to let out their anger in the real world without being demonised, particularly black women, but they can at my show and to my songs. It’s a safe space to let out all the rage, and that’s healthy. It’s like group therapy.”

In a world with infinite choice, thanks to streaming platforms such as Spotify and Apple Music, Kelly believes fans expect more from their favourite artists – because, if their interest palls, they can quickly move on to something else. By embodying the fearless punk values of her hero Joan Jett, she can ensure she lives up to their estimations, she says. “They gotta see me go crazy on stage or I’m not doing my job! it’s all about showing emotions because they paid good money to see you and they don’t want to just see me stand still. You’re the person who made their favourite song so you should be performing until your voice cracks [like the punk artists voices’ used to do].”

(Credit: Works Of Ace)

Rico Nasty is a 22-year-old Maryland rapper who embodies the fearless punk values of her hero Joan Jett (Credit: Works Of Ace)

It’s something Hendricks very much agrees with. Punk in the 1970s was a reaction to the overly conceptual progressive rock that bands like Pink Floyd and Genesis were releasing. The Sex Pistols’ two-minute songs, which used a minimal amount of chords played as shoddily as possible, were in stark contrast to the stadium rock that some young people found pretentious.

Similarly, Hendricks believes the reason rap with punk sensibilities resonates right now is because the melodic ‘trap’ sound that has dominated the radio for so long is also starting to become stale. Hip-hop fans could be looking for something to counter the neatly produced club trap anthems by stars like Drake and Migos, which means music that’s more unhinged and doesn’t read from a script, and artists who enjoy giving their all on stage and are comfortable making people feel, well, uncomfortable.

“So much of rap sounds the same, and that’s okay, but that means some people want something that can be the complete opposite too. We’re entering an era where you have to leave a part of yourself on the stage and really make the crowd move. People aren’t going to just accept your presence or you miming to a song; you have to really do your job, you know? Maybe that’s where [punk-rap] comes in. I feel like this is the only time this sound really has a chance to break through into the mainstream.”

Two genres united

But if punk-rap makes sense for this particular cultural moment, it’s hardly a new phenomenon. As John Robb, the author of Punk Rock: An Oral History – and a rock legend in his own right as lead vocalist in post-punk band The Membranes – points out, rap and punk first became intertwined in the 1980s, a time when The Clash experimented with a rap edge on The Magnificent Seven.

He believes Public Enemy were the first band to really bring the two different audiences together, with their rough, hard-hitting boom-bap sound resonating with both black kids in the inner cities and white kids in the suburbs. The fact that, in the 1980s, iconic producer Rick Rubin would split his time between producing new albums for hip-hop acts like Run DMC and The Beastie Boys and hardcore bands like Slayer and The Cult, also helped to create links between the two cultures.

“Public Enemy were really the first band to resonate with both camps,” says Robb. “Chuck D was a huge fan of The Clash and I know from speaking with him, he studied all of the punk bands. I saw them on the Anthrax tour and Public Enemy blew this hardcore band right off the stage. I’m sure every white punk fan in the audience became a rap fan after that.”

These kids live in such a distorted world that the music is lying if it isn’t distorted as well – John Robb

As the 1990s arrived, hip-hop’s punk sensibility was further enforced by in-your-face acts like Ice Cube, DMX, Onyx, and Rage Against the Machine. Then, although he’s easy to mock now, Atlanta rapper Lil Jon also spliced genres to innovative effect with ‘crunk’, his southern rap take on punk, which prioritised uncomfortably loud horns and repetitive screams. It’s no surprise that Denzel Curry, one of punk-rap’s most prominent artists, channelled Lil Jon’s trademark “what” screams on his 2018 song SUMO | ZUMO. “Lil Jon was definitely a pioneer for some of the punk-rap acts we see now,” agrees Kenny Beats. “He showed you could scream on a song and still have a hit on the radio. He even sampled [US heavy metal guitarist] Randy Rhoads, so it was obvious he knew what he was doing.”

But Lil Jon was hardly an anti-establishment renegade, more just someone who found a sound that stood out from the norm. It was around a decade ago that punk-rap really returned with a vengeance, via authentic anarchist acts like Tyler the Creator’s Odd Future collective. The Los Angeles group weren’t afraid to release incendiary singles where hooks were built around calls to burn schools, among other things, while beats were both manic and minimalist. They lived the punk life they rapped about, hanging out at skate parks and dingy clubs in three-day-old clothes. This DIY spirit made them feel like the black Sex Pistols. And Kanye West borrowed punk elements for his brilliantly bleak 2013 album Yeezus. On it, he took Odd Future-style industrial sonics and made them more palatable for the mainstream, sampling post-punk bands such as Section 25 and offering up riotous tirades like Black Skinhead.

(Credit: Alamy)

Kanye West also went punk on his brilliantly bleak 2013 album Yeezus (Credit: Alamy)

But Kenny Beats believes one of the most important songs in this new age of punk could be Look At Me by XXXTentacion – the controversial Florida rapper, real name Jahseh Onfroy, who was shot dead last year at the age of 20, while facing multiple criminal charges. The 2017 song features uncomfortable levels of distortion and unhinged vocals as Onfroy, then just a teenager recording in his bedroom with a cheap microphone bought on eBay, refers to himself as the new Kurt Cobain. Peaking at 34 on the Billboard 100, it was the moment punk-rap showed it could really be a force on the pop charts.

“Whatever you think [about the person and the allegations], there’s no denying Look at Me was one of the most punk-rock moments in a long, long time,” says Kenny Beats, when asked why the song resonates so much with the current generation of rap fans. “You play it in a room and people are ready to riot. XXX sounds like a scary cult leader rapping over the worst sounding MP3 I’ve ever heard, but everything about that song bottles this idea of being young and not giving a damn. It’s the reason why you hear distorted drums on an Ariana Grande song or people putting out two minute singles. Its influence is everywhere. It doesn’t have a message, but that’s what makes it have one somehow.”

People get upset that the old rock ‘n’ roll attitude doesn’t exist anymore, but it’s right there in front of them – JPEGMAFIA, aka Barrington Hendricks

As conversation rages around Brexit, Trump and global warming, there is a feeling among some young people that they are paying for the sins of their parents and have inherited a world that is teetering on the edge. It’s in this context that the darker punk-rap sound has resonated deeply, says Robb. “These kids live in such a distorted world that the music is lying if it isn’t distorted as well.”

However, he’s keen to point out the impact of the internet in making this style of music popular too: “You’ve got to remember that genre boundaries don’t really exist like they did before. With streaming, every genre cross-pollinates into the next and you just hop from one thing to another. That makes it easier for punk-rap to thrive than it could in the 1980s or 1990s, as back then, everything had to be a hit on a radio. Now, you just put it on Soundcloud and it gets a million views and kids will treat like you like a rock star.”

So often, Hendricks says, he reads “lazy” articles from white music journalists speculating when guitar-driven punk is going to make a comeback and “save music”. Yet he believes this is a blinkered question founded in racism – critics are unwilling to acknowledge that punk never went anywhere, but its spirit is now embodied by hip-hop, and phallic guitars have been replaced by dusty 808 drums.

“[Rock music] is stagnant, yet here we are in 2019 still clinging on to this old idea of what rock ‘n’ roll is. People get upset that the old attitude doesn’t exist anymore, but it’s right there in front of them: we’re the new rock stars”.

  • By Thomas Hobbs
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British Actor – “The Original Daddy” & “King Of The Rockers” – John Blundell

Mods Of Your Generation – Interview – British Actor – “The Original Daddy” & “King Of The Rockers” – John Blundell

MODS OF YOUR GENERATION·SATURDAY, 14 DECEMBER 2019John Blundell is a Britishactor, best known for playing ‘Daddy’ Pongo Banks in the controversial production Scum and its film adaptation.Blundell played Banks in both the banned 1977 BBC version and the cinematic remake of the production two years later. His character was the ‘daddy’ (i.e., the self-appointed head inmate via use of force, violence and intimidation) of the institution until he was overthrown in a bloody attack by Carlin, the lead character played by Ray Winstone. He also appeared in Quadrophenia as the Leader of the Rockers (again in a film with Ray Winstone). He is an absolute gentleman, Mods Of Your Generation wanted to find out more about his role in these two iconic films. Its a privilege to call him a friend and an honour to have him as a Mods Of your Generation follower. 

What fond memories and amusing stories can you remember from the filming of Quadrophenia?

I spent three weeks in Brighton on the set. One of my fondest memories is that the whole cast stayed in the same hotel, and you could come down in the morning for breakfast, and hear the then unknown Sting, playing the piano, and Phil Daniels playing guitar, along with Toyah jamming, and at that time , being so young, just taking it all for granted. 

Did you enjoy working with Phil Daniels and Ray Winston again after filming with them in Scum?

Ray, Phil and I had filmed the original Scum, 4 years earlier, which was a Play for Today for the BBC, and banned by Billy Cotton. We then went on to make the film SCUM, 6 weeks after QUADROPHENIA. In those days, we all hung about together, and all got on really well. 

You played Pongo Banks in Scum & the leader of the rockers in Quadrophenia they have both become British cult classics. How does it feel to be part of these timeless iconic movies?

I have been very lucky and privileged to be part of both Scum and Quadrophenia. Obviously not knowing that up to date, they would have stood the test of time, and become iconic films.

How did you get into acting and was that something you always wanted to do growing up?

It was never my intention to become an Actor. However at 10 years old, my primary school drama teacher Anna Scher, started the Anna Scher Children’s Theatre, of which I was a Founder member, for Children who could not afford Stage School like Barbara Speake’s, Italia Conti etc. , charging us 50 pence a lesson, and free for the Children, who could not afford that. When word went around the film industry, that there was a Drama Club in Islington. The BBC came around along with the Children’s Film Foundation, to name but a few. So that is where it all began and took off. 

What can you recall working with Quadrophenia director Franc Roddam?

Franc Roddam the Director of Quadrophenia, came to Ann Scher, to watch our group performing improvisation, on a class night. And that is where he saw Phil Daniels, Trevor Laird and myself. A few weeks later, Franc asked me and Actor Ray Burdis, to meet him at Pinewood Studios, to do some improvisation with a guy that he has found from a modelling advertisement, called Gordon Sumner. Afterwards Franc, asked us about our opinion about this guy, as he thought he would be great for the part of Ace Face. We said he looked unusual m. Little did we know that we had talked ourselves out of a part. A few later, this guy called Sting would hit no. 1, with his group the Police, and become a global Superstar. The rest was history. 

I heard from a mutual friend that they were a few accidents riding the motorbikes in Quadrophenia. Can you tell me about some of the stories?

There was one big accident, involving myself and the rest of the Rockers, in the scene where we chased Chalky off the road. After the film crew cleared the lane, where we were filming, a farmer pulled out his lorry out onto the road, unbeknown to the film crew. So at 35 miles an hour, Gareth Milne, the Stunt man, who was to my far left, rode straight into the truck at full speed, which caused a domino effect, of all 30 Bikers crashing.I myself drove into a big bush, to protect myself and my Biker girl Linda Regan, who was riding pillion. Leaving the both of us with only sprains, but other with much more serious injuries. Hence Linda up till this day, still tells everyone that I saved her life, which is a really lovely thing to say. Franc to this day, still says he wishes he had kept the footage of the crash.

Where you a fan of The Who and had you listened to Quadrophenia before being cast in the movie of the same name?

I was not really a Fan of the Who, at that point, but after meeting Roger Daltrey and Pete Townsend, I found them to be, down to earth and just a couple of the lads, who just happened to fly into Brighton beach by helicopter. Lol.

Apologises if this ruins your hard man reputation as the “King of The Rockers” and the original daddy but I heard you’re a northern soul fan. If this is true tell me about some of your favourite records and some of your other musical tastes?

Yes that’s right I do enjoy Northern Soul, for eg. listening to Legendary artists like Frank Wilson – Yvonne Baker- Tobi Legend. My taste is pretty varied, and I also like a lot of Rap Music. Snoop Dog, Dr Dre era. Giving away my age there. 

What other acting roles have you been involved in that fans may not be aware of?

From my early years aged 10 I had done so much work, I cannot remember, as i never kept track. The only ones I can remember are on my IMDB. I also do so many Commercials that at one time, my Agent Anna Scher named me ‘’The Commercial King’’ https://www.youtube.com/watch?v=dgRnNx7J1mQ&feature=youtu.be

2019 marked the 40th anniversary of Quadrophenia, you were invited to join the celebrations at an event in Runcorn. How was it reuniting with some of the cast 40 years on and what was fans attending the events response to meeting the king of the rockers?

I have always over the years, bumped into the Quadrophenia boys, who attended Runcorn. And it is always as if we had only seen each other yesterday.As I was the only Rocker, at Runcorn, I was not sure, how I would be welcome by the Mods. But to my surprise, I was blown away by the love and respect, that was shown to me , by everyone who attended. I could not have asked for more. I would like to say a special thank you to Rob Wright, who organised the event, and took such good care of me and Mercina. We had not met before, but we are now friends. 

What are your plans for the future and are you working on anything we can look forward to?

I enjoy writing Comedy scripts, simply as a hobby. But the best thing about being retired, is as you all know by now, for anyone who has read my Facebook page, is that I get to spend 24/7, with the love of my life Mercina.

Copyright © Mods Of Your Generation, Johnny Bradley & John Blundell 2019, All Rights Reserved. No part of this review may be reproduced without the permission of the authors.
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Madness have a dig at Boris Johnson and the Eton elite

FIRST PUBLISHED IN NME

“The Eton Boys are undefiled/ The Bullingdon Boys, running wild”

Madness
Suggs and co. have a dig at Boris Johnson in the lyrics to their new song. CREDIT: Getty Images

Madness have released ‘Bullingdon Boys’, their first new song in three years – and it features lyrics aimed at Boris Johnson and his Eton cohorts – listen to it below.

The pioneering ska band’s snap release is a “barbed swipe at the charlatans, rotters and chancers at the top of the tree who have done their best to take the shine off 2019,” according to a press release.

Inspired by the fact that 19 of the 54 UK Prime Ministers have come from Eton, the new song takes aim at Johnson, who was educated at Eton College before going on to study at Oxford, and his peers with anti-Tory lyrics.

“The Eton boys are undefiled/ The Bullingdon Boys, running wild,” Suggs sings on the chorus. “And England slides into the mist/ No hope they’ll cease nor desist.

Other lyrics include: “They’re making England Great Again/ But make way for the bagmen/ When everything’s been sold and bought/ We’ll soon be off the life support.

The song’s artwork features what is assumed to be a group of Eton students donning a variety of masks, including Halloween villain Michael Myers and Porky Pig. It includes the tagline: “Don’t get bullied by the Bully Boys.”

Madness

Accompanied by a supercut video that features scenes from Clockwork Orange, the Batman TV series and The Riot Club, you can listen to ‘Bullingdon Boys’ below:

Earlier this month, Madness performed a show in London where fans were given the chance to pay the same entry price as they did 40 years ago.

Madness Electric Ballroom 2019. Credit Symond Lawes

The Camden Town legends played the Electric Ballroom on November 17 – 40 years to the day since they launched the legendary Two Tone Tour at the very same venue. Tickets were just £2.50 (plus booking fees).

There’s nothing new about musicians having a go at Eton EliteWill Lavin “meanwhile, Boris Johnson has received a backlash for declaring that he’s a fan of The Clash.

The revelation came from a new general election campaign video in which the Prime Minister is seen walking around the Conservative Party headquarters answering questions.

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Scooterboys 1980’s The lost tribe of British youth culture

THESE fascinating pictures show a little-known youth tribe called Scooterboys, who roamed the country during the 80s and 90s.

