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BBC DOCUMENTARY: PUNK, A THREAT TO SOCIETY?

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BBC DOCUMENTARY: PUNK, A THREAT TO SOCIETY?

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1977: Is PUNK ROCK a Threat to BRITISH SOCIETY? | Brass Tacks | Voice of the People | BBC Archive

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40 YEARS ALREADY...2015 DOCUMENTARY ABOUT PUNK IN BRITAIN

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40 YEARS ALREADY...2015 DOCUMENTARY ABOUT PUNK IN BRITAIN

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Britain celebrating 40 years of punk music

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Riot Grrrl: The '90s Movement that Redefined Punk

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The Culture Show "Girls Will Be Girls" BBC 2 Women in Punk

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1983: Should you FIT IN or STAND OUT? | Scene | Vintage fashion clips | BBC Archive

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PUNK CULTURE: WHAT IT LOOKED LIKE IN THE 1970s

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PUNK CULTURE: WHAT IT LOOKED LIKE IN THE 1970s

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What PUNK CULTURE Really Looked Like in 1970s BRITAIN

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Anarchy in the World - A Brief History of Punk | GizmoCh

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VIV ALBERTINE (THE SLITS) on CLOTHES AND FASHION

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VIV ALBERTINE (THE SLITS) on CLOTHES AND FASHION

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The Slits' Viv Albertine on clothes, music and boys

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This is a Story about CBGB and the History of Punk Rock Music

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Vivienne Westwood's Punk London | ARTE.tv Culture

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Vivienne Westwood: Designer Who Broke Every Rule

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The Art Of Punk - Crass - The Art of Dave King and Gee Vaucher - Art + Music - MOCAtv

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GENERATION NO FUTURE: PODCAST DE FRANCE CULTURE

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GENERATION NO FUTURE: PODCAST DE FRANCE CULTURE

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Aux origines d’un mouvement : épisode 1/4 du podcast Punk, génération No Future

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AUDIO • Punk, génération No Future, épisode 1/4 : Aux origines d’un mouvement. Une série inédite proposée par France Culture. Écoutez LSD, La série documentaire, et découvrez nos podcasts en ligne.

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GENERATION NO FUTURE: PODCAST FRANCE CULTURE EP2 / CRASS

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GENERATION NO FUTURE: PODCAST FRANCE CULTURE EP2 / CRASS

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1977. Gee Vaucher, artiste libertaire née à Londres en 1945, forme le collectif " Crass", groupe anarcho-libertaire-punk dont elle assure la direction artistique. Le féminisme radical est son crédo, l'associant à ses œuvres - collages, peintures, vidéos - qui s'inscrivent parfaitement dans l'idée de " protest art " propageant cynisme, surréalisme, anarchisme et pacifisme.

Adepte du "Do It Yourself", " Crass" s'autoproduit en créant son label "Crass Records" et permet à beaucoup de groupes de sortir leurs propres albums. Farouchement engagé contre la politique du gouvernement Thatcher, " Crass" s'engage auprès des grévistes, organise des happenings et des opérations de déstabilisation.

Leur premier album " The Feeding of the 5000 " marque la renaissance d'un mouvement déliquescent. Le roi est mort ? Alors vive le roi et à bas le monde marchand, la société de consommation et le travail. Les femmes du groupe, Eve Libertine et Joy De Vivre vont donner aux héritières de Janis Joplin et de Suzi Quatro une place pleine et entière dans ce mouvement. En 1992, Erika Reinstein leur donne même un manifeste.

