Tag: oi

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Gavin Watson. British Subculture Photographer

Symond. Skinhead Trafalgar Square 1980. Gavin Watson

“What makes Gavin’s photos so special is that when you look at them, there’s clearly trust from the subject towards the photographer so it feels like you’re in the photo rather than just observing’.”

— Shane Meadows

BIOGRAPHY

Gavin Watson was born in London in 1965 and grew up on a council estate in High Wycombe, Buckinghamshire. He bought a Hanimex camera from Woolworths in his early teens and began to take photographs. Upon leaving school at the age of sixteen, Watson moved back to London and became a darkroom assistant at Camera Press. He continued to hang out and photograph his  group of skinhead friends in High Wycombe.

The ‘Wycombe Skins’ were part of the working-class skinhead subculture brought together by a love of ska music and fashion. Although skinhead style had become associated with the right-wing extremism of political groups like the National Front in the 1970s, Watson’s photographs document a time and place where the subculture was racially mixed and inclusive. His photographs were published in the books Skins (1994) and Skins and Punks (2008), and the director Shane Meadows cited them as an inspiration for his film This is England (2006)

Skinheads Jumping. micklefield Estate. Gavin Watson
Skinheads at West Kensington Tube Station. Gavin Watson
Skinheads at Dingwalls Camden Town. London 1988. Gavin Watson
Wycombe skinheads. The Anchor 1987. Gavin Watson
Ealing and Wycombe skinheads London 1984. Gavin Watson
Skinheads and Rudeboys High wycombe. Gavin Watson
Skinheads High Wycombe. Gavin Watson
Shaun and Kev. skinheads and Rudeboys High Wycombe. Gavin Watson
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Stomper 98 Confirmed for The Great Skinhead Reunion, Brighton, England 2016

Stomper 98 are confirmed for the great skinhead reunion in Brighton England june 3-4-5th 2016. Brighton is seen as a birthplace of the skinhead subculture, with mods and rockers fighting on the beaches in 1964, by 1967 the skinhead had spread across the uk, a solid British working class subculture. Saturday afternoon saw mobs of skinheads fighting for their territory and team on the football terraces, by night, Stomping to Jamaican reggae, wearing the cutting new clothing of quality British design and cloth, handmade leather shoes and boots. After a dip came the rebirth, with the aggro Boot Boys and explosion of Punk Rock from 76, the Sham Army. 79 saw the 2tone revolution, bringing the Punk and Reggae sounds together. By 1980, the largest number of skinheads in history were on the streets of Britain. Then came a backlash against the middle class system, which had controlled the people for centuries, this music was known as Oi! Music. Direct action through music. As riots spread across the UK skinheads scared the government, an army of angry disenfranchised street kids, ready to Ruck. Margaret thatcher put a ban on oi music, clubs and pubs refused skinheads entry, record shops took the vinyl from the shelves. The SPG ( police) Attacked Skinheads across the country . But we refused to die. We went underground, created our own scene, our own clubs, promoted by fanzines and word of mouth. ‘skinheads, a way of life’ like martyrs through the centuries. a faith, which is stronger than any latest fashion. So by the mid 80’s Skinheads were popping up across the planet, fed by the media scare stories, of the anti Christ. By photographic images and books. But also by skinhead bands playing around the globe, for a few beers and a hot dog. Gone are the days of territorial violence and racial conflict. The political infighting designed to divide and destroy, thrown aside. What’s now, is a world wide community, living A skinhead way of life. Every year we celebrate the skinhead subculture, in all its positive eras. From 60’s ska to 21st century oi! And with that, We invite Selective bands each year to come represent their country and scene. We are very pleased to announce Stomper 98 from Germany will be performing at the Great Skinhead Reunion, Brighton, England for 2016. tickets are already 1/3 sold out for 2016, so dont miss out, on what is set to be a sell out event www.subcultz.com

Stomper 98 sind für die Great Skinhead Reunion in Brighton/England bestätigt, die vom 3.-5. Juni 2016 stattfindet.