The group was dubbed as “the lost tribe of British youth culture”, however tens of thousands of scooter riders insist they collectively rejected that label.

 Scarborough sea-front in 1983 during the period when Scooterboy overtook Mod in numbers
Scarborough sea-front in 1983 during the period when Scooterboy overtook Mod in numbersCredit: John Stevens / Carpet Bombing Culture
 The classic ‘80s Scooterboy look was an MA1 flight jacket covered in rally patches
The classic ‘80s Scooterboy look was an MA1 flight jacket covered in rally patchesCredit: Greg Hollingdale-Cooper / Carpet Bombing Culture

Interesting pictures reveal the freedom Scooterboys had 30 to 40 years ago, showing rallies taking place in Hampshire and Dorset.

The photographs are featured in Scooterboys: The Lost Tribe book, created by Martin “Sticky” Round.

The book paints a picture of what the youth tribe experienced in their customised Vespa and Lambretta scooters as they set off on adventures each weekend.

The book mentions the shared experiences of riots, local hostility and police harassment, which built strong fraternal bonds that lasted a lifetime.

Scooterboys were members of a 1960s mod subculture, who rode motor scooters and wore anoraks, wide jeans, and boots.

One recent photograph shows crowds of scooterists in the Isle of Wight, while another takes you back to  the 1970s and shows how the youth tribe compared to today.

 Riders boarding the ferry after the riot at Isle of Wight 1986
Riders boarding the ferry after the riot at Isle of Wight 1986Credit: Piggsy / Carpet Bombing Culture
 Isle of Wight pictured in 1984 - probably Britain's biggest ever rally
Isle of Wight pictured in 1984 – probably Britain’s biggest ever rally
 Scooterboys chilling at Margate National Rally in 1990
Scooterboys chilling at Margate National Rally in 1990Credit: Dave Chapman / Carpet Bombing Culture
 Scooters and Soul music have lived a conjoined existence since the 1960s, but intricately airbrushed photo-realistic murals are typically Scooterboy
Scooters and Soul music have lived a conjoined existence since the 1960s, but intricately airbrushed photo-realistic murals are typically ScooterboyCredit: Carpet Bombing Culture
 Before political correctness it was acceptable to ride a paint splattered chop called 'Time of the Month'
Before political correctness it was acceptable to ride a paint splattered chop called ‘Time of the Month’Credit: Nick Purser / Carpet Bombing Culture
 A Scottish scooterist guards his club’s matching airbrushed crash helmets
The Great Skinhead Reunion Brighton June 5-6-7 2020
The Great Skinhead Reunion Brighton June 5-6-7 2020. Hit the picture for tickets

20A Scottish scooterist guards his club’s matching airbrushed crash helmetsCredit: Carpet Bombing Culture

 Scooterboys loved highly tuned street-race scooters such as these DTC-painted Lambretta GPs
Scooterboys loved highly tuned street-race scooters such as these DTC-painted Lambretta GPsCredit: Sticky / Carpet Bombing Culture
 After the 60s Mods came Skinheads, Suedeheads and Smoothies. In the early 70s the customising fashion was the accessorised Lambretta ‘skelly’
After the 60s Mods came Skinheads, Suedeheads and Smoothies. In the early 70s the customising fashion was the accessorised Lambretta ‘skelly’Credit: Sticky / Carpet Bombing Culture
 Steve Maw’s Lambretta chopper ‘Illusion’ at Great Yarmouth in 1985
Steve Maw’s Lambretta chopper ‘Illusion’ at Great Yarmouth in 1985Credit: Stuart Lanning / Carpet Bombing Culture
 Scooterists from Hampshire and Dorset explore Girvan in Scotland
Scooterists from Hampshire and Dorset explore Girvan in ScotlandCredit: Nick Purser / Carpet Bombing Culture
 Vespa cutdown ‘Little Rascal’ pictured at Morecambe
Vespa cutdown ‘Little Rascal’ pictured at MorecambeCredit: Piggsy / Carpet Bombing Culture
 Scooterists at the end of the Isle of Wight ride-out in 2012 respond to DJ Tony Class
Scooterists at the end of the Isle of Wight ride-out in 2012 respond to DJ Tony ClassCredit: Sticky / Carpet Bombing Culture
 Classic early-80s Scooterboy style in Brighton
Classic early-80s Scooterboy style in BrightonCredit: Mike Lovell / Carpet Bombing Culture

Symond And Nev Wycombe Skinheads 1981. Photo Credit Gavin Watson
 When Scooterboys built radical projects it often meant use of an angle grinder and welder
When Scooterboys built radical projects it often meant use of an angle grinder and welderCredit: Carpet Bombing Culture
 Custom Lambretta named after the Jam record as Funeral Pyre
Custom Lambretta named after the Jam record as Funeral PyreCredit: Nick Purser / Carpet Bombing Culture
 Getting stopped by the police was an occupational hazzard
Getting stopped by the police was an occupational hazzardCredit: John Stevenson / Carpet Bombing Culture
 The Alcoholic Rats all-girl scooter club at Great Yarmouth
The Alcoholic Rats all-girl scooter club at Great YarmouthCredit: Jo Jackson / Carpet Bombing Culture
 The book's cover, depicting a police check of riders attending Redcar National rally in 1985
The book’s cover, depicting a police check of riders attending Redcar National rally in 1985Credit: Carpet Bombing CultureIf you have photos and stories to tell or want to add to this, we would love to hear from you and add them to the site. Please email subcultz@gmail.com
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Great Skinhead Reunion Brighton Information

BUY TICKETS

Great Skinhead Reunion Brighton 2022 Line up

Line up so far 9-10-11-12 June 2022

Established in 2011 The Great Skinhead Reunion Brighton was designed to bring Skinhead back home to where it was born in the 1960´s When the Mods and Rockers came to Brighton and hit the headlines, establishing their own youth culture. From those early Mods came the Skinheads, who embraced the new music coming in from Jamaica known as Ska. The Jamaican immigrants to the UK mixing with British working class kids with style and attitude, to form a new youth culture.

The Great Skinhead Reunion poster

The second wave of Skinhead began to build in the mid 70´s with the birth of Punk Rock in 76, this time musically the Skinheads adopting the Punk rock sound and aggro of the football terraces, Working class bands forming and putting out their own angry antisocial messages in music, frightening the media into a frenzy of misinformation, who promoted the image of hyper violent bootboys and girls on the loose. This was a time of major political unrest in the UK and extremist groups tried to recruit within working class culture, often targeting Skinheads and football supporters, in the hope of win one, win them all pack mentality.

By 79 The skinheads were on the fightback and in London with bands like Madness and Badmanners, linked with British Midlands such as Coventry bands The Specials. The Selector and The Beat and created the 2tone label, which firmly mixed black and white youth together against this media onslaught.

In 1981 came the next wave. Oi! music was unleashed by Sounds magazine, bringing back the angry streetpunk energy and protest into the Skinhead subculture, once again giving the media and movie makers something to chew on.

Over the years the pendulum swung back and forth, but against all the odds Skinhead in its genuine form found its way across the world, connecting the Working class of Britain with mainland Europe, during the cold war even into communist Eastern block, then across to USA, South America, and in modern times, Indonesia to pretty much every westernised nation.

At the Great Skinhead Reunion Brighton you will find the most genuine, real and very friendly welcoming event in Skinhead history. Real people who have lived the life, mixing with new faces just coming in. We actively search for new acts to showcase and tour. We reunite old bands and give them a stage to play, we encourage scene DJ´s from across the worldwide scene, to play and network. Together all of us taking the scene forward, learning from previous mistakes, without selling out our principals of a true Working class subculture. The reunion invites everyone to attend, be you a skinhead or just someone wanting to be part of the event, interested and wanting a great fun weekend. We also actively support charities every year.

United We Stand!

TICKETS

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.

WRISTBANDS GIVE YOU FULL ACCESS TO ALL THE EVENT, THREE FULL DAYS AND NIGHTS OF ENTERTAINMENT, 12 BANDS, 10 DJ’S PLUS A  SPECIAL PRE PARTY  BEACH BBQ ON THURSDAY PRE PARTY

The line-up maybe subject to change, as so many band members and dj’s are involved, 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, We Strongly advise NOT to fly to Stansted or Luton as this is a long way and expensive UK public transport, but if you have no choice then use National Express buses from those airports, which you need to book in advance to get cheaper rates, 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. Wilson Avenue is about the nearest free street parking to the venue, jump on a local bus back into town.

All Event Enquiries email Symond at subcultz@gmail.com. phone (uk) 07733096571

The Facebook community group Facebook group

Facebook page

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.

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Mods Of Your Generation Interview – The Electric Stars – “Beautiful Music For Beautiful People”

Mods Of Your Generation Interview – The Electric Stars – “Beautiful Music For Beautiful People” MODS OF YOUR GENERATION·SUNDAY, 1 SEPTEMBER 2019What can say about The Electric Stars that hasn’t already been said?Formed in 2011 the band have featured in countless magazines and had many glowing reviews, with their album “Sonic Candy Soul” making the Top 12 of 2012 best albums in ‘Scootering Magazine’ alongside the likes of Paul Weller. Recently front man Jason Edge featured in the September 2019 issue of Scootering with an incredible two pager. They have the incredible ability of taking inspiration from all the best music from any era and blending it together to create original, new modern music. Their Psychedelic Rock n Roll sound and their upbeat soulful vocals sets them aside from others. They have one mission and that is to make “Beautiful Music For Beautiful People” and that is exactly what they do. Personally i would like to thank them for providing an alternative. I believe “music is the soundtrack to our lives” If you agree then you need the Electric stars in yours. To find out more about the band continue reading below

 The band formed in 2011 how did it all happen? We formed while we were in the studio recording Sonic Candy Soul. The Album was already written & as myself, Keef & Andy went in to record we didn’t have a drummer. We used a guy who was hanging around with us & began laying down the tracks. The whole concept began to fall into place, the sound, the look, the vibe and the name, while we were recording. As soon as we finished it, that’s when we found our drummer, Johnny. 

 You signed to Detour Records in February 2012 and released a single in March. Then released your debut album ‘Sonic Candy Soul‘ in September. What was the reaction to the single and album? Once we had the Masters of the Album we started to look for the right label. Dizzy at Detour has always been great with us. He has great History on the Scene and is a Fab guy! The first single came out & got a brilliant response. In fact you can’t get a copy of that anymore! When the Album came out, I think we were happy with it, well most of us were ha ha, but you never know how the public will like it. But the response we have had since day 1 for the Album has been fantastic. Wherever we go around the UK now people have it, play it and talk about it. It’s a great feeling to know that people dig our songs.

THE ELECTRIC STARS Blind Album Sonic Candy Soul How did you come up with the name of the band – ‘The Electric Stars’? The name.. A lot of people ask about it! When we were in the studio everything was kind of in a melting pot. The image of the band is very important. We are very influenced by the late 60’s early 70’s sounds. So it is natural we dress that way. Lots of colour, vibrant imagery, psychedelic patters ya know. The name is suggestive. Like our music & vibe The Electric Stars suggests something! I’m not a fan of dull music & dull clothes. I like my Rock n Roll Stars to look Godlike! Local pub bands might dress in jeans & t shirt. The Electric Stars dress to kill. 

 The album was featured as one of the Top 12 albums of 2012 in ‘Scootering Magazine’ alongside Paul Weller. That must have been amazing, Tell me bout it? One of the 1st reviews we got for Sonic was in Scootering and it was Ace. We were a bit shocked but blown away with the write up! Then at the end of the year, they do a round up of the best Albums & Sonic Candy Soul is in there alongside Paul Weller… Totally Cosmic! In fact now you’ve reminded me about that, It’s brought back the way we felt & it was very humble. To get a review like that makes you appreciate every bit of support from everyone! 

In 2014 the band recorded their own version of Belfast Boy, A song first released in 1970 by Don Fardon. Tell me about the reasoning behind releasing the track and how the idea developed? Belfast boy came about from a chance meeting I had with Eamon Holmes. He is a massive George Best fan like me. We got chatting about music and fashion. He is a big fan of The Electric Stars. He reminded me of the Don Fardon song and said that he didn’t think that anyone had ever recorded it since. We got in touch with the GB Foundation and the MUFC Foundation, both said they were behind the idea! Then we got a load of Players & Celebs to write about Georgie in the sleeve notes. It was a bit of an ambitious release but it got to Number 15 in the BBC Indie Charts.. Nice! The most pleasing thing for me is the B side. I wrote The Brightest Star about one of my Heroes and to have his sister say it is one of the best things ever recorded about George means more than the chart placing.

Belfast Boy – The Electric Stars | George Best Charity Single  ‘We Love You’ released in 2018 & ‘Sunshine’ released in 2017 are two of my favourite tracks. Which songs do you like performing live from your incredible repertoire? We Love You and Sunshine are both on the new Album – Velvet Elvis, The Only Lover Left Alive! To be honest I like all our tunes, we don’t let any bum songs get through quality control ha! Picking favourites is tough because they all mean so much to me. 136 is special.. It was written over in Florida & I really wanted to get the message across about this new band.. What we were.. Where we had come from.. What the message was going to be! Music for me is not just going through the motions. I can’t stand what is happening to music in 2019. Beautiful Music for Beautiful People is what we try to do. That lyric sums up The Electric Stars. We are trying to keep the flame burning and that’s important! 

The Electric Stars – Sunshine ☀️ You headlined the ‘100 club’ which had an incredible response. Tell me about the night and what is was like performing at such an iconic musical venue? The 100 Club is a wonderful venue. Probably one of the most Iconic in the world! Most of my Heroes have played there and to go on last to a sold-out crowd was off the scale! All the bands on the night were Fab. Turner, Darron J Connett, The Sha La La’s all played out of their skin. It was a bit of an experience for sure. I hope we get to play there again as it’s a special stage to be on.On the back of the gig we got loads of press & our good friends at Scootering gave us a Fab double page spread. The support they have given us since day 1 has been Brilliant. 

The Electric Stars – 100 Club – 2016The new single has been released ‘The only lover left alive’ where can we buy or download the album? The new album should have been out so long ago. Just down to laziness on the bands part I guess! The Only Lover Left Alive, Sunshine, We Love You & Loaded With Regrets are all on the new Album. Its gonna have a more stripped back feel to it.. More acoustic & less polished I think. More like the live Stars & less produced.

The Only Lover Left Alive – The Electric StarsDescribe the bands musical style and would you compare it to another? Mmmmm, well we are not ashamed of our influences. Retro, yes for sure, but with our own songwriting style! You can hear plenty of Who, Stones, Kinks, Faces for sure. But you can also hear Bowie, Bolan, Beatles & Floyd. I love American music, so Hendrix, Velvets, Doors & Love. Mix it all up with Blues & Grooves.. What do you get? Beautiful Music for Beautiful People! 

Who are your musical influences as individuals or as a band from any era past or present? The Record Collection is huge man. But if you’re going to push me.. The Rolling Stones! I will gladly fight anyone in the car park who tries to tell me they are not the Greatest Rock n Roll Band in the world. There is a little bit of Stones in everyone & there is a little bit of everything in the Stones. 

 The Electric Stars are a Manchester based band, the city has an incredible history of producing many great artist and bands. Did this inspire you to get into music and to take up playing your instruments? Manchester is a wonderful city. We are great at most things. But, when it comes to Music, we are quite Spectacular! It’s a working class city that is big enough to challenge London and small enough to create its own culture and swagger. Being in a band in Manchester is something we just did! The Hollies, 10cc, Buzzcocks, Joy Division, Mondays, Roses, Oasis.. Not bad is it for a bunch of Mancs ha ha!  