C'est ça le punk, réveille-toi, réfléchis pour toi-même, ne sois pas d'accord. Je ne suis pas d'accord avec plein de trucs, je ne serai jamais d'accord ! S. Ignorant

On a trouvé notre "voix" et qu'est-ce qu'on a gueulé ! S. Ignorant

Tout ce que j'ai pu faire en criant et en beuglant dans "Crass", finalement c'est Peace and Love. S. Ignorant

Avec

Gerard Evans, biographe du groupe "Crass"

Steve Ignorant, Gee Vaucher, Peny Rimbaud, membres du groupe "Crass"

Ruth Doll, punk féministe

Zillah Minx, membre du groupe "Rubella Ballet"

Keren Hamsden, punk féministe

Matthew Worley, historien

Un documentaire de Alain Lewkowicz, réalisé par Assia Khalid

Bibliographie

Discographie

Avec la collaboration d'Annelise Signoret

Liens
The Story of the Crassical Collection, à lire sur le site Punknews.org. Articles sur le collectif Crass et le mouvement anarcho-punk écrits par Matt Grimes, spécialiste de l'anarcho-punk anglais. En ligne sur son site.
International Anthem : journal nihiliste réalisé par Gee Vaucher et Penny Rimbaud. A consulter dans les archives du site de Southern Records. On peut également y trouver des archives sur Crass, et leur discographie.
Interview de Steve Ignorant (2007), à lire sur le site du magazine Punk77. Anarchy And Peace, Litigated : Rencontre avec Penny Rimbaud & Steve Ignorant pour le magazine Vice. Punk is not dead. Une histoire de la scène punk en France (1976-2016)

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"Crass" ou le retour aux fondamentaux : épisode 2/4 du podcast Punk, génération No Future

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AUDIO * Punk, génération No Future, épisode 2/4 : "Crass" ou le retour aux fondamentaux. Une série inédite proposée par France Culture. Écoutez LSD, La série documentaire, et découvrez nos podcasts en ligne.

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Néo Punk et féministes : épisode 4/4 du podcast Punk, génération No Future

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AUDIO • Punk, génération No Future, épisode 4/4 : Néo Punk et féministes. Une série inédite proposée par France Culture. Écoutez LSD, La série documentaire, et découvrez nos podcasts en ligne.

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The Art of Punk - Black Flag - Art + Music - MOCAtv

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Sniffin' Glue wasn't the first fanzine - Punk (which famously coined the genre's moniker) started self-publishing in New York six months earlier - but its primitive Xerox'n'Sellotape aesthetic was the perfect medium to capture British punk's early energy, and to inspire a generation of copyists.

Founded by bank clerk Mark Perry, aided by friends Danny Baker and Steve Micalef, its first cover boasted (in felt-tip scrawl) stories on the Ramones and Blue Öyster Cult. Soon, however, Sniffin' Glue was offering grass-roots reportage on British punk's first flowering, while also lambasting the Clash for signing to the major label CBS. Sniffin' Glue was primitive but opinionated, offering a crucial alternative voice to the mainstream music papers (most of which were late to cover punk's rise) at a time when none was available.

Though Sniffin' Glue never actually printed the legendary instructions often ascribed to it - "This is a chord. This is another. This is a third. Now form a band" - (that was Sideburns, another punk zine from 1977), its example spawned a slew of followers - including Jamming!, Burnt Offering and Chainsaw (which featured ribald cartoons from a young Andrew Marr) - and established a culture of DIY underground rock criticism that thrives to this day, both in print and online. Perry, meanwhile, ended Sniffin' Glue in 1977 after 12 issues, concentrating on his own punk group, Alternative TV.

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Mark Perry gives birth to fanzine culture

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July 1976: Number 9 in our series of the 50 key events in the history of indie music

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1970s - The Decade That Nearly BROKE Britain

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Living in 1970s Britain - Were We Happier Then?

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The Sex Pistols - Anarchy In The U.K (official video)

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Living in Poverty | The Welfare State | 1970s Britain | Hard Times | Report | 1970

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The Clash - London Calling (Official Video)

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Visions in Ruins: British Cinema 1970 - 1980 / The Garden Cinema

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EXTRACT: "What was the music you were listening to at the time of Action directe?

JMR: The music we were listening to at the beginning of Action directe, at our meetings or on our car radios in 1977–1978, was mainly punk and a little rockabilly. We also listened to singers, like Léo Ferré, whose lyrics were close to our militant commitment. But above all we listened to punk: The Clash, much more than the Sex Pistols. There was a politicization that spoke to us, the punk culture of “Do it yourself—DIY” was decisive for us.