Brighton gilt als eine der Geburtsstätte der Skinhead-Subkultur, denn im Jahr 1964 war es eben genau in Brighton, wo sich Mods und Rocker ihre ersten Schlachten an den Stränden und in den Straßen ablieferten. 1967 hatte sich die Skinhead-Bewegung bereits über das gesamte Vereinigte Königreich ausgebreitet und war fester Bestandteil der Subkultur der britischen Arbeiterklasse. Samstag nachmittags sah man Skinhead-Banden im Umfeld von Fußballspielen für ihre Städte und Vereine auf den Straßen kämpfen und nachts konnte man die Skinheads dann zu jamaikanischem Reggae tanzen sehen. Bei all dem achteten sie darauf stets smart gekleidet zu sein. So trugen sie qualitativ hochwertige Stoffe im typisch britischen Design, sowie handverarbeitete Lederschuhe und Stiefel.

Die Zeit verging und durch die Boot Boys und und den nicht mehr aufzuhaltenden Punk Rock erlebte dieser Kult eine Wiedergeburt im Jahr 1976. Drei Jahre später braucht der 2Tone zusammen, was zusammen gehört und kombinierte die Klänge von Punk und Reggae.

Es war in 1980, als man so viele Skinheads wie nie zuvor in den Straßen von Großbritannien finden konnte und als eine bestimmte Musikrichtung die Leute aus ihrem Mittelschicht-Winterschlaf reisen sollte. Diese Musik war bekannt unter folgendem Namen: Oi! Mit dieser Musik gingen viele Unruhen und Krawalle einher, sodass die Skinheads bei Staat und Polizei ein Gefühl der Angst verbreiteten. Margaret Thatcher verbot Oi! in Clubs und Kneipen, veranlasste gar ein Hausverbot für Skinheads und sorgte dafür, dass keine Oi!-Platten mehr in den Plattenläden zu finden waren. Die Polizei griff uns Skinheads scharf an, aber wir ließen unseren Kult nicht sterben! Die Bewegung verschwand zunehmend in den Untergrund. Wir betrieben unsere eigenen Clubs, veranstalteten eigene Konzerte, brachten eigene Fanzines heraus und lebten unseren “Way Of Life” abseits der Masse. Wir waren wie Märtyrer. Der Stolz auf diesen unseren Kult war und ist stärker als jeder Trend und wird überleben!

In den Medien verteufelt verbreitete sich der Skinhead-Kult über den ganzen Globus. Doch nicht nur den Medien gelang es Diesen Kult zu verbreiten, sondern auch Bands, die die wahren Werte dieser Subkultur in die Welt hinaus trugen.

Fernab von territorialen Auseinandersetzungen, jeglichem Rassismus und unzähligen Versuchen der Politik die Bewegung zu Spalten oder gar zu zerstören, lebt der Skinhead-Kult unbekümmert weiter wie eine weltweite Gemeinde am Rande der Gesellschaft.

Und genau deshalb feiern wir jedes Jahr unsere Subkultur in all ihren positiven Epochen. Vom Ska der 60er Jahre bis hin zum Oi! der heutigen Tage.

Jedes Jahr laden wir wohl ausgesuchte Bands ein, uns die Szene in ihrem jeweiligen Land zu präsentieren und wir freuen uns ganz besonders im Jahr 2016 die Band Stomper 98 https://www.facebook.com/Stomper98?fref=ts aus Göttingen/Deutschland in Brighton begrüßen zu dürfen.

Ein Drittel der Karten ist bereits verkauft und wir rechnen auch in 2016 wieder mit einer ausverkauften Great Skinhead Reunion.

www.subcultz.com

tickets here

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How the Music Industry can stop the extinction of British Venues

A few years ago, i flew over to USA to see friends in California. But also, to go see one of my friends bands, called Cock Sparrer. As we drove down from LA to The Great American Music hall in San Fransisco, listening to the car radio, it really struck me, how important British music is to the world. Here i was heading down to a sell out show, by an obscure punk band, in the cool capital of the world. The average British person, would have never heard of this band. 

Everywhere you go, you will find it playing. its not only The Rolling Stones, Beatles and Elton John, or Oasis, but Punk Rock, Indie, 70’s, 80’s and every other decade of popular music. The same in Argentina, Brazil, Scandinavia, all across western Europe and beyond. Gone are the days that Britain is known for military, or railways. Whatever Governments have come and gone, British music has found its way to every corner of the Globe. A major export, not only for financial benefit, but for British cultural benefit. The welcome you get as a British person, in so many countries, is due to the love affair many nations have to our, British Music. Many of those music fans making a pilgrimage to the UK, to see where it all began.