 British actor & musician Gary Shail is a huge fan of the band and asked you to perform at the Quad 40 event on Brighton Pier. What was it like to be asked to perform at such an iconic event celebrating the 40th anniversary of a timeless cult film Quadrophenia? We met Gary a long time ago at a gig. He loves live music and used to be in a band before he was an Actor. He liked our sound and we became friends. Last year he called me up and said “Jay, I’ve got an idea & I want the Stars to be part of it”. What an idea it turned out to be! Quad 40 was absolutely Fantastic! To be asked to be part of the Anniversary of one of the most Iconic British Films ever made.. WOW It really was a Brilliant event. Still buzzing from it to be h honest. 

 Do you have anything you would like share with all your supporters? I think if I’m going to finish on something it’s just to say a huge thank you to everyone who has supported us. The people who come to the gigs & buy our music. The people who write about us & book us to play all over the UK and Europe. We write our own material and we never take it for granted that people prefer us to cabaret. We want to make a difference & in 2019 that is getting harder than ever! Thanks to you Johnny for giving us the opportunity to tell people about the band & see you all soon!

The Electric Stars – We Love You   Copyright © Johnny Bradley (Mods Of Your Generation) & The Electric Stars, 2019, All Rights Reserved. No part of this article may be reproduced without the permission of the authors.

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Mods Of Your Generation Interview – The Electric Stars – “Beautiful Music For Beautiful People”

Mods Of Your Generation Interview – The Electric Stars – “Beautiful Music For Beautiful People” MODS OF YOUR GENERATION·SUNDAY, 1 SEPTEMBER 2019What can say about The Electric Stars that hasn’t already been said?Formed in 2011 the band have featured in countless magazines and had many glowing reviews, with their album “Sonic Candy Soul” making the Top 12 of 2012 best albums in ‘Scootering Magazine’ alongside the likes of Paul Weller. Recently front man Jason Edge featured in the September 2019 issue of Scootering with an incredible two pager. They have the incredible ability of taking inspiration from all the best music from any era and blending it together to create original, new modern music. Their Psychedelic Rock n Roll sound and their upbeat soulful vocals sets them aside from others. They have one mission and that is to make “Beautiful Music For Beautiful People” and that is exactly what they do. Personally i would like to thank them for providing an alternative. I believe “music is the soundtrack to our lives” If you agree then you need the Electric stars in yours. To find out more about the band continue reading below

 The band formed in 2011 how did it all happen? We formed while we were in the studio recording Sonic Candy Soul. The Album was already written & as myself, Keef & Andy went in to record we didn’t have a drummer. We used a guy who was hanging around with us & began laying down the tracks. The whole concept began to fall into place, the sound, the look, the vibe and the name, while we were recording. As soon as we finished it, that’s when we found our drummer, Johnny. 

 You signed to Detour Records in February 2012 and released a single in March. Then released your debut album ‘Sonic Candy Soul‘ in September. What was the reaction to the single and album? Once we had the Masters of the Album we started to look for the right label. Dizzy at Detour has always been great with us. He has great History on the Scene and is a Fab guy! The first single came out & got a brilliant response. In fact you can’t get a copy of that anymore! When the Album came out, I think we were happy with it, well most of us were ha ha, but you never know how the public will like it. But the response we have had since day 1 for the Album has been fantastic. Wherever we go around the UK now people have it, play it and talk about it. It’s a great feeling to know that people dig our songs.

THE ELECTRIC STARS Blind Album Sonic Candy Soul How did you come up with the name of the band – ‘The Electric Stars’? The name.. A lot of people ask about it! When we were in the studio everything was kind of in a melting pot. The image of the band is very important. We are very influenced by the late 60’s early 70’s sounds. So it is natural we dress that way. Lots of colour, vibrant imagery, psychedelic patters ya know. The name is suggestive. Like our music & vibe The Electric Stars suggests something! I’m not a fan of dull music & dull clothes. I like my Rock n Roll Stars to look Godlike! Local pub bands might dress in jeans & t shirt. The Electric Stars dress to kill. 

 The album was featured as one of the Top 12 albums of 2012 in ‘Scootering Magazine’ alongside Paul Weller. That must have been amazing, Tell me bout it? One of the 1st reviews we got for Sonic was in Scootering and it was Ace. We were a bit shocked but blown away with the write up! Then at the end of the year, they do a round up of the best Albums & Sonic Candy Soul is in there alongside Paul Weller… Totally Cosmic! In fact now you’ve reminded me about that, It’s brought back the way we felt & it was very humble. To get a review like that makes you appreciate every bit of support from everyone! 

In 2014 the band recorded their own version of Belfast Boy, A song first released in 1970 by Don Fardon. Tell me about the reasoning behind releasing the track and how the idea developed? Belfast boy came about from a chance meeting I had with Eamon Holmes. He is a massive George Best fan like me. We got chatting about music and fashion. He is a big fan of The Electric Stars. He reminded me of the Don Fardon song and said that he didn’t think that anyone had ever recorded it since. We got in touch with the GB Foundation and the MUFC Foundation, both said they were behind the idea! Then we got a load of Players & Celebs to write about Georgie in the sleeve notes. It was a bit of an ambitious release but it got to Number 15 in the BBC Indie Charts.. Nice! The most pleasing thing for me is the B side. I wrote The Brightest Star about one of my Heroes and to have his sister say it is one of the best things ever recorded about George means more than the chart placing.

Belfast Boy – The Electric Stars | George Best Charity Single  ‘We Love You’ released in 2018 & ‘Sunshine’ released in 2017 are two of my favourite tracks. Which songs do you like performing live from your incredible repertoire? We Love You and Sunshine are both on the new Album – Velvet Elvis, The Only Lover Left Alive! To be honest I like all our tunes, we don’t let any bum songs get through quality control ha! Picking favourites is tough because they all mean so much to me. 136 is special.. It was written over in Florida & I really wanted to get the message across about this new band.. What we were.. Where we had come from.. What the message was going to be! Music for me is not just going through the motions. I can’t stand what is happening to music in 2019. Beautiful Music for Beautiful People is what we try to do. That lyric sums up The Electric Stars. We are trying to keep the flame burning and that’s important! 

The Electric Stars – Sunshine ☀️ You headlined the ‘100 club’ which had an incredible response. Tell me about the night and what is was like performing at such an iconic musical venue? The 100 Club is a wonderful venue. Probably one of the most Iconic in the world! Most of my Heroes have played there and to go on last to a sold-out crowd was off the scale! All the bands on the night were Fab. Turner, Darron J Connett, The Sha La La’s all played out of their skin. It was a bit of an experience for sure. I hope we get to play there again as it’s a special stage to be on.On the back of the gig we got loads of press & our good friends at Scootering gave us a Fab double page spread. The support they have given us since day 1 has been Brilliant. 

The Electric Stars – 100 Club – 2016The new single has been released ‘The only lover left alive’ where can we buy or download the album? The new album should have been out so long ago. Just down to laziness on the bands part I guess! The Only Lover Left Alive, Sunshine, We Love You & Loaded With Regrets are all on the new Album. Its gonna have a more stripped back feel to it.. More acoustic & less polished I think. More like the live Stars & less produced.

The Only Lover Left Alive – The Electric StarsDescribe the bands musical style and would you compare it to another? Mmmmm, well we are not ashamed of our influences. Retro, yes for sure, but with our own songwriting style! You can hear plenty of Who, Stones, Kinks, Faces for sure. But you can also hear Bowie, Bolan, Beatles & Floyd. I love American music, so Hendrix, Velvets, Doors & Love. Mix it all up with Blues & Grooves.. What do you get? Beautiful Music for Beautiful People! 

Who are your musical influences as individuals or as a band from any era past or present? The Record Collection is huge man. But if you’re going to push me.. The Rolling Stones! I will gladly fight anyone in the car park who tries to tell me they are not the Greatest Rock n Roll Band in the world. There is a little bit of Stones in everyone & there is a little bit of everything in the Stones. 

 The Electric Stars are a Manchester based band, the city has an incredible history of producing many great artist and bands. Did this inspire you to get into music and to take up playing your instruments? Manchester is a wonderful city. We are great at most things. But, when it comes to Music, we are quite Spectacular! It’s a working class city that is big enough to challenge London and small enough to create its own culture and swagger. Being in a band in Manchester is something we just did! The Hollies, 10cc, Buzzcocks, Joy Division, Mondays, Roses, Oasis.. Not bad is it for a bunch of Mancs ha ha!  

 British actor & musician Gary Shail is a huge fan of the band and asked you to perform at the Quad 40 event on Brighton Pier. What was it like to be asked to perform at such an iconic event celebrating the 40th anniversary of a timeless cult film Quadrophenia? We met Gary a long time ago at a gig. He loves live music and used to be in a band before he was an Actor. He liked our sound and we became friends. Last year he called me up and said “Jay, I’ve got an idea & I want the Stars to be part of it”. What an idea it turned out to be! Quad 40 was absolutely Fantastic! To be asked to be part of the Anniversary of one of the most Iconic British Films ever made.. WOW It really was a Brilliant event. Still buzzing from it to be h honest. 

 Do you have anything you would like share with all your supporters? I think if I’m going to finish on something it’s just to say a huge thank you to everyone who has supported us. The people who come to the gigs & buy our music. The people who write about us & book us to play all over the UK and Europe. We write our own material and we never take it for granted that people prefer us to cabaret. We want to make a difference & in 2019 that is getting harder than ever! Thanks to you Johnny for giving us the opportunity to tell people about the band & see you all soon!

The Electric Stars – We Love You   Copyright © Johnny Bradley (Mods Of Your Generation) & The Electric Stars, 2019, All Rights Reserved. No part of this article may be reproduced without the permission of the authors.

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Mods Of Your Generation Interview – The Touch – They’re back after 40 years with their new album – Lost and Found

Mods Of Your Generation Interview – The Touch – They’re back after 40 years with their new album – Lost and Found MODS OF YOUR GENERATION·TUESDAY, 2 JULY 2019· 

The Touch are back after 40 years with their brand new album ‘Lost and Found’They were a mod revival band in the 70’s recording one album which was confusingly released by their record company under the wrong name. as well as know track titles or any other information about the band.I was kindly given a copy of the NEW album before its release and became instantly hooked to find out more about the previous album and the confusion around the first albums release. There may of been confusion around the previous album however there is no confusing who they are now. Whether your a fan of great music or a new fan of The Touch, whether you just like the Mod revival, or brilliantly written creative and relatable music. I suggest this album needs to be part of your collection.I was so excited about the new and old album that i immediately needed to interview them to find out more. I am also incredibly intrigued to see what they do next.

(1) Where do you find inspiration for your song lyrics & music? The music usually starts with an idea that magically arrives’ in the head, either as a riff, or a melody. It’s rare that one starts out with the idea to create a particular progression, and more often the rest of the music gets built around that one idea. Lyrics are a different matter. They are almost always either autobiographical or about something we’ve observed. For example, we must have been in the depths of teenage misery when we wrote Grey Day and I’m a Stranger as they are certainly based on real events. On the other hand, Walk in the Park, and Stop Stop are social commentaries. (2) How and when was the band formed? An early version of the band (The Flames) came together as a unit around 1976 with Son Jack on lead guitar and vocals, Gerry on rhythm guitar, Charlie on drums and Jim Henebury on bass. When Jim left, for a while we were 2 guitars and drums, weird but it sort of worked. We used to rehearse at Alaska Studios in Waterloo round the corner from the famous Wellington pub where many of the great early mod revival bands used to play. The studio was owned by ex-Vibrators bassist Pat Collier, and it’s thanks to him that we got started properly, but more about that later. 

(3) When & where was your first gig? As The Flames our first gig was the Rochester Castle, Stoke Newington November 3, 1977 opening for the Stukas. We also supported them every other Thursday that month. As The Touch, our debut was at the Nashville on Dec 29, 1979 supporting the Bishops. 

 (4) Has anyone played a major role in your music career? We’d have to say that Alan May, Dizzy Holmes, and Albert Cummings are the three kings for us right now as they are responsible for us being back together. Another big shout out goes to Pat Collier who got us started in the first place. We were a scrappy 3 piece called The Flames rehearsing at his Alaska Studios in London in ’77 when he helped us out playing bass, booking our first gigs, and helping us with promotion. Having him produce this album was brilliant and brought things full circle. (5) Your new album was recently released. What has the reaction been? We’ve been blown away by the comments and overall reaction, really, just staggering. You usually expect a spread of opinions in the feedback and so far it’s been just amazing.

(6) What were the biggest challenges in doing this album? That’s easy. Time. Son Jack lives in the states, Dave is in Devon, and Charlie and Gerry are in London, so trying to find time when we could all be in the same place at the same time was hard. It’s amazing we managed to get together as often as we did, and over a 6 month period Son Jack flew to London 5 times to get this done.The second biggest challenge was re-learning songs that none of us had touched in 40 years. This involved converting lots of old dusty cassettes into MP3’s and hunting through old boxes of lyrics to track down the words and song structures. (7) Where can fans buy or download the old & new albums? Pretty much everywhere! There are a bunch of options:1/ Via Paypal (UK and Europe only and incl s&h) send £13 to g.czerniawski@uel.ac.uk2/ Worldwide CD fulfilment via CDbaby at https://store.cdbaby.com/cd/thetouch43/ For streaming and downloads it’s on Amazon, iTunes, Spotify, Google Music, Deezer, Napster, Pandora, Shazam, Tidal, Youtube Music and a bunch of other places. 

 (8) Have you got any future gigs coming up and what’s next for the band? We have just one more gig on the books at the Mod Weekender in Brighton on August 24th. We’re at the Hope and Ruin in Queen Street and are playing a double bill with the Teenbeats. Last time we played together was at Marquee in ’79 I think so this will be a very special gig. We’re also pricing it for the fans at £13 on the night, or £10 in advance at http://bit/ly/TouchTeenbeats.

 (9) What’s the story behind the first album being released under the wrong name? We have theories but would risk getting sued for defamation of character if we shared them J. Let’s put it down to being young, naive, and star-struck at having an album at the age of 18. Twenty/twenty hindsight and all that. 

 (10) Can we look forward to another great third album? Haha! Mate, we’ve just finished this one and that took 40 years! Seriously though, it’s too early to tell but if we think we can do a knockout third album, and there’s demand for more then we’ll definitely consider the idea. (11) After the band disbanded after confusion over release of first album, what did each of the members go on to do musically or other? Son Jack: I didn’t play for over twenty years. It was only after moving to the states that I got the blues bug, and started trying to learn how to play it. I started out playing solo, then duo, then full on 4-piece band and enjoyed a 10 year career playing blues all over the world and recording 4 albums. Best part was getting to meet some amazing people like BB King, and we even got to open for Chuck Berry in the legendary Duck Room in St Louis.Gerry: I spent a few years playing in different bands including the tail end of The Fixations, Bad Karma Beckons, Waving Not Drowning and Mojo Hand. I’ve got a ‘day job’ but the music side of things has never really left my soul so keep my hand in one way or another. 

Charlie: Although I played on the early demo’s included on the Detour release, I had left the band before the first album was recorded so didn’t actually play on it. Instead I went back to education and retook some exams. Played drums for garage band called Bad Karma Beckons with Gerry, they released an album, Mutate and Survive, in 1986. Currently also playing in a couple of active London bands namely The Phobics and The Beatpack.”Dave: After the touch I played in a number of new romantic groups in London including The Marines, and concentrated on learning the keyboards and developing my song writing. In 2000 I spent ten years living in Catalonia and during that time played in a popular dropzone band. 

(12) When did the band decide to get back together and why? We got “re-discovered” through an insane set of unlikely events about 2 years ago. It’s a really long story but in short, Alan May and Dizzy Holmes tracked us down. Alan urged us to consider getting back together, and Dizzy wanted to do an official re-release of the original album on his Paisley Archive label. Alan also put us in touch with London promoter, Albert Cummings, who offered us a gig. So basically, everything was lined up and we had a reason to get back together. Without Alan, Dizzy and Albert I don’t think we would have bothered so we’re incredibly grateful for their support and encouragement. (13) Where would you like to see the band in a few years and what can we expect from you in the future? We’d LIKE to see us being waited on hand and foot on a private Island in the Caribbean but that probably isn’t going to happen. We’re in this for the love of it, not the money so we’re not on the career path that the younger more ambitious acts are. As long as we’re making music together, even if occasionally, that will be a beautiful thing. (14) Do you have a message for fans and a response to the reaction the band has had from the new album? That’s an easy one. THANK YOU FROM THE BOTTOM OF OUR HEARTS! You’ve made a bunch of old geezers feel like teenagers again. 

 (15) How would you describe the bands musical style if you were to compare it to another band? That’s a tough question as our musical style doesn’t easily fit one definition, as it evolved over time. We started out playing rock’n’roll (Gene Vincent, Johnny Kidd, Chuck Berry etc) in Charlie’s basement around 1973, and then when punk rolled around we got into that for a couple of years. Then we did the whole mod revival thing which also blended with Power Pop. So, you’ll hear elements of all those phases in the songs. 

Images from The Touch archives

 Interview conducted by Johnny Bradley for Mods Of Your GenerationInterview (c) Johnny Bradley & Mods Of Your Generation 2019

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Anti nowhere League lead singer Animal attacked with Glass

Anti nowhere league ‘Animal’
Animal. Lead singer of Anti nowhere league attacked by glass wielding thug

CCTV images have been issued of a person we would like to identify in connection with a serious assault in #TunbridgeWells.

It is reported that at around 6.20pm on Friday 2 August 2019 a man aged in his 60s was struck with a glass in an area of The Pantiles.

The victim sustained injuries and received treatment at a local hospital.

Investigating officers are continuing to carry out a number of lines of enquiry and are now able to release images of a man who may have important information about the incident.

Tunbridge Wells glass attacker
Man captured in CCTV just before attacking singer with a glass

Anyone who recognises him is asked to call us on 01622 604100 quoting 46/152946/19.

Alternatively, contact the independent charity #Crimestoppers anonymously, by calling 0800 555111 or using the anonymous online form at Crimestoppers-uk.org

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Harrington Saints: A Thousand Pounds Of Greatness

The Harrington Saints are an amazingly talented bad with members who all have other massive side projects. Up until now most of their songs have been about your classic punk and skinhead topics. You know? The same “rah rah we are West Ham” coming from some guys in California is a bit hard to grasp. What I bet you didn’t know behind all the mod influence and skinhead style music. There is a lot of heart and emotion that comes out of this band. I’ve been a fan for a bit and “1000lbs of Oi” is one of the best albums of it’s genre in the last five or so years.

“State Of Emergency” is something you would expect from Bad Religion not Harrington Saints, and that is NOT a bad thing. The song is about gun control and the lack of empathy Americans have for dead kids. It seems more important they have their guns. Instead of sugar coating it behind flowery language like Bad Religion does often. This is a raw as a nerve end track.

There are some classic oi songs, like the title track. These guys are not small humans so the “1000lbs of Oi” is a little bit tongue and cheek. I love it personally as a somewhat larger lad. Rock N Rolla is a splitting oi track that brings you back to the 1980s.  However the highlight to me was the song “Fremount Train” about a very real incident that happened. This isn’t your typical “fuck Nazis” song. It’s about beating the fascists up, and walking away with a smile with blood on your hands because you know you’re in the right. One of the most poignant lines being “why is the right wing always on the wrong side of history? Why is this a lesson we still have to teach today?”

If you don’t have a copy of this record it’s available on bandcamp, iTunes as well as Pirate’s Press Records…..or you know where ever awesome records are sold.

Check out this awesome tune

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The Specials Encore 2019

The Specials: ‘Respect people. Be kind to people. What else have we got?’

Miranda SawyerYou ask the questionsThe Specials

On the eve of their first album in decades, 2 Tone’s finest talk to Miranda Sawyer and, further down, answer questions from readers, and famous fans including Richard Curtis and

 

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The Specials (left to right, Lynval Golding, Terry Hall and Horace Panter).
 The Specials (left to right, Lynval Golding, Terry Hall and Horace Panter). Photograph: Suki Dhanda/Observer

In an east London photographer’s studio, one man is dancing and two men are not. Beres Hammond is playing over the speakers and the dancer – Lynval Golding, guitarist – freeze-frames for the camera shutter, but otherwise is in constant motion. Bassist Horace Panter, determinedly non-dancey, stands dead still, chin jutting, as though he’s ready to punch you if you get too cheeky. And in between them is singer Terry Hall, who doesn’t move much. Hall’s face, though, is always changing, flicking between exasperation, resignation, wry amusement and a withering teenage side-eye. His left hand sticks out. It looks as though there’s a gap for a cigarette in between your fingers, I say, and Hall says “You’re right”, and goes outside to smoke.

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These three men are the Specials, 2019. The Specials started in Coventry in the late 1970s, a mixed-race ensemble playing a thrilling mixture of ska, reggae and punk, with pointed, politically sharp lyrics. Originally, there were seven members – the three here today, plus band founder/songwriter/keyboardist Jerry Dammers (creator of the 2 Tone record label, to which the Specials were signed), as well as singer Neville Staple, guitarist Roddy Radiation and drummer John “Brad” Bradbury. Much of the Specials’ impact back then was collective: a group of street-tough individuals, the band as gang. Their gigs were raucous, confrontational affairs, occasionally marred by far-right elements wanting to cause trouble with a group that had both black and white members.

In 1981, after their scorching single Ghost Town went to No 1, Hall, Golding and Staple left to form the Fun Boy Three. The remaining Specials added more members and continued as the Special AKA, before splitting in 1984 (though Dammers was held in a record company contract until 1987). Since then, there have been various Specials reincarnations. People have been in and out (30 members since 1979: Wikipedia has resorted to a graph). Panter was an art teacher for special needs children for a while, Golding moved to Seattle. He and Hall didn’t speak for more than a decade. Neither Dammers nor Hall rejoined for years. Hall was focused on his solo career. Dammers – who started the group and owned their name – tried to restart the Specials in the late 00s on the condition that they play new material. They got as far as two rehearsals before everyone fell out again.

Watch the video for Vote for Me by the Specials.

The most common question from the Observer readers concerns whether Dammers will ever rejoin: when I ask it today, Hall, Golding and Panter give answers that are noticeably varied. Is the door open for him or not? Dammers himself, when I speak to him later, says that he was served with a legal letter and forced out of the band.Advertisement

“There was never a long-term plan,” says Panter. “But once we got ourselves established, the obvious thing to do would be to make a new album. It was just getting the right consensus between the individuals.”

As you can imagine, embroiled as they were in legal battles, this consensus took time. From 2009 on, the Specials, sans Dammers, toured, and then toured, and then toured again. According to Panter, it wasn’t until 2012-13 that there was a settled membership: but then, in 2013, Staple left, due to ill health, followed by Radiation in 2014. This left Hall, Golding and Panter, plus Brad, the drummer. But then Brad died, in 2015, and, once more, things were put on hold. Until last year. “We were in California playing with Neil Young and the Pretenders,” says Hall, “and I remember thinking: ‘Well, they’re writing new stuff, why don’t we?’”

Now, much-loved reggae and jazz drummer Kenrick Rowe has joined them to play live; Steve Cradock (Ocean Colour Scene, Paul Weller) is on guitar; Nikolaj Torp Larson plays keyboards and, along with Hall, Golding and Panter, wrote and produced the new album, Encore. And it’s the release of new material that changes everything. “All this,” says Panter, gesturing around the studio. He means photoshoots and interviews. “You forget, that’s what albums do.”

Encore is strong, musically, with an unexpectedly broader palette that takes in disco, funk and oompah as well as reggae. For original fans, there are callbacks. The lead single, Vote for Me, opens up with ascending Ghost Town-style chords, and there’s three covers: of the Equals’ 1970 track, Black Skin Blue Eyed Boys, of Blam Blam Fever (Gunfever) by the Valentines (1967) and of the Fun Boy Three’s The Lunatics Have Taken Over the Asylum. Prince Buster, a huge influence on the band (Gangsters, their first single, was a reworking of Buster’s Al Capone), is referenced in 10 Commandments, featuring the words and vocals of activist Saffiyah Khan. It’s a clap-back to Buster’s 1966 track that, for the benefit of any Buster-fancying woman, listed his 10 jokily chauvinistic lady friend requirements. (Prince Buster also made Princess Buster’s original 1967 answer track.)Advertisement

Lyrics take on the personal and the political, the US and the UK, though more ambiguously than the Specials’ original precision attacks. On BLM (Black Lives Matter), Golding talks us through three racist experiences from his past. And then there’s Vote for Me. Golding points out that the Specials’ (as opposed to the Special AKA) last release was Ghost Town, so it seems right that the next release, 38 years later, is Vote for Me. Hall agrees: “With Ghost Town we didn’t say, ‘This is the right way, this is the wrong way’, we just said, ‘Things are pretty shit, really’. And we’re saying the same with Vote for Me. I find it difficult to vote on anything, really. Whereas before, we were staunch Labour. Now, I feel like I don’t trust you, I don’t like your face. On a personal thing with Corbyn, I definitely can’t do it any more. But what are the alternatives?”

It must be strange to make a comeback now, to return in your middle age at a time when Britain itself appears to be determined to return to the more depressing parts of the early 80s.

“Well,” says Hall, “if we’d released a record at any point in the last eight years it would have been relevant. Because not a great deal has changed. There’s different names for it, like Brexit, which sounds nuanced, but isn’t far from the one called ‘unemployment’ and the one called ‘racism’. Look, we didn’t plan it. We didn’t say: ‘Let’s get a mix done quick, because Brexit’s out at the end of January.’”

There are non-political songs on the album. The penultimate track, The Life and Times, addresses Hall’s depression. Though his unsmiling demeanour has always been part of Hall’s appeal – “God, people saying, ‘Cheer up’ and ‘Why don’t you smile?’… I get fed up with saying, ‘Fuck off’” – a resting bitch face is far removed from the actual terror of depression.

The Specials on stage, June 1980 (l-r): Lynval Golding, Neville Staple, Roddy Radiation, Terry Hall, Jerry Dammers, John Bradbury.
 The Specials on stage, June 1980 (l-r): Lynval Golding, Neville Staple, Roddy Radiation, Terry Hall, Jerry Dammers, John Bradbury. Photograph: Ray Stevenson / Rex Features

 

“With every record I’ve done, I’ve made reference to it,” says Hall, “but this is out-and-out. I was diagnosed with manic depression and schizophrenia about 11 years ago and that diagnosis made a big difference, because then I started taking medication. And the change in me, to be able to function… I couldn’t have done this 12 years ago. People used to say to me, ‘Why don’t you try yoga? Or St John’s wort?’ But there’s a massive difference when you’re in a deep depression and feeling shitty with the world, and the stage that I got to, where you want to give yourself a lobotomy, it’s that bad.”

Medication – “lithium, hardcore drugs” – has really helped. Hall knows that his episodes are cyclical and he can feel when a depression is coming on. “And before, I used to have to give in to it and people would say, ‘You’ve been in bed for three weeks’, and I thought it was 10 minutes. But now I can feel it coming and I can also feel the medication, it blocking it. It’s brilliant. Recognising you’re blocking it is amazing. It’s really weird. It’s like looking at a bruise develop on your leg.”

The album’s final track, We Sell Hope, is uplifting musically and lyrically, a contrast to all the excoriation that comes before.

“Well, in the end,” says Hall, “if you’re talking about each other, all you can offer is love. To respect people, and be kind to people, and hope that they give it back. They sometimes don’t but they sometimes do. But there’s that sense of hope. What else have we got?”

The photo session is done. The dancing and non-dancing are over. Hall has another cigarette and then we gather around a table to answer questions from Observer readers and famous admirers. There are more than usual. “Hmm,” says Hall. “I bet you say that every time.” (There are; I don’t.) “Fire away…”

Encore by the Specials is out now on UMC

Questions from famous fans

Gurinder Chadha
 Photograph: Taylor Jewell/Invision/AP

Gurinder Chadha

Film director

What moment from your height of fame are you most proud of, the moment that provides the legacy of the Specials in years to come?
Horace: Ghost Town getting to No 1.
Terry: Yes, I’d go with that. It was an unbelievably brilliant finale to what we’d done for a few years, and every band should fold after Ghost Town really, because what else are you going to do?!

Richard Curtis
 Photograph: Mike Lawrence/Getty Images for Gates Archive

Richard Curtis

Film director

I remember going to see you in concert and you getting about 10 seconds into Ghost Town and stopping dead and pointing at some guy in the crowd, and saying: ‘If we don’t get those Nazis out of here we’re not going on with this song.’ And then waiting until they were removed. Am I imagining this? Did I dream it?
Terry: It used to happen every night, didn’t it?
Horace: It wasn’t that much of an occurrence but it did happen, I remember a couple or three times where we’d stop a show because of the NF.
Terry: They would be sieg heiling during the show. That doesn’t really happen any more. The closest thing to that was in Nottingham [2014] where somebody threw a bottle at Brad and I couldn’t do anything until he’d been taken out. It’s important to stop stuff [like that] if you see it.

Joe Talbot

Joe Talbot

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Lead singer, Idles

Is pop much worse now than the early 80s or am I blinded with nostalgia? Now it seems really dull when we glance at the mainstream…
Terry: I’m actually going to see Joe in a couple of weeks, his band. I don’t know. We get asked that a lot. “What are you listening to now?” And what I’m listening to now is a Grateful Dead album, because I never heard it first time round… 
Horace: I’m sure there are some things that are great out there but I don’t know where to look for them. I haven’t got the time to spend a fruitless three hours ploughing through YouTube.
Terry: The last thing that I saw that I really, really liked was the Fat White Family. They were funny and everything you wanted. Bit druggy, funny, they look really good. 
Lynval: There’s one band that I like. Easy Life. They’re a young band from Leicester, I saw them on Jools Holland, they’re really, really good. If I could have a vote for a band to be with us on any bill, it would be that little band. The kid’s got the right attitude. He’s a star.

Lauren Laverne
 Photograph: Dean Chalkley/BBC

Lauren Laverne

6 Music presenter

When are you happiest?
Horace: Most of the time.
Lynval: With me, when we made the album, to get up and get on a train and go to work every day, come to the studio, that was really weird – but when we finished the record, I was completely lost. I didn’t know what to do with myself. We had so much fun doing this record. We’d take it in turns to sleep on the couch. Wake up, “Oh, that’s nice, yes,” and go back to sleep.
Terry: Probably happiest when I’m watching football. Even through all the shitty times, five minutes before kick-off you think: “This is great.” But in the last week or two do you know what’s made me happiest? In our bathroom, on the floor there’s mosaic tiles and one was lost. It’s white so I tried putting Polyfilla in, but I couldn’t get the grouting to look good. Then I thought: “Well, why don’t I look in the vac bag?” So I got the bag out and put my hand in and I found the tile. Honestly, that made me really happy. A great moment.