But before it reaches those places, it is a seed in a kids garage, then a local pub. if they get lucky, they step up to the next town or city, playing their songs, working, promoting, and slogging away. One in a thousand, then get a bit of radio play, a larger gig, a record deal. One in 20.000 get BBC acknowledgment. A hard , hard career to follow. With no support from the UK Government. There are many reasons why live music, is in such a bad state. No more Top of the pops, no financial support, a lack of imagination with record labels. But the extremely high price of beer, is killing pubs at a rapid rate. Every town, is being raped, of the grass roots venues. Venues being sold off for development, for a fast profit.

Symond Lawes.

Independent venues are more than just places to see bands – they’re at the heart of their communities. But if the music industry doesn’t step in soon, we’ll be writing even more obituaries for these vital outposts of culture 

What makes a great venue? From the perspective of musicians, it’s when owners realise that good customer service is at the core of everything they do. Give the musicians the basics so they are able to do their job. That includes a comfortable and warm backstage room, plenty of time for a sound check, a respectful crew and a good sound system. Most of these things can be achieved with common sense more than money. But can owners of venues really raise the bar if all they offer is a fridge stuffed with Red Bull? Sadly the lack of resources is keeping standards too low for independent music venues in the UK, compared with, say, the rest of Europe.

Often, venues don’t feel like an artist’s home any more. They’re treated as normal, independent businesses rather than being valued as centres of culture in their communities. Venue owners are often former musicians and they are passionate about live music. But even the best of them are forced into dark alleys to survive, making compromises and potentially killing their passion for the music as it’s dragged down into the shit with them.

Last week, I was a panelist at Venues Day, a conference that was organised by the Music Venue Trust and Independent Venue Week about the future of independent music venues in the UK. I was asked to represent the point of view of the artist, discussing what makes a good venue great.

Mindofalion Live and raw in 2014. The grass roots of music, which becomes a worldwide export

Madame Jojo’s
Placards outside Madame Jojo’s nightclub in London. Photograph: Justin Tallis/AFP/Getty Images
The event took place at the Purcell Room, in London. It was the first time I’d taken part in a conference. Venue owners from all around the UK had filled the room, and someone had told me the participants were “very angry”. I had no idea what to expect, although I knew very well that many small, independent music venues have been in crisis for a long time.

I got involved with the issue the day my favourite venue in London, the Luminaire, shut down in 2009. That day, I lost more than just a place to see live music – I lost my second home. As I walked into the Purcell Room, it was even more clear to me that the owners of such venues need help. They need money, and they need it now, or more of the hundreds of venues that are essential to the culture of the UK and the music business in particular, will follow the fate of Madame Jojo’s and the Buffalo Bar in London, which are each soon to become extinct.

“This has to be addressed at the very top of Government, Live music venues are the training ground for one of Britain’s largest exports, and Icon of pride, which excludes, no class, age or race“

The disastrous financial situation of independent music venues has direct consequences for everyone, including musicians. Take branding. No artist should have to play with a Jack Daniel’s logo on the stage if they don’t want to, or a Vodafone sticker on their monitors if they don’t want to. Artists should not become vehicles for advertising if that’s not how they choose to run their business. Don’t get me wrong, I am not 100% against branding; I understand the need to raise money. But the stage is a sacred place, and if a venue makes a deal with a beer company, it should not involve the musicians.

Let’s take another example: during Venues Day, many owners acknowledged that club nights are how they’re able to survive these days, which means they book two events in one night. Who can blame them? They need money. But what does it mean for the artists? Well, it means that even if they sell out a show, the promoter might book a club night to start after you finish. They eject you, your crew and your fans at 10pm, then a DJ comes in and a whole new crowd invades the premises. Instead of playing at 10pm, your show needs to start at 8.30, which means support bands have to play at a painful 7.30pm. Obviously, there is no time after the gig to sell your merch or to meet your audience. Not only does it kill the band’s small chance of making extra money, but it also kills guitar music. Who wants to see rock’n’roll at 8.30 at night?