Richard Russell
 Photograph: Jason Alden/Rex

Richard Russell

XL Recordings boss

For Terry. You’re one of my favourite lyricists of all time. Who are yours?
Terry: Joe Dolce [who wrote Shaddap You Face]! No, obviously people like Leonard Cohen, and bits of Jeff Buckley, and almost all Daniel Johnson and the Roches.

Ady Suleiman
 Photograph: David M Benett/Getty

Ady Suleiman

SingerAdvertisement

What are your best memories of 2 Tone?
Horace: The Bilzen rock festival in Belgium in summer 1979. We’d just signed our record deal with Chrysalis, we were unknown, and we still had all this equipment that we’d begged, borrowed and stolen. We were on a bill with the Cure, the Pretenders, the Police and AC/DC. Nobody had heard of us, and we went on stage and just destroyed the place. There was a big fence, 12 foot in front of the stage and during the performance it got ripped down and everyone surged to the front of the stage. For me, that was the most amazing experience ever, that music could do that was incredible.
Terry: Because of bands like UB40 and the Beat too, we were doing something that wasn’t in London. It was a sense of pride in where we were and wanted to make some sort of change. Lyrically, I think what we were doing was all very similar. We were all in the Midlands, and the only band I remembered from the Midlands was Jigsaw, who blew it all sky high [chuckles].
Lynval: Lieutenant Pigeon.
Terry: Frank Ifield. All of a sudden, something was happening. Kids were connecting with us and it just felt really important.

Diane Morgan.
 Photograph: Linda Nylind/Guardian

Diane Morgan

Actor

You wrote a song about a Ghost Town, but have any of you actually seen a ghost?
Lynval: I was born in Saint Catherine, Jamaica…
Terry: And he’s off…
Lynval: This man was crippled and he sat in front of this house in the village, where I come from, this brownstone house, on a mat. He died and I went down to the river with my sink pan on my head to fetch the water. It was broad daylight. I’ve got the water, I’m walking, then suddenly there he was, sitting in front of his house on his little mat. My mind just went, “Wooah, wooah,” and the sink pan of water has gone off my head. I just run. And often now, I don’t believe that I saw him, but I saw him. I still can’t grasp it.
Terry: Weed’s a funny thing, isn’t it? I definitely haven’t seen a ghost, no.

Jason Williamson
 Photograph: Richard Saker/Observer

Jason Williamson

Singer, Sleaford Mods

One thing I find with accomplishment is that it can feel so insignificant overall, but I know that’s something to do with bouts of depression. Do you feel this sometimes about what you’ve done and still do as musicians?
Terry: It does matter, really, and even when it doesn’t matter, it still matters. People see success as getting to No 1 and being platinum. I don’t see that at all, I never have. I think the success is getting something inside, out, and getting someone to listen to it. That is success. For the first 20 years of my life, nobody would listen to me. Nobody. At school, jobcentres, they just didn’t listen, they were never bothered. But then you say something and somebody says, “I agree, I disagree”, and so wow, somebody’s listened. That’s success.

Questions from readers

Left to right: Lynval Golding, Terry Hall, Horace Panter.
 Left to right: Lynval Golding, Terry Hall, Horace Panter. Photograph: Suki Dhanda/Observer

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In my opinion you’re the best band to grace this world. Which song do you still love banging out the most?
Lee Griffiths, via email
Lynval: I like Nite Klub. It’s a bit of a naughty one: “I won’t dance in a club like this/ All the girls are slags/ And the beer tastes just like piss.” It’s what we guys, when we get together, we talk about. We don’t shout it out loud to people. I quite enjoy that.
Horace: Yes, I’ll go Nite Klub too. There’s a version of it on the deluxe edition of the album and it’s fantastic, I love it.
Terry: I quite like stuff from the second album. International Jet Set and Stereotype. Just because I’ve always had this thing about people seeing us as a ska band. We don’t play ska music, and if you look at International Jet Set, you couldn’t be more removed from ska. On the second album, I couldn’t pick one song, but I could say with that album: “Wow, something good is happening here.” And then we split up!

remember hearing Gangsters for the first time in 1979 when I was in an amusement arcade on my school holidays. The energy of that song stopped me in my tracks and the Specials have been my band ever since. What’s your music moment that’s stayed with you?
Angelina Jones, via email
Terry: I’d go with Gangsters. When we did it on Saturday Night Live in New York. Because it felt so alien to the people on the show, the ones working there and the audience, and that was the first time I thought: “Something good’s happening here.” We took off the shackles when we did it, people were just roaming on and off stage. And it felt really like the right song at the right time. I remember doing photo sessions and people thinking we were like, a gay choir, because we all had short hair. Either ex-marines or a gay choir.
Lynval: Remember when we did it in Chicago? When they got the audience to throw these fake dollar bills on the stage? Because… gangster, yes?
Terry: Al Capone.

Miranda Sawyer: But can you think of a song that isn’t yours where you thought: this changes everything?
Horace: I was delivering car spares to a store in Birmingham. This was about 1990. And this song came on the radio, and I was standing there with this box, and this bloke was going, “Come on, give me the box,” and I go, “Shh.” And it was Smells Like Teen Spirit by Nirvana. It was the first time I heard it, and I thought, “Flippin’ heck. That’s good.”
Lynval: “Get up, stand up. Stand up for your rights” by Bob Marley, because it was around the time when we started having our own identity. We started getting away from the colonial ways that were forced on to us. And that’s when the Rasta theme started coming up, something we can call our own, you know? That really hit me.
Miranda: How about you, Terry? Is there a song you can think of that changed things for you?
Terry: I will come back to Shaddap You Face again… No, Anarchy in the UK. It was like everybody was waiting for something like that. It was a turning point.Advertisement

If someone had told me 40 years ago that a bloke like [pro-Brexit ‘yellow vest’ protester] James Goddard and his mates would be close to the profile they have today, I would’ve found it hard to believe. You played a leadership role then. What do you think needs to happen now? How do we reverse the division that people like Goddard look to exploit?
Steve E, Vancouver
Lynval: Back when we started, it was a small minority of skinheads that was pulling the wrong way. I remember one guy I met, a real National Front supporter, you know? And after I finished talking to him, we shook hands and we looked at each other, and he said he hadn’t talked to a black guy before. He wouldn’t do it. But once we talked and had a discussion…
Horace: Those people always were out there. They feel more of a licence to speak now, because we all have our platform, don’t we? This division is a knock-on effect of Instagram and Twitter and whatever. Everyone has a voice now. But there’s no filter on it. Back in our day, you would voice your discontent down the pub to your mates. Whereas now you can voice your discontent to millions of people from the privacy of your own downstairs toilet.
Terry: I think politicians love the division. It’s a great thing for them. They thrive on it. I don’t think they want everyone to be together. Brexit has conjured up so much stuff, and all these personalities are appearing, like Jacob Rees-Mogg. They like the division and I can see it getting a lot worse.

Do you feel mellowed with age or do you still get intensely wound up by current political events?
Stephen Bennett, Dublin
Lynval: I switch on CNN and wonder: “What am I watching all this for?” People calling the police because a little kid is selling water, just because the kid is black [#PermitPatty]… The one thing which I think is good with social media is, when we say: “You’ll never understand what it’s like to be black.” I think the images that come in now, but you see it and maybe understand more. You know, you walk in a shop and you know that all eyes are on you. Because you appear like a guy who’s going to come in and shoplift. Because you’re black… No, I’m not mellowed with age.
Horace: I think age has filtered a few things. The only thing I watch on television is the news, really.
Terry: I’ve definitely mellowed. But I’m at that age. I’m going to be 60 in a month, and there’s loads of shit going on, but then I look up at night and see the moon, and I just think: “Whoa.” Do you know what I mean? You see a tree that’s been there a few hundred years, and you think: “Fucking hell. This is brilliant.”
Miranda: Is that age?
Terry: No, it’s medication. When you have kids of your own and with their mates, that’s where you can be political, and that’s what I’ve tended to do, especially with my older boys when they were teenagers. Watching them go through stuff, and hopefully guiding them. My house used to be a real open house, like a youth club. Their mates always used to come round because I was like a bit “right on”, and they could smoke weed or whatever. And that’s where you try and influence so that there’s not so much anger. It’s not being mellow, you’re doing something, but you’re doing it at home, you know? Rather than just blasting it out all the time.
Horace: Micro as opposed to macro.

Watch the Specials’ video for A Message to You Rudy from 1979.

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What are your thoughts on Coventry becoming a UK city of culture in 2021? Have you been approached to do something?
Liam Nagle, Coventry
Horace: I’m the only participating member of the Specials who still lives in Coventry and no, I haven’t been approached to do something. I would like to see money put by to provide for music lessons for children in schools, a proper legacy. I’m more interested in that than “Here’s a couple of boutique hotels”, and who needs another wine bar for goodness sake?
Terry: I get really bugged by this City of Culture thing. If you have to really search for the culture, you’re making it up. The landmark for me in Coventry is the cathedral.

I’m a Cov kid, who grew up as all the industry collapsed around us in the 80s and 90s, losing perhaps 100,000 jobs in that time from Jaguar, Triumph, Dunlop, Rover, Rolls-Royce, Morris, Alvis, Massey Ferguson. I wonder how you see the city today with so many of those jobs replaced by call centres? People who had repetitive production line jobs at least had the pride of being part of making something that was known, in some cases, worldwide. Now they just get shouted at by irate customers on the phone.
FlightGuileAndPies, online
Lynval: You used to have Courtaulds. They were everywhere. Massey Ferguson that does the tractors. And in Canley, Matrix Churchill, one of the last pieces of work they were doing was [making parts for arms] for the Iraq war. Obviously that war game didn’t work out for them, because war brings employment for them! It’s all gone now. Even the smell of the city is not there any more. You could smell the engineering. Back then, Coventry was thriving, an industrial city. Now it’s a student city.
Horace: Loads of barbers.
Lynval: And chicken shop takeaways. It’s all revolving around students. Working class, labour people – once the industry goes away, then all the traditional pubs, they die. The working men’s clubs, they die. Like what my father used to go to, Rowley’s Green Working Men’s Club. They’re not there any more.
Horace: There’s still manufacturing in Coventry.
Lynval: You’ve got Triumph motorbikes.
Horace: London taxis are made in Coventry.
Terry: All my family worked in factories. My mum worked for Chrysler, my dad worked for Rolls- Royce. Aunt. Everybody worked in the car factories, and there was a real sense of community. Everybody felt on an equal level, all getting cash every week. I didn’t really notice the decline, really, until it had happened, but then it was massive. It’s difficult with Coventry because I moved away for specific reasons. I couldn’t fucking stand it.

What was it like touring with the Clash?
Peter Milne, Norwich
Lynval: It was absolutely an eye-opener. Joe Strummer was a wonderful, wonderful human being, and being in that group of people at that time, there was so much excitement. Because we did our little pub thing, but this was like the next level up. It was just a wonderful vibe. Like one big party.
Horace: We learned how to present a show while on tour with the Clash. You would see how they go on stage and it was just like, Bang. We learned to give 100%. Not just shamble on stage and “If you don’t mind, we’d like to play a few songs.” We were totally different after that tour. I always say that we started that tour as civilians but ended it as a group.
Terry: And after the Clash thing, that’s when we cut our hair, because we discovered what we should look like by doing that tour. And then you end up in Crawley with about 1,000 skinheads gobbing at you.
Horace: That was scary.
Terry: Yes, that was really scary. But it was great because Suicide were on that tour as well. And Sham did stuff. [Jimmy] Pursey was there. For me, it was like, “How do you react to an audience?” The fans tell you the songs they like. They like Monkey Man, definitely. And A Message to You, around the world.

Saffiyah Khan, in a Specials T-shirt, staring down English Defence League protester Ian Crossland in Birmingham, April 2017.
 Saffiyah Khan, in a Specials T-shirt, staring down English Defence League protester Ian Crossland in Birmingham, April 2017. Photograph: Joe Giddens/PA

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I heard activist Saffiyah Khan has sung on the albumHow did this come about?
Barry Mingard, Welwyn Garden City
Terry: We saw Saffiyah in that photo. She had a Specials T-shirt on, and she was standing up to a member of the EDL, who was screaming at her, and she just smiled back. A fantastic reaction, because it made him look stupid. So we got in touch with her and said: “Come to our gig in Birmingham.” Then when it came to recording the album, we were thinking about people who might like to be on it, and she was definitely in my head as somebody who could have something to say. And at the same time I was listening to Prince Buster, Ten Commandments of Man, and I couldn’t believe…
Miranda: How rampantly sexist it is?
Terry: It goes back to Dave Lee Travis, like hand-on-the-arse times. So then the idea came like: “Wouldn’t it be nice to do an answer to that?” But obviously from a woman. Saffiyah was the obvious choice, and we just said to her: “Here’s the Prince Buster song. Do you want to try to reply to it?” And she got on with it.

Bloody hell, I don’t think I’ve seen such effortlessly cool looking gentlemen ever. Please give me a clothing tip.
Tenement Funster, online
Horace: Smart casual. And wear your T-shirt outside your jeans.
Lynval: Horace is stepping up now, he’s the man. Me, I love that sort of stuff from the 70s, like reggae style, you know? Gregory Isaacs.
Terry: It’s simple. Avoid horizontal stripes. Didn’t work when you were 18 mate, and now you’re middle aged.

Terry, as a lifelong Man United fan, what do you think Ole Gunnar Solskjærhas to do to get the manager’s job full time?
Thehumblegent, online
Terry: No idea what he has to do. I mean, he just wins at the moment. He’s such a lovable bloke and a real legend, but whether he’ll keep the job, who knows?
Lynval: He’s a real Man U guy, he spent half his life there, it’s in his blood, and it’s got to be in your blood to be able to manage a club like that. I think they should hold on to him, and give him the job full time. It could be another Fergie in the making.
Terry: I think realistically, for me, Ferguson is managing the club again. He’s using Solskjær as his mouthpiece. Ferguson is smiling way too much.
Lynval: It’s brilliant. The next legend manager.

Now you’re doing new material like Jerry wanted to do when you reformed, isn’t it time to let him back into the fold?
Bloodydoorsoff, online
Horace: (Quietly but decisively) No. Next question.
Lynval: I think having Nikolaj Torp Larsen, we’re really fortunate to have a kid like that who’s so talented. I was one of the last ones to work with Jerry, I enjoyed working with him. If you’re going to make music, you want to make music with people that you respect as musicians. I do respect him a lot.
Terry: The whole Jerry thing, it’s like, from day one, I’m not sure why he isn’t in the band. I honestly don’t know, because we all started rehearsing together [for the 2009 reunion] and he sort of dropped out. I don’t know what happened there. I don’t know why he isn’t in the band, do you know what I mean? He just, dropped out. It’s his stuff really, it’s not our stuff. He chose not to be in the band, for whatever reasons.
Miranda: What about if he said: “Oh, can I come back?”
Terry: I’d just tell him to fuck off. [laughter] No, I wouldn’t. No, I wouldn’t. I’d get management to tell him. He can come back, it’s up to him what he’s going to do.

Why aren’t Neville, Roddy and Jerry back in the band?
Diesel Estate, online
Horace: They left.
Lynval: They left. It’s as simple as that. Roddy left the band, Neville left the band. Jerry didn’t fully join the band back. There’s nothing we can do about it.
Terry: Roddy and Neville feel comfortable where they’re at. They play pubs and small clubs, and I think if you lack that much charisma then that’s probably a wise thing. They enjoy small intimate venues with very few people there. That’s where they feel most comfortable.

For Terry and Horace. What does painting do for you that making music doesn’t?
Sam McNichols, London
Terry: When I was at my ill-est, it triggered something in my brain that wouldn’t allow me to talk or walk for three weeks. Because I couldn’t say anything, I had to write everything down. And a doctor said to me: “Paint.” And actually painting was something that was coming out of my head that I could show to people. For them, in Horace’s case, to despise. [laughter from all]
Miranda: It’s a reaction.
Terry: I’ve got a fixation on the Jackson 5, so I painted the Jackson 5 for six months, and then it was pointed out to me that I’d painted six. Six Jacksons, so I renamed the extra one Phil Jackson. It’s all getting it out, and who cares whether it’s right or wrong, I don’t give a shit.
Horace: Music for me is a collaborative process, I’m a bass player. I have to work with a drummer, a singer, a keyboard player, I’m a cog in a machine. The art is kind of my solo album.

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I was a Hells Angel

In the spring of 1977 I walked into a swap meet in Anaheim, California, with eight other Hells Angels. We were on guard right away as we realized we were in a sea of Mongols, a smaller, newer club in Southern California that had taken in Chester Green, a former Hells Angel from the Bay Area. Chester had left us in disgrace and, for months leading up to the swap meet, had been quietly filling the Mongols with ideas that the Hells Angels were vulnerable.

I was walking next to Kid Glenn, a six-foot-two, 230-pound Hells Angel from San Bernardino. Like the rest of us, he was wondering what we had walked into. Kid had a linebacker’s frame, muscular with no belly. He was quick with a bright smile and was smart for a biker, but had a reputation for toughness. It was the first time we had met. Like everyone else, he knew a bad scene when he was in one.

“What the fuck is going on with all these Mongols? Do we have a problem with them? Why are all these assholes here?” At a glance it looked like we were outnumbered at least five-to-one; law enforcement would later put their numbers at anywhere from forty to a hundred, to our nine.

“I don’t know, Kid,” I answered.

He turned to the other Angels. “We got to stay together, man. If the shit happens, we just hold our ground back-to-back.”

Everyone nodded and closed ranks. “Yeah, man.” Except for the one person who wasn’t hearing him, a Los Angeles Hells Angel.

A clot of Mongols walked toward us, the crowd parting as they came through. But we were Hells Angels. We gave way to nobody. Green was right in the middle of the Mongols. He and the L.A. Hells Angel locked eyes. No words, just a look. Then without so much as a “How do you do,” the Angel swung on him and connected. It was on.

Brawls are faster and messier than anything staged in a movie or on TV. Everyone was immediately pumped with adrenaline and just reacting, not thinking. It was absolute chaos. Fortunately, being outmanned in a close-quarters fight isn’t necessarily the worst thing in the world. Only so many guys can get to you at one time. If you can keep your cool, you can maneuver opponents so that they’re in one another’s way and don’t have a clear shot at you. In a place like a swap meet, there is also a lot of stuff lying around that you can use to your advantage. Tables and carts can slow enemies down and create a defensive barrier. Mostly, though, there are weapons everywhere. The first thing most of the Angels did was grab something lethal. Prospect Cliff Mowery – a confidential informant, as we would later find out – grabbed a beefy kickstand and started swinging it. Another Angel grabbed a piston-and-rod, which made for a deadly club.

The young Ventura chapter of Hells Angels poses in front of their clubhouse.

 

Jesse, a stocky, sandy-haired young Angel, was beside me when he was bull-rushed by a Mongol tank. This guy was a barrel-chested monster of a man but not a smart fighter. Rather than grab ahold of Jesse or land a haymaker, he rammed Jesse in the chest and knocked him backward. I watched out of the corner of my eye as Jesse flew and landed across a vendor table. The table collapsed, and Jesse wound up on the floor surrounded by heavy, forged-iron sprockets. It was a lucky break. He grabbed the largest gear within reach, jumped up, and started swinging for all he was worth. I’ve never seen anything like it, before or since.

The teeth of a machined motorcycle gear have sharp edges. A gear is heavy as hell. The big Mongol was the first to learn how much Jesse loved to fight, as the gear cut open a savage gash in the big man’s face, eyebrow to chin. Jesse gave other Mongols more of the same. Chunks of flesh and trails of blood were flying everywhere as he took full swings at attacker after attacker. The Mongols around him were screaming, holding gruesome wounds, divots taken out of their faces.

The fight, like most, ended as fast as it started. The nine Hells Angels held their ground as the Mongols broke and ran, but in the end we were really the losers. We did look vulnerable; although we held our ground when hugely outnumbered, the Mongols had fought us in a public forum and had not only lived to tell their tale but were holding their ground in the aftermath.

* * *

Over the next few months the Mongols continued to test us. Our new leader, Ray, a heavy meth-user with a greasy ponytail and aspirations in the porn industry, not only didn’t know how to lead, he was a terrible negotiator. A few months after the fight, the Mongols decided they were ready to challenge us. Their leader informed us they too would soon be wearing the California state rocker – the patch we wore to show our preeminence in the state. The outlaw world is all about respect and territory; this was clearly a challenge that would have to be addressed.

After a long hot, quiet summer, on Labor Day weekend 1977 the Hells Angels broke their silence. A pack of Mongols displaying their bold new California rockers rode along one of Southern California’s winding freeways. In a hail of machine gun fire, they got their response.

Two people were killed, and the murders got everybody’s attention. If the Mongols mistook Ray’s poor leadership as a sign that the club wasn’t serious, they now knew otherwise. Local and federal law enforcement took notice as well. Those weren’t the kind of headlines police chiefs and federal agents liked to read. The killings got big play in the news. The public and every biker in the country were aware of them.

Those in the know expected Mongol retaliation, but the Hells Angels were just getting started.

Two days later, the bodies of Redbeard and Jingles, the two Mongols we killed during the Labor Day shooting, were on view at the Lemon Grove Mortuary. A member of our San Diego chapter, whose identity remains a point of debate to this day, drove up in a white Rambler and parked next to the building. He walked in and dropped a bouquet of red and white carnations on Jingles’ casket. The Hells Angels’ colors would have been obvious to anyone in the room. I’m guessing that the Mongols either thought it was a peace gesture or were too stunned at the ballsy move to react. The guy simply walked away untouched and unidentified. A couple minutes later, he remotely detonated a bomb concealed in the Rambler. He had parked the car in the wrong place; otherwise, the damage would have been much worse. Still, the explosion injured three people.

Christie as a new full-patch Hells Angel.
Christie as a new full-patch Hells Angel.

Bombs were a favorite weapon among outlaw bikers. It was easy to get your hands on explosives, it didn’t take a genius to wire a crude bomb, and they created real damage, and fear. Outlaw clubs also had plenty of military veterans among their members, guys with lots of experience wiring explosives. But I hated bombs. They were messy and cruel. People got maimed as often as they got killed. More than that, I hated the idea of civilian casualties. It seemed stupid to bring that much attention to the club and potentially hurt people who had nothing to do with the beef. Not to mention, you could blow yourself up with a single mistake. Explosives were just way too unpredictable for my tastes.

My opinion wasn’t popular. The bomb at the Mongols memorial had sent a message that everybody wanted sent: “We’re not done with you yet.” To most of the club, another bomb seemed like a really good idea. I walked into the clubhouse a couple days after the memorial bombing to find Ray meeting with a few other members and some of the guys from San Diego. It took me about thirty seconds to realize that they were talking about blowing more Mongols up.

“You guys ever hear of collateral damage?” I asked. “You keep setting up these bombs, this shit’s going to go wrong in a big way.”

I saw the looks I got. The easiest thing in the club was to make accusations: “Oh, this guy doesn’t want a bomb to go off in downtown Los Angeles? He must be an informant. Or a cop. Or he’s just fucking weak.”

I know that they were thinking all that and calling me a coward behind my back. But it was getting out of hand. I left before I heard any more. Days later, word went around the clubhouse that they had put a bomb down a roof vent in a Highland Park motorcycle shop called the Frame-Up. The shop was owned by two Mongols. Something went wrong with the detonator or the bomb. The bomb didn’t go off. Old Man John, a former Hells Angels leader and the man who brought me into the club, took me aside and told me I had to retrieve it.

“Are you kidding? Why not just leave it there?”

“George, you have to do this,” he said, the wrinkles on his seventy-year-old face like roadmaps. “People need to know that you’re going to take care of business no matter what you think about it. The club has to come first. There’s guys saying things right now, and you’ve got to prove them wrong. I already know what you’re about. Now you got to convince them.”

Belonging to the Hells Angels means doing dangerous things. Your participation becomes your credentials. Waver in any way and you become suspect. A lot of times in the outlaw culture, saying no just isn’t an option. This was one of them.

“Okay, John, I’ll get it done.”

“Take Jesse, get that thing out of the roof vent, and take it over to the garage. That’s all you got to do. One of the other guys will take it apart,” he said.

That’s all I had to do.

Jesse and I were coming up through the ranks together, both in our twenties with a lot left to prove to the established members. I knew that, in his own way, John was looking out for me. He wanted to show everyone that I was the stand-up guy he saw, that I would get the job done no matter what. It was important to make sure everyone understood who could hold their mud and who couldn’t.

A young Christie, right, with his mother, father and Cheryl at boot camp on visiting day.
A young Christie, right, with his mother, father and Cheryl at boot camp on visiting day.

So at ten that night, Jesse and I headed over to the Frame-Up. The shop was in a neighborhood of auto body repair places, metalworking shops, and junkyards. We backed Jesse’s oversized sedan down the alley alongside the building and checked that there were no guard dogs or people around. A pull-down roof ladder was attached to the back wall, and Jesse boosted me up so I could grab it and climb up. I found the vent hood easily enough, and the rope holding the bomb had been tied off to a rooftop vent pipe. I untied it and slowly begin pulling the bomb up. It was impossible to do without the bomb swinging side to side. It was like a game of Operation, and every time the bomb clanged into the sheet-metal vent wall I thought it would go off.

I got it out and carried it carefully to the roof edge, right above where Jesse was standing. I started to lower it by playing out the rope. When it was inches within his reach, the bomb started swinging, bumping into the wall.

“Jesus, George!”

“I know, I know.”

We were both freaked out. But I finally got the bomb down into Jesse’s hands. I climbed down and we carried it to the car.

“Where do you want to put it?”

It was a good question. I looked at Jesse and shook my head. I hadn’t thought beyond just getting the bomb down off the roof. We still had to take it for a thirty-minute drive.

“Shit, I don’t know. The trunk?”

“The trunk’s right over the gas tank, man,” he said. “It goes and we’re going to blow like the Fourth of July.”

“So where? The backseat?”

“I think it’s the best place.”

We found a blanket and nestled the bomb on it, as if that would somehow stop the thing from blowing up. We both straightened up and looked at this bundle of dynamite sticks held together with duct tape. It looked cartoonish, like a bad movie prop. We burst out laughing. The absurdity of the situation, along with sheer tension, had built up to the point that laughing was the only way to deal with it. It was hysterical, crazy laughter. We were bent over, tears running down our faces. We calmed down long enough to get settled in the car. I fired it up and moved out and down the street. A block later we went over a set of railroad tracks that was a much bigger double-bump than we expected. It really rattled the car. We looked over at each other and burst out laughing again. It took us the rest of the trip to stop.

We drove the bomb back to the garage and then dropped the car off at the clubhouse, where I picked up my black 1942 Harley Davidson flathead. When I finally pulled into my driveway, I took a moment to just breathe.

* * *

Give the club credit for persistence. Just three weeks after the Mongols’ memorial, Thomas Heath, a twenty-something, short, stubby career criminal and Hells Angel prospect, walked a flat motorcycle tire into the Frame-Up. Brett Eaton had rigged a bomb inside the tire, so that it would detonate when the tire valve was unscrewed. After an hour, Heath called the shop and asked if the tire was done. He talked to Mongol Henry Jimenez. They had a heated exchange, Heath pressing for the tire to be fixed so he could get it on his bike before nightfall. Jimenez finally told him he would get it done. Jimenez wasn’t alone. Raymond Hernandez, the fifteen-year-old brother of another Mongol, was hanging out in the shop.

Christie poses with friend and fellow rider Mickey Rourke.
Christie poses with friend and fellow rider Mickey Rourke.

A fifteen-year-old kid hasn’t even starting shaving yet. He was hanging out with this guy he must have looked up to. He was changing oil or helping out as best he could. Learning. Thinking about how, soon, he would have his own bike. This kid knew exactly what type of Harley he was going to have. Maybe a beat-up bobber he could trick out right there. Like every other teenage boy with a biker brother or father, he knew exactly how his own bike was going to look, and how cool he was going to look riding it.

But he never got a chance to build or ride a motorcycle. He would never even own a driver’s license. Henry Jimenez held the tire steady and began unscrewing the valve. The bomb contacts came together, and Mongol and teenager were instantly killed in a blast that blew the windows out of the buildings on either side of the shop. Heath called again, an hour later. Someone else answered. The sounds of sirens and chaos filled the background.

“Yeah, your tire’s ready, motherfucker. Come down and get it.”

Heath hung up and laughed. It was a joke to him. For days, he went on about the explosion: “You should have heard that fucking guy. I bet his ears were ringing.” He was almost doubled over with laughter as he said it. John finally had to tell him to shut up about it.

Justice would be served decades later when Heath was sentenced to 35-to-life for a domestic dispute beef that bought him a “third strike” conviction.

But to most of the club, it didn’t matter. War was war and collateral damage was to be expected. Days later, the president of the San Fernando Valley Mongol charter, Luis Gutierrez, went out to his driveway to get in his van. It blew up as he opened the door. He was luckier than the fifteen- year-old; he escaped with his life and his body intact.

The violence drew even more attention. Law enforcement doesn’t care when bikers kill bikers, but they don’t like innocent kids getting blown up. From that point on, you couldn’t wear your colors on a paved road in Southern California without getting pulled over and jacked up. Those of us who rode regularly were not having a lot of fun, and I couldn’t get that fifteen-year-old out of my head.

A few nights later, I got home before the kids were in bed. I had been gone for two days and they were overjoyed to see me. We had a little ritual. My place in the living room was a big old black easy chair with gigantic, rounded, thickly padded arms. I would sit one kid on each side and wrap my arms around them. Six-year-old Moriya had just taken a bath and she pressed in on me, reading a picture book, humming to herself. Her hair smelled sweetly of kids’ shampoo. I held the baby, Georgie, close on the other side as he played with a toy car. The TV was on but I wasn’t paying attention. I was just so glad to be home.

The moment was sanctuary. My wife, Cheryl, wasn’t giving me a hard time. Nobody was asking me to juggle dynamite or shoot someone or cover up a felony. There were no psychotic drug dealers here. I had always held a romantic view of the outlaw as hero, but that view was being put to the test. Sooner or later any reasonable person will ask himself what he’s gotten into, how it works with everything else in his life. It all started with the idea of having a simple good time. Partying with brothers, hanging out, building and riding bikes, and living our own version of the American dream. The club seemed to have gone a long way from that in the blink of an eye.

I sat in my little four-foot-by-four-foot square of contentment and wondered how I missed getting shipped out to Vietnam only to wind up at home in the middle of a war. I thought about a fifteen-year-old boy who had probably never enjoyed a stiff drink, a drag race, or sex – and never would. Eventually, I had to ask myself, “How long will I last?” I told myself to cherish the moment. A month and I could be in prison. I could be dead. Cheryl could come to the end of her rope and kick me out. I squeezed the kids closer. Georgie squirmed in my grasp.