Another iconic Music venue, the 12 Bar, on Denmark Street, London. Right in the heart of Britains world famous Tin Pan Alley. Been handed the death sentence, at the end of 2014, by Westminster council, In favour of commercial short term property speculators. 

It is urgent that we find solutions to finance independent music venues which respect the spirit of live music and musicians. Artists are their customers, too, and we know that branding and club nights are not enough to keep some of our venues afloat.

How can we achieve this? One solution became apparent during the conference, where owners were joined by promoters and booking agents. Let’s do the maths: the venue owners need money and the large agents need to make a healthy profit. Got it? The last panel of the day, entitled What’s Next?, was supposed to address solutions available to venue owners. I took the mic to suggest that the industry itself should fund small venues. Agents, big promoters and venue groups should reinvest part of their annual profits into small venues. This is an idea my friend Andy Inglis, who used to co-run the Luminaire, has been talking about for years. After all, they belong to the same industry, don’t they? Just because small venues are the grassroots of the industry, that doesn’t have to mean they can’t benefit from the profits the others make.

I was surprised by the audience’s lack of response. The Music Venue Trust cautiously expressed its intention to create a charity system to support small independent venues, but I didn’t get the feeling it would pick up the funding idea and make it a priority. From what I understood, the two main ideas taken from the day were the need for tax cuts for small venues and an online resource for venues to share ideas and advice. Although it is important to begin with a couple of rallying points and get recognition from government, I still believe that music industry support is essential for the survival of independent venues.

At this point in the conference, I didn’t get a sense of much anger or desperation in the room. I could only assume people were too scared to speak up. Or maybe I’m totally wrong and most venues don’t want funding to come from the industry. I believe the idea is more popular among professionals than we think, but maybe it demands a bigger effort – or someone, a hero, to fight for it.

Next January, The band Savages and I will settle in New York City for three weeks to play a series of club shows. Sold out all nine shows in just one hour, which has never happened to us so fast before. Could this become a new model? Audiences love to see live music in small venues. Let’s hope they survive before we realise how much we needed them.

Find more information about Venues Day 2014, the speakers and partners on venues-day.com

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Agent Bulldogg (Swedish Oi!))

Agent Bulldogg Started rehearsing in Thomas bedroom (much to his parents’ enjoyment) back in March 1986 after about half a year or so of talking about it, recruiting members and getting hold of equipment through various ways. After another year of learning, and a move to the legendary – in Täby anyway – Vita Huset (The White House) for rehearsals we played our first gig in the early summer of 1987. We played a couple of more gigs that year and also recorded a demo before original bass player Micke were replaced by Jens in early 1988. That line-up continued to play any gigs we could get, and also managed to record some songs who found their way onto a compilation album as well as recording our debut album – “Livsstil” (A Way of Life) – in 1990.

It wasn’t actually released until 1992 (on our own label) and by then Jens had left the band only to be replaced by Jarl. With this line up we played in Germany, Finland and Austria and also recorded our second album “Ett Tusen Glas” (One Thousand Glasses) – again on our own label – together with the new member Johan on saxophone and keyboards. When we released it 1995, Jarl had left and was replaced by Olof. We continued doing gigs, in Norway for instance, before original guitarist Andreas – more known as Bogh – decided that enough was enough and left. A friend of a friend’s friend then joined briefly, but that didn’t quite work out so Daniel stepped in for a while. However Olof moved to Switzerland and original drummer Magnus became both disillusioned and pre-occupied with his new job so he decided to leave as well. Olof stepped in to do some studio work and together with some help from a couple of other friends two tracks for the compilation album Brewed In Sweden were recorded and released 2002.

Thomas and Johan continued to write a couple of songs but with no other members available it started to fizzle out. However the band never officially broke up, so when a friend asked if we could play a couple of songs for his 40th birthday, Thomas and ex-bass player Jens teamed up with 3 members of Antipati to do so.

We got a few more offers of doing gigs so it just felt natural to continue with that line-up, although Reidar decide to leave due to other commitments a couple of years later.