Story by George Christie  ·  Photos courtesy George Christie   ·  9.30.16

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Mods Vs Rockers! Best friends mark 1964 clash

Mods Vs Rockers! Best friends mark 1964 clash that became part of Sixties folklore and inspired iconic film Quadrophenia

  • John Pedrick and Adrian Tincknell headed to Brighton for anniversary
  • They were part of the bloody seafront battle in in Brighton in 1964
  • More than 1,000 youths clashed there as police fought to control them
  • Battle between Mods and Rockers that became part of 60s folklore

Original story By LEON WATSON

They may now be retired grandfathers, but that didn’t stop these two former Mods climbing aboard their scooters and heading for Brighton.

Fifty years ago today John Pedrick and Adrian Tincknell were part of the bloody seafront confrontation between the Mods and Rockers that became part of 60s folklore.

More than 1,000 youths clashed on the seafront on May 18, 1964, as police fought to control running battles that saw more than 70 arrests and deck chairs used as weapons by the warring groups of youths.

Former Mods John Pedrick and Adrian Tincknell climbed aboard their scooters and headed for Brighton
Old aged Mods, Lambretta Scooters Brighton Beach

Former Mods John Pedrick and Adrian Tincknell climbed aboard their scooters and headed for Brighton

I'll deck you! Adrian Tincknell, 69, and John Pedrick, 67, met at the spot where the Mods and Rockers battled

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I’ll deck you! Adrian Tincknell, 69, and John Pedrick, 67, met at the spot where the Mods and Rockers battled

But with the combatants now pensioners there was only good natured banter as they shared an ice cream with bikers who had also headed for the city to mark the anniversary.

Mr Tincknell, a former mechanic, is now 69 and still owns a Lambretta scooter and dresses in Mod gear.

After riding into Brighton from his home nearby in Worthing, West Sussex, he said: ‘Once a Mod, always a Mod. I had to be here.Share

‘On that fateful day 50 years ago I was keeping out of trouble up a lampost on the seafront watching the mayhem when my father spotted me.

‘He was a Brighton policeman at the time and he ordered me to go home. Needless to say, I didn’t. There was too much going on.

‘I still love riding my scooter and dressing in Mod gear. We are all too old to fight now, it has all been very peaceful with lots of banter over a cup of tea with the lads on their motor bikes.’

John Pedrick and Adrian Tincknell were part of the bloody seafront confrontation between the Mods and Rockers

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John Pedrick and Adrian Tincknell were part of the bloody seafront confrontation between the Mods and Rockers

Mods and rockers fighting on the beach at Brighton in 1964
Mods fighting Brighton beach 1964, inspiration for Quadrophenia film

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Mods and rockers fighting on the beach at Brighton in 1964

Mods at the opening of the 1979 film Quadrophenia, about the Brighton battle
Mods on Lambretta scooters heading for Brighton

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Mods at the opening of the 1979 film Quadrophenia, about the Brighton battle

His best friend John Pedrick, now 67 and a retired insurance assessor living in Chichester, West Sussex, rode the same model Lambretta scooter along the promenade in Brighton where 50 years earlier he had run into the sea to escape the fighting.

‘It’s all very friendly today but it was pretty violent back then. I was a footballer in those days so I could run fast enough to get away, something I’d struggle to do now.

‘And the only safe place was in the sea. I can’t believe it has been 50 years. I’m still a young Mod at heart and thankfully things are much more chilled out now.’

Mr Tincknell (right) is a former mechanic, is now 69 and still owns a Lambretta scooter and dresses in Mod gear

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Mr Tincknell (right) is a former mechanic, is now 69 and still owns a Lambretta scooter and dresses in Mod gear

For the 50th anniversary in the sun the fighting had been replaced by a seafront Mini Car Rally

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For the 50th anniversary in the sun the fighting had been replaced by a seafront Mini Car Rally

Morality campaigner Mary Whitehouse said she was 'disgusted' with mass brawls she blamed on youngsters watching violence on television

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Morality campaigner Mary Whitehouse said she was ‘disgusted’ with mass brawls she blamed on youngsters watching violence on television

The pictures of the battles along the seafront and pavements in Brighton on that Whitsun bank holiday in 1964 became iconic symbols of the era.

The courts were busy for weeks afterwards dealing with the 75 youths arrested and the skirmishes were later immortalised in the film Quadrophenia.

Morality campaigner Mary Whitehouse said she was ‘disgusted’ with mass brawls she blamed on youngsters watching violence on television.

For the 50th anniversary in the sun the fighting had been replaced by a seafront Mini Car Rally and a performance by a group of Morris dancers.

THE BATTLE OF BRIGHTON: MODS VS ROCKERS IN 1964

A youth waves a defiant hand as he is taken from the beach by policemen

Fifty years ago, in the spring of 1964, simmering rivalry between the groups reached a flashpoint as they clashed repeatedly on seaside piers and promenades across the country.

But the worst of the violence was seen in Brighton, as families were trapped in a shocking showdown which sparked moral panic about the state of British youth.

Tensions had been rising for some time. The Rockers were usually in their 20s or 30s; Elvis-loving bikers rooted in 1950s Teddy Boy culture.

The teenage Mods’ culture, which flourished in the early 60s, was based on continental clothes, Italian Vespa and Lambretta scooters and the music of soul and jazz musicians.

They first clashed that spring on the March bank holiday in Clacton. At the Essex resort 97 people were arrested and the battle lines were drawn.

After that, trouble flared from Bournemouth to Margate, up to the bank holiday of August 1964. But Brighton’s Whitsun clash was the most notorious, thanks to sensational headlines and its immortalisation in Mod flick Quadrophenia.

Battles ran well into the night but although there were weapons – knives, chains and makeshift knuckle dusters – most scuffles involved fists and boots.

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Symarip Pyramid Original Ska Band

The Pyramids = Symarip: Establish Skinhead Reggae in The UK and Influence A Generation

Symarip Skinhead Reggae 1969

As The Bees this band are recognised as the first ever UK based Ska band, backing legendarty Singers as Prince Buster and Laural Aitkin. Changing their name several times during the 1960’s. The Pyramids were formed in the mid-sixties by six young British-based Jamaican musicians. The band were also known at various stages of their career from The Bees, The Pyramids, Seven Letters and Zubaba. In the mold of The Equals, they began their career as a straight “pop” group, consisting of founders Frank Pitter, Michael Thomas, Josh Roberts, Ray Knight, Monty Naismith and vocalist Roy Ellis and were signed to President Records.

In 1968, President bagged their first Number 1 with “Baby Come Back” by The Equals, featuring a teenage Eddy Grant on lead vocals. At the request of his label, Grant had also been working with the Pyramids, who had backed Prince Buster on a recent U.K. tour. Besides composing songs for the band (and one for Prince Buster himself, the rude classic “Rough Rider” which was later covered by The Beat), Grant also produced several tracks for The Pyramids in 1969 including the band’s debut single and sole hit, “Train to Rainbow City” which appeared on their self-titled LP.Here is a video of the song “Train To Rainbow City” written by Eddy Grant for The Pyramids:

According to sleeve notes from a best-of collection released by Trojan Records, The band’s relationship with President soured when their record ‘Mexican Moonlight’ was a hit in Germany, but the label neglected to tell them about it. As a result, the band decided to rename themselves so that they could record elsewhere without President Records knowledge. Organist Monty Neysmith came up with a plan: ‘I came up with the idea of turning Pyramids around and you leave out the ‘d’. So originally it was spelt Simaryp. I don’t know how it came to be spelt Symarip!’ So in 1969, safe in the knowledge that Presidnet Records would never unravel the secret of their true identity, Simaryp/Symaripprepared to record for their new label, Graeme Goodall’s Treasure Isle – whose chief label was ironically called Pyramid! 

Skinhead Moonstomp front cover featuring London Skinheads 1970. Trojan Records

 While working as his backing band Laurel Aitkin suggested to the boys that they should write an album for the emerging Skinhead subculture that had started to develop from the Mod culture in England, firmly picking up the Jamaican Ska sound brought into the dancehalls by the new immigrants from the colonies.

The band then recorded their first album as Symparip in 1970 and immediately became the face of “Skinhead Reggae” with songs like “Skinhead Girl”, “Skinhead Jamboree” and “Skinhead Moonstomp”, which is based on the Derrick Morgan song, “Moon Hop”. According to Neysmith, the band noticed a new element coming to their live shows: Skinheads. ‘A lot of skinheads started coming to our shows, and Roy and I said, it would be good to write a song for skinheads. We remembered a song [‘I Thank You’ by Sam & Dave] where they said, ‘I want everybody to get on their feet, and this and that, and give me some of that old soul music’. I thought, let’s change the words and put, ‘I want all you skinheads to get on your feet, put your braces together and your boots on your feet, and give me some of that old moonstomping’.In 1980, the album Skinhead Moonstomp was re-issued in the wake of the 2 Tone craze, hitting the UK pop charts for the first time and a whole new generation of fans were introduced to their sound. The Specials further expanded their name and popularity of Symarip by recording a live cover version of “Skinhead Moonstomp” as part of a medley of 60’s reggae songs on the B-side of their “Specials Live EP” which hit number one in the UK charts.

Laurel Aitkin smoking weed backstage at Acklam Hall Ladbroke Grove , West london

Here is a brief video of Symarip performing in Horace Ove’s documentary “Reggae” recorded at Wembley in 1970 before a crowd of 14,000. The tune is a Rupie Edwards tune called “Pop Hi”. Don’t miss Roy Ellis’s back-flip at the start of the clip:
Amazingly Ellis and Neysmith have reformed the band and plan to perform around the UK in 2008-09. They will perform a show on Friday October 31st at The Hootananny in Brixton, London. You can get ticket information here. There must be something in the water in the UK that’s causing all these bands to reform.

Here is the track list and a download to their 1969 LP “Skinhead Moonstomp” that was reissued in 1980 during the height of 2-Tone”

1-Skinhead Moonstop
2-Phoenix City
3-Skinhead Girl
4-Try Me Best
5-Skinhead Jamboree
6-Chicken Merry
7-These Boots Are Made For Stomping
8-Must Catch a Train
9-Skin Flint
10-Stay With Him
11-Fung Shu
12-You’re Mine
13-Bam Bam Baji
14-Hold Him Joe
15-Tomorrow at Sunrise
16-Parsons Corner
17-Redeem
18-La Bella Jig
19-Holidays By The Sea
20-Feel AllrightSymarip – Skinhead Moonstomp

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Mental health crisis in the Music industry

Kurt Cobain suffered serious mental health issues and drug addiction

The following blog comes from Achal Dhillon – the MD of British independent music company, Killing Moon. Dhillon (pictured inset) tackles a tricky subject: is the music industry doing enough, in the right way, to protect at-risk artists’ wellbeing?


That’s right. I am calling it a mental health crisis, because that’s what it fucking is.

There’s no real need, from where I am sitting right now, to ‘sell’ the importance of addressing the ever-presence of mental illnesses and lacklustre well-being in our music industry.

The fact of the matter – if you have a heart, that is – is that people are dying. People will continue to die if we do not deal with this sooner. And more of them, more frequently than ever before.

However, I recognise that we live in a country, indeed a world, that finds it perfectly acceptable to walk past the homeless, impoverished and (more often than not) the mentally ill in the streets whilst they are actively asking for their help, ignore them, and somehow still sleep at night. (Honestly, if you are one of those people, good for you. I really mean that. I just can’t fucking do it, despite trying.)

So when it comes to a vehicle that was largely born out of selling a particular image of the perfection of human creativity – ie. the music business – you’ll have to forgive me for assuming that many people, including those we all deal with on a regular professional basis, need a degree of poking and prodding on the subject in the headline above.
In music, mental health – and indeed the issues and ailments surrounding it – is fashionable. It is a hot topic. A buzz phrase.


On the odd occasion, I have even witnessed it become so pervasive that depression and anxiety seem more like marketing drivers, rather than illnesses and conditions to be identified and treated seriously.

Prima facie, it is very easy to take what I have written here out of context and do the now-typical thing of forming an online mob and getting angry about it. (A trend that itself obviously warrants getting angry about.)

However, I am not resentful about this situation (or, truthfully, as much as I have been in the recent past). Every art form, including music, must necessarily have a business element in order for it to get, well, anywhere. And anger isn’t going to help a goddamn thing.

Fact: depression, anxiety and, ultimately, suicide, as far as the artist community is concerned, historically results in a surge of sales (or I guess streams) for the affected artist.
This, for the business enterprise concerned with these acts, deserves serious contemplation. As does the wider narrative which surrounds these situations. (Question: would anyone have given a shit about Nirvana if Kurt wasn’t so visibly fucked up?’)

Ian Curtis commited suicide

“THE MUSIC INDUSTRY SAW THE THREAT OF PIRACY AS CLEAR AS CRYSTAL… THE MENTAL WELLBEING OF ARTISTS IS A NEW THREAT, ONE WHICH CARRIES MORE GRAVITY.”

It is therefore no surprise to me that there is a rather large barrier to orchestrating any meaningful form of change, given that we sensationalise illness to this point.

Our propensity to get all ‘Candle In The Wind’ about it as soon as a cultural tragedy befalls us, always beckons into view a lens of possibly profiting from it somehow.

And yet, the ongoing narrative today suggests that we may be warming to the gravity of the problem. I do not believe, however, that this warming is happening nearly as quickly as we need it to.

I am writing this to make the argument for pan-industry (trade bodies, private companies, public companies, PROs, musicians, fans, and indeed any other stakeholder I currently can’t think of) action on dealing with our mental health crisis.

This must inevitably be done in the context of money, which I have come to appreciate is generally the single language that the world can best understand.

The music industry saw the threat of piracy as clear as crystal on that basis. So hopefully this will have a similar effect in terms of generating a similar degree of response – both in terms of volume, and indeed unity. The mental wellbeing of artists is a new threat, one which I believe carries more gravity than our historic realisation that we cannot control, nor indeed destroy, the internet.

So there you go: I’m after money. Not for me. For us. Specifically, for further research into the conditions that I believe either stimulate pre-existing and unmanageable addictions or behavioural tendencies, or, in worst case scenarios, create the nuances that lead us into depression or anxiety, or both.

We then also need some more money based on the outcome of this research – hopefully to tell us how the fuck to deal with this. Training. Experience. Awareness. Identification. Treatment. All of it.


From what I hear, the industry is now swimming in money again. So what is the largely-financial argument I need to make in order to render this cause something that pretty much anyone can get behind?

Here it is: we are fucking ourselves as a business by not adequately providing the knowledge base – or the degree of fiduciary responsibility to pretty much any stakeholder (i.e. those which I have referenced above) in the music industry – on how to correctly identify and deal with mental health-related issues.

We are losing money, rooted in consequential loss as opposed to just pure economic loss.

Bluntly put, what good to us is a dead artist? Or a dead product manager? Or a dead fan? Can you make money out of them, in the long-term?

“WE ARE F*CKING OURSELVES AS A BUSINESS BY NOT ADEQUATELY PROVIDING THE KNOWLEDGE BASE ON HOW TO CORRECTLY IDENTIFY AND DEAL WITH MENTAL HEALTH-RELATED ISSUES.”

Let’s take one of the more abstract (as least as far as I am concerned) recent examples of an incident occasioning mental health issues – Chester Bennington (pictured, main).

How many team members, such as a product manager, an A&R, a tour manager, will 
now not have a job as a result of that artist no longer being alive? How much income from live outings or record sales are lost due to the festivals he will no longer play or songs he will no longer write? How many people will now not start bands, or labels, or management companies as a result of not being inspired to do so by a person of such creative and fiscal importance?