Since then the band has played in Belgium, England, France, Germany, Poland and Spain as well as some festivals and other various gigs in Sweden, and also released a split 7″ with The Templars, contributed to a four band split (with Gimp Fist, Sandals and Booze & Glory) and released a new EP “Vi Är Tillbaks” (We Are Back…) on tour own label – as always. The current line-up is: Thomas (vocals), Johan (guitar), Robert (guitar), Jens (bass) and Thobbe (drums)

Agent Bulldogg are special guest at The Great Skinhead Reunion, and we will be all be helping them to celebrate Swedens national day, in Brighton, England June 6th -8th 2014

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Cheryl Cole (Skinhead girl Art)

My name is Cheryl Cole and I’m originally from Oakland, California, U.S.A. My interest in skinheads goes back to the early 80’s when I was very much into the second wave of ska and mod sounds. I was not a skinhead then, more of a rude girl/mod/new wavey type. I also listened to R&B and oldies, I loved Prince, I loved rap, Run DMC and all that, I don’t know how you would classify me! By the late 80’s I was obsessed with music, mainly punk, metal, glam, some Oi! ska, industrial, rap, soul, anything that was good I got into it. Most of the skinheads I would see back then were hardcore skins, which I love of course but my skinhead love affair was really with the ska end of it. During the 90’s I was very disapointed with the third wave and the new punk that was coming out so I basically spent that decade listening to the music I loved from the 60’s, 70’s and 80’s. Just a few years back I got very involved in the traditional skinhead life and now I am happy to be a part of this amazing vibrant subculture.

  

I did not study art at school, I had high school art class, and I tried to take a figure drawing course at community college but I hated it so I walked out. My friends and I used to draw and paint all the time, I had friends in the 80’s who were incredible graffiti artists, painters, people who drew things with a Sharpie pen that were mind bendingly good with meticulous shading done with old pens which were half way dried out. I learned techniques from those friends, and from my love of comic books. I used to sit and draw from comic books and try to paint similar to the watercolor comic art like Havok and Wolverine and Black Orchid. my friends and I used to stay up for days on end, (if you know what I mean) and just draw until we could barely see any more! Now days I am straightedge, but I do think that those crazy days of my youth and the obsessive way I drew and drew truly shaped my style and abilities. I also learned SO much from the staff at an art store I worked at for 4 years. They were all amazing artists who had gone to school and knew so many techniques and they shared that knowledge with me and encouraged me to try oils, which I love now of course! 

 I would like to show the world through my art what a beautiful and diverse scene we have, I would love it if the name skinhead made people think immediately of Jamaican Ska, dancing and good times. Unfortunately, at least here in the USA, “normal” people tend to cringe when you say the word skinhead.  Right now I live in San Diego, California. The skinhead world here is small, but very welcoming. I am fairly new to them and for the past few years, they have all been so great, I just love each and every one of them. There are a few excellent and knowledgeable DJ’s who have skinhead reggae nights around town, and we are very close to Tijuana, which has a big group of skinheads along with good shows and dos. Also we are just a few hours from Los Angeles, they have some GREAT shows up there, and lots of people doing events with amazing DJ’s and really good people. 

 I can’t think of one particular highlight to my artistic life, but I do really enjoy giving my art to my dear friends. They get so happy and there is really no feeling like it! I have had low points, where I just don’t want to paint or draw, and sometimes these low points will last for a few years. I will try to force myself to do stuff but if you are not feeling it, it will turn out bad. I’ve noticed that good positive friends who truly encourage me help immensley. Right now I am surrounded by people who truly care for me, and want to encourage me and all I want to do is paint and draw! My dry spells usually went along with stress and depression. I am currently in the process of some big changes in my life, I plan on taking big steps to forge a positive life for myself and my family, I am making an effort every day to be a good person, be a hard worker, be an honest and loyal friend. It takes effort to be positive and truly honest as much as you can, but it is worth it as you find good things around you and good people come in to your life.

I’ve given up trying to change other people, I just change myself and be what I wish other people would be.

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The Last Resort

The Last Resort are a name synonomous with the Oi! movement both as a shop catering for those of the skinhead persuasion and lifestyle in the ‘80’s. One of the iconic bands of that era, whose reputation far outweighed their recorded output, this has resulted in the band being given legendary status despite only being together originally for little over a year between 1980 and 1982, with their first gig being as support to the Originals, featuring soon-to-be Last Resort bassist Arthur Kay at Acklam Hall in West London on March 4th, 1981.

Following this gig, the band put out the first ever cassette-only release on the Cringe Music label, which was sold over the counter of the aforementioned shop and whose tracks featured heavily in Garry Bushell’s Punk and Oi! Charts through Sounds, the music paper of its day. The band got together originally in 1980 after Roi had seen a band called The Rivals rehearsing, following this, he met up with a guitarist called Charlie Duggan. Graham Saxby was then recruited on vocals, and at a Rivals gig they found a drummer called Andy Benfield.

As stated, the name Last Resort came from a shop owned by Micky French who happily agreed to let the band share the name. Following on from the first gig and cassette release, Saxby left the band in early 1981, with Roi taking over on vocals and Arthur Kay being recruited to take over bass duties. This line-up played on the “Strength Thru Oi!” and “Carry On Oi!” album tracks and recorded the band’s first album, “Way Of Life – Skinhead Anthems”, which was originally released on their own Last Resort records in 1982.

The band then split-up as a result of getting blamed for violence at or near their gigs, which were nothing to do with the band; and were blown-up out of all proportion by the anti-Oi! media feeling at the time. The band along with The Business and the 4-Skins (who Roi later joined as vocalist) were playing at the Hamsborough Tavern in Southall when it was attacked and burnt to the ground by misguided locals.

Following this split, there was a reformation of sorts in 1988 when Arthur and Andy, contacted Roi to reform the band, bringing in Mark Edwards from The Rivals on lead guitar. However when Arthur and Andy dropped out, Roi recruited Dean Wilkinson on drums and Mick Melville on bass to complete the band, which was called The Resort. This line-up released the “1989” album, before splitting-up at Christmas 1990.

The current line-up of the band featuring Chris Jones on drums and former Anti-Nowhere League personnel, John “J.J” Pearce on bass and Keith “Beef” Hillyer on guitar alongside Roi of course, got together in Millennium year, 2000 and immediately recorded an eight track demo, featuring both old and new songs including “Working Class Kids” and “Held Hostage”, originally released on the first cassette!

This line-up was originally going to be called Millwall Roi and they released the first fruits of the line-up via the track “We’re Gonna Get You” on the “Addicted To Oi!” compilation through “Captain Oi! Records”. They also contributed “Wonderful World” and “Chaos” to the 4-Skins release, “Secret Life of the 4-Skins”, again through Captain Oi!, and covers of “Gotta Go” as Millwall Roi and “She’s A Skinhead Girl Warrior”, actually as Last Resort to the “Worldwide Tribute To The Real Oi! – Vol 2” compilation on Triple Crown Records.

It wasn’t until 2002, however, that the band finally began to use the Last Resort moniker as German Festival Organisers M.A.D. assured the band that this name was the one that the fans would more readily identify with. So Last Resort were officially reborn, playing the “Punk and Disorderly Festival” in 2002. Since that gig, the band have also played in France, Belgium, Sweden, Spain and England, playing their first home country gig in 21 Years at the Hounslow Rifleman in 2003.

Other notable appearances since that time, have seen the band play at the “Beer Olympics” in Atlanta USA, without Roi!!!, the “Full Force Festival” in Germany, “Wasted” in England on a number of occasions, “The Fury Fest” in France and “Punk and Disorderly” a further couple of times. The band have also announced their intention to the Punk World by releasing their aptly titled comeback album “Resurrection” through “Captain Oi! Records” in February 2005, which was far more powerful and hard-hitting than their earlier releases, featuring old Resort songs re-worked, prime covers and some great new material.

* The Last Resort is says that the Worldwide Tribute To The Real Oi (vol 1&2) were Triple Crown releases. These actually weren’t. Both these releases are I Scream Records releases which (at the time) were licensed out to Triple Crown for North America.

In 2009 I Scream Records signed The Last Resort and released “You’ll Never Take Us; Skinhead Anthems II”.

Thank you.

* Kindly added by

Laurens Kusters
I Scream Records
PO Box 310344
Brooklyn, NY 11231
USA