I would otherwise talk about Scott 
Hutchison, which admittedly – even as a slight positive – has inspired me to put this column to writing at this time. Because the issue is too important now, isn’t it? Because he was one of ours, wasn’t he?

Hopefully you can understand why, at this time, basically I can’t talk too much about Scott.

I’ll concentrate on the guy I didn’t know to get this across, otherwise I won’t be able to concentrate at all.


It is very easy for me to sit here and preach about this. But it is something that we put into practice on a regular basis at Killing Moon, in respect of most if not all of our monetised businesses. And it isn’t just coming from me either, given that my staff and I are quite unified in this quest to put a heart to the motherbrain of the re-ignited music industry.

I love picking on my management assistant Rob as an example most of the time (in the nicest possible way, of course). In this context, that’s especially true – given that the following event took place on his very first day in the office, back in September 2017.

Whilst getting used to our systems and indeed my own nuances/cursing out loud, we rather abruptly received the offer for Annabel Allum, an artist I had been managing for around 2.5 years at that stage, to support Beth Ditto on her entire EU (still counting the UK in that y’all) live run in October 2017.

This was seemingly our moment that we had been waiting for and we had to act fast.

We had a grand total of about five seconds to say yes to the tour, and then I had about a week to find the money in order to make it happen.

Rob, utilising his rather extensive experience as a touring artist himself, was put to the task of organising the routing, hotel bookings and air/ground transportation for the tour. I’ll leave you to decide which task was more laborious, and which one was more stressful.


By the next day – and obviously at this point we had confirmed that this was all going ahead – Rob did a rather brave thing. He told me he thought Annabel shouldn’t do the tour.

At this point, I am Mo Farah on the final run up to the finishing line at London 2012, and this guy is in my fucking way.

It begged the question, ‘Why, Rob? Why would you try to fuck this up for us?’ And so the question was asked. The response needed 
to be said: ‘I am a touring artist with nearly 10 years’ experience. The routing is far from a nice, coherent oval shape. It is a fucking spaghetti junction. If Annabel misses one connecting flight or bus, it will consequently fuck up the rest of the tour dates. It will take an immense toll 
on her physically and mentally, and that will really have a direct knock-on effect onto 
the quality of her performance.

‘I’m not sure I could do it, and right now, on paper, I’m really not sure it is in her best interests overall to do this in this manner.’

We also semantically debated the merits of sending a young woman, on her own, in these circumstances, into central Europe for the very first time. Not that we want to seem patronising or anything.


The net effect here was that, on reflection, we needed to get more money to ensure 
that Annabel could eat, sleep and travel in a manner consistent with dealing with a venture of this magnitude.

Which basically means I had to get the credit card out. I also needed to go out with her to the first show, make sure she was acclimatised to Beth Ditto’s crew and live environment, and that she could generally get into the swing of the touring routine. Which, to be honest, I can’t even do myself having ended up as tour manager/merch boy on several tours back in the proverbial day myself – lasting about three days before I started crying, and wanting to go home.

Beth Ditto, on the first date of the tour, invited Annabel to travel with her on the tour bus. Why? “Because she used to be me,” Beth told me as I said goodbye following the sold-out show at Copenhagen’s Vega venue, whilst she was talking to a bunch of fans that had waited outside the stage door after curfew to just catch a glimpse of her.“ No way in hell am I letting her travel alone out here by herself. And I wish someone did that for me when I was her.”

So, that was £2,500 on PDs, travel and accommodation well-spent. And I really, really mean that.Music Business Worldwide.

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Promoters are often overlooked in the music business, probably one of the hardest jobs there is, because of the risks involved. The mammoth hours trying to convince people to come along to the show. In modern times the online abuse, a promoter can be the target of. Then the responsibility of the event itself. making sure you have enough money raised to cover the events cost, and to hopefully earn something for your own time. Bankruptcy and breakdowns is a regular for the promoter. Even friends think its cool to come to the show without any financial support. Artists often demanding payment and treatment well above their own value. This all weighs on the promoter, nights of non sleep and anxiety .

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2Tone Tour Remembered

The Specials, Madness and The Selecter: The 1979 2-Tone tour remembered

Stuart Edema and Symond Lawes. Specials Graffiti 1979 by Gavin Watson

Reading this piece online got me thinking about 2tone. what a year that was, i was 14 years old, 3rd year at Hatters Lane secondary modern school High Wycombe. Youth cultures were all the rage as Punk Rock had caused a revolution in 1976 when the Sex Pistols launched an all out assault on the establishment. The British youth were rising, and no longer would be tools for the wealthy.

Micklefield estate covered about a square mile just the other side of the Greenbelt which surrounds London, a border designed to stop the spread of the Metropolis, but in the 1950’s many families were moved out of bomb damaged London to new estates, with gardens and fresh air, my family came out of North London Tottenham area. The fire of a city kid was in my veins, handed down through blood. Punk and the Aggro answered that energy. Also on my estate was a large number of West Indians,who started arriving from around 1964 to work as nurses and bus drivers, mainly from the Caribbean Island of St Vincent, who bought with them Rice and Peas, gambling, Cannabis, Calypso and Reggae music, setting up sound systems in council flats, booming the bass across the yard like a earthquake murmur.

Richard , Felix, Symond 1980, By Gavin Watson

Most families on the estate were a sort of immigrant, like a mini New York, Polish who had stayed after world war two, cut off by Communism, Irish escaping the troubles in Northern Ireland, or just looking for a steady job. Londoners bombed out and finding peace in the suburbs. Many old WW2 soldiers tending perfect gardens, Italians, Indians all in the mix.

But at the same time a real lot of political turbulence, high unemployment, especially for the youth, we saw no future, the National Front were busy recruiting the disenfranchised white working class, blaming immigration for the situation, the Socialist workers party condemning the views of the white working class, blaming them for the situation. Racial tension was at a knife edge. Music was the only thing that really drew people together, The Irish knew this with their rebel songs, The IRA were murdering people, bombing Belfast and mainland Britain. But something happened one Thursday night, which was for us our own revolution…. The Specials Gangsters hit the screen. 2tone  changed my life forever.

Like a religion we all would sit indoors for that one hour a week, no kids were out on the street, Top of the Pops would showcase the top bands climbing the charts that week. Often airing acts you had never heard of, The large labels latest signings, as kids we looked for our gernre, the music which appealed to our youth tribe, for me that was Skinhead or Punk bands. whether it was planned by Gerry Dammers, or those bands from London and Coventry. The Specials, Madness, Selector, Bodysnatchers, The Beat, Badmanners, or not, they certainly nailed the energy across our estate, kids that looked and dressed like us. Black and white wearing hand me down clothing with an edge and style, shaved heads and Dr Martens, Reggae and Punk in the same song… My emotions exploded in a musical excitement frenzy. Fuck David Bowie……We were on Top Of The Pops!!!!!

Amazing to think after almost 40 years on Live in brighton 7th September, Neville Staple with his band performing many of those original songs mixed with some throughout his career ever since. Supported by a bran new band to take the music into today generation Dakka Skanks

  • ***********************************************************************************************************************************
  • This part below from Uncut Magazine
  • Uncut
  • May 6, 2014

I was reminiscing with an old friend over the weekend about The Specials, his favourite band. Our chat brought us to the great 1979 2-Tone Tour that featured The Specials, supported by Madness and The Selecter, a snapshot of which now duly follows.

The Specials Live on stage 2Tone Tour 1979

I was reminiscing with an old friend over the weekend about The Specials, his favourite band. Our chat brought us to the great 1979 2-Tone Tour that featured The Specials, supported by Madness and The Selecter, a snapshot of which now duly follows.

__________

October, 1979.

There are 43 alarm calls booked for this morning and – woe, pitiful woe! – they’ve started going off already, one of them heading this way.

The shrill exclamatory shrieks of the alarms is usually followed by weary grumbling moans and the thud of people rolling out of beds in rooms all along this wing of Swindon’s Crest Motel, where the cast of the 2-Tone Tour are beginning now to assemble in the lobby, pale-faced and hungover. The motel staff in startling contrast are, meanwhile, crisp and morning-bright, with gleaming toothpaste smiles and the brisk efficient manner of people with things to do.

Specials’ singer Terry Hall is here to see off his girlfriend, who’s going home to Coventry. And here comes The Specials’ unlikely mastermind, Jerry Dammers, lumbering into view, an awkward shambling figure in a shabby raincoat. He manages a smile, briefly. Woody, the young drummer with Madness, who looks about, I don’t know, 12 or something, lights his first fag of the day and immediately starts coughing like a Kentucky miner, stricken with Black Lung or something similarly serious.

“My body’s had enough of me,” he splutters, doubling up in a fit of coughing and hacking away so violently I wouldn’t be surprised to see his eyebrows fly across the room, followed possibly by his teeth. He finds a chair and collapses into it, his face drained of colour.

We’re only three days into the tour and some of the people in the lobby around me, which has taken on the look of a field hospital in a 19th century war, look like they won’t see the end of it.

Of course, it was all very different just a few short days ago when on a gloriously sunny autumn afternoon I’d arrived at The Roundhouse, up there in Chalk Farm, where The Specials, Madness and The Selecter had spent the previous week rehearsing for the 40 date tour ahead of them. When I get to there, The Roundhouse is as they say buzzing, the place noisy with chat and laughter. The coach that’s been hired to take us all to Brighton for the tour’s opening night is already an hour late, which means before we’ve even started we’re behind schedule. No one seems to care.

The three bands are strung out across the Roundhouse bar. The Selecter and Specials mingle, wander and joke. Madness are quaffing light and bitters, being noisy. They look like a gang of spotty kids waiting to be taken on a day trip to the seaside, yelping and impatient.

The 2tone tour reaches Brighton 1979

A friend of mine named Kellogs who works for Stiff as a tour manger is standing at the bar, watching them. When Stiff signed Madness, they were put in his paternal care. He’s just finished a fortnight on the road with the rascals, and they’ve nearly brought him to his knees.

“They make me feel so old,” he says wearily. “They just don’t stop. Up till four every morning, boozing. Look at them. . .”

We look at them. Down the hatch go another seven pints.

“They’re fucking loving it,” says Kellogs. “They’re on top of the fucking world. A hit single, on the telly, on the road away from mum, drinking, smoking – all yobbos together. They’re having the time of their lives.”

“Annuver 300 pints of light and bitter,” cry Madness in unison as the coach finally pulls up outside The Roundhouse.

There are 40 of us on the bus and Madness inevitably are making most of the noise – shouting, swearing, clambering over the backs of seats, drinking, making ridiculous faces at the crowds on Oxford Street. Woody is especially boisterous, swigging from a half bottle of Scotch, one hefty slug after another, red-faced and increasingly wild-eyed.

Steve English, who’s providing one-man security for the tour, is sitting across the aisle from him. Steve, who’s worked as a bodyguard for, among others, Marvin GayeThe Sex PistolsThe Clash and boxer John Conteh and is built like a Sherman tank, looks at Woody grappling with the deleterious effects of the whiskey and laughs, the sound he makes like a drain being sucked clear by complicated mechanical equipment.

“Silly little fucker,” he says of Woody. “If he carries on like that for the next six weeks, we’ll have to carry him off this fucking tour in fucking casket.”

The coach is outside Brighton Top rank now, where dozens of skinheads are waiting for Madness, led by Prince Nutty, whose mug beams also from the centre of the inner sleeve of One Step Beyond, Madness’ debut album. Prince Nutty is surrounded by a gang of fearsome-looking cronies.

“Remember me?” one of them asks Suggs. “I danced on stage wiv yer at the Rock Garden. Remember?”

“Yeah, ‘course I remember you,” says Suggs, who clearly doesn’t, pushing his way into the Top Rank, where we find a place to talk and are joined by a rather wobbly Woody. Kellogs had told me earlier that when Madness played Brighton Polytechnic recently on a brief warm-op tour for the current trek, a mob of British Movement supporters had turned up at the gig, threatening trouble.

“They didn’t do nuthin’, though,” Woody says. “They just stood around in the bar talking very loudly about Adolf Hitler.”

In Oldham, Kellogs had also said, a security check on the audience as they arrived at the gig led to the confiscation of a number of weapons – knives, even a home-made mace among them. There’d been a riot in Huddersfield, the group’s van trashed and a film crew terrorised. Suggs is sensitive on the subject of the band’s skinhead fans, but abhors the BM and the idea that Madness are a focal point for their politics.

“There’s no way we’re political,” he argues. “We’re certainly not fucking fascists. If we were fascists, what would we be doing playing ska and bluebeat? If we’d wanted to talk about politics we’d have formed a debating society, not a fucking band.”

The Brighton show is sensational. By the time The Specials play “A Message To You, Rudi”, most of the audience appear to be on stage with them, and those that aren’t are dragging the ones who are back into the crowd so they can take their brief place in the spotlight.

The group fight their way off stage through this demented rabble but find the safe haven of their dressing room picketed by a group of angry feminists who’ve been incensed by some off-colour remarks by Terry Hall and the description of the Melody Maker journalist Vivien Goldman, who’d unenthusiastically reviewed their debut album, as “a stupid cow”.

They now berate the unapologetic Hall at rowdy length. Their ring-leader notices Dammers, standing behind Terry, a bemused witness to the women’s wrath.

“And what have you got to say for yourself?” she loudly demands.

Jerry looks at her, grins gummily.

“Would you like to come to a party with me?” he asks her, ducking the blow he knows is coming.

Photo credit: Clare Muller/PYMCA /REX , Gavin Watson

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How a Single Workout Can Bolster Your Brain

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12 Steps You Should Take to Heal from a Traumatic Experience

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What Jumping On The Gluten-Free Bandwagon Means

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15 Simple But Sweet Ways To Make Someone’s Day

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Growth of House Prices Declines in Major Cities

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15 Cool Ways To Pass Time At US Airports

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Everything You Need to Know About the 2017 CMA Awards

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Why There’s A Beer Bottle Forest Lighting Up China in 2018.

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35 Places in LA Where You’re Likely to Spot Celebrities

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If You Do These 9 Things, It’s YOUR Fault You’re Still Single

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Doctors Warn Of Health Emergency As Smog Blankets

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Cutting Back On Alcohol Can Prevent Cancers: Experts

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9 Bizarre Lodgings You Can Actually Vacation In

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The Hottest New Family Cars For 2018

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This Is the History Behind These 5 Common Superstitions

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The World’s Highest-Paid TV Hosts 2017

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23 Films That Are Secretly Deeper Than You Thought

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17 Mind-Blowing Beaches to Visit Year-Round

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Exploring the Southern Border in a 2017

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55 Ways to Connect With Your Spiritual Side

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Song Lyrics Inspired by Celebrity Breakups

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How Street Art Can Change All Of Our Lives

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Meet the 25 Women Changing the World in 2017

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This Week In Entertainment History: Nov. 5-11

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Song Lyrics Inspired by Celebrity Breakups

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Going smoke-free: How does Oklahoma stack up?

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Follow These Steps to Light the Hanukkah Menorah

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What Dogs Can Do When They Get Scared Is Absolutely Hilarious

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9 Exciting Thanksgiving Destinations to Mix Up Your Family Tradition

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This Is the History Behind These 5 Common Superstitions

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The Coolest Hotel Lobbies In The World in 2017

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Powerful Efficiency: 20 Coolest Sporty Turbos

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Preparing For Adventures Around the World

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Follow These Steps to Light the Hanukkah Menorah

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What It’s Really Like To Travel On The Orient Express Train

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15 Creepy Destinations For Anyone Obsessed With The Supernatural

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How Different Materials Affect Your Drawing Process

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