LVP: Did you often go to concerts together?

4 [Editor’s note] The Clash gig took place on 16 October 1978 at the Stadium, 66 avenue d’Ivry in Par (...)

JMR: Yes, at that time we were doing armed actions but were not really “wanted” yet, so we could go to shows. One such musical adventure of the historic nucleus of Action directe is when we went to London in July 1977 for a major rockabilly festival. We saw Crazy Cavan and other old rockabilly bands. Then in the evening we went to the Marquee Club, where we saw a concert of the Pirates, Johnny Kidd’s former band. The following year, we saw The Clash in concert in Paris.4

LVP: How important was this show for you?

5 [Editor’s note] Joe Strummer (1952–2002) was the singer and guitarist of The Clash.

JMR: It was important because it was at the time of the autonomous movement. In 1978, we kept the spirit of freemusic, this late-1960s principle of not paying for concerts when they were organised by big companies that made money with music. When we went to see The Clash, there were about three hundred of us autonomous activists, and we said we were going to force our way in. That's when Joe Strummer came out and asked what was going on.5 We explained the situation to him, that we were not going to pay to come in and see them. He said, “Okay, as soon as we start the first song, they’ll open the doors and you can come in”. It was the first time I met Joe Strummer. The second time was in 1981 (at the beginning of the Mitterrand years, when Action directe was legal); he was in Paris doing a concert at the Mogador theatre and we met for a coffee".

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From Music to Armed Struggle, from 1968 to Action Directe: An Inter...

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Introduction Jean-Marc Rouillan was born in Auch (France) in 1952. He participated in the anti-Franco struggle and the autonomist movements in Spain and France in the late 1960s and early 1970s. He…

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What Is Punk Rock is a lightning fast guide to the history and origins of this exciting genre of music, fashion and youth revolt.

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Of all post-war decades, the 1970s has undoubtedly had the worst press, but the truth is that most ordinary families in 1970s Britain were better off than ever, writes historian Dominic Sandbrook.
The 1950s are symbolised by the television and the washing machine, which transformed the lives of so many families.

We misremember the 1960s as the decade of the Mini, which was actually invented in 1959, the mini-skirt, which surprisingly few women actually wore, and the Pill, which most women never took. We remember the 1980s as the decade of gigantic hair, shoulder-pads, the Filofax and the home computer.

But in the popular imagination the 1970s are the poor relations, to be lampooned and despised - the era of Edward Heath, the decade of the donkey jacket, the age of the Austin Allegro.

When they flash up on our screens, we see lurid wallpaper, silly hairstyles and burly men warming their hands around braziers. Who would ever want to commemorate all that?

In many ways this habit of giving decades different historical personalities is a bit of a gimmick, a quirk of the calendar, that distorts the way we remember the recent past.

Find out more

Episode one of The 70s is broadcast on Monday, 16 April 2012 at 2100 BST on BBC Two
Making The 1970s
Look at any photograph from the mid-1970s, and you can often see people wearing clothes that would have been at the cutting edge of fashion in 1958.

Footage of picket-line confrontations often shows strikers wearing suits and ties, as though dressing for a family wedding.

Politics of the 1970s

Following the miners' strike against its incomes policy Edward Heath's Conservative government loses the 1974 general election

By spring of 1975 unemployment has climbed to 1 million - over 5% of the workforce

In 1978 in an effort to tackle inflation James Callaghan's Labour government tries to persuade trade unions to limit pay rises to no more than 5% - the unions refuse and Britain is hit by a wave of strikes

In 1979 the Conservatives win a general election and Margaret Thatcher becomes Britain's first woman prime minister

Read more: Thatcherism and the end of the post-war consensus
The teenagers dancing on Top of the Pops are usually wearing yesterday's fashions, topped off with a pair of National Health glasses.

Even the burly policemen standing protectively around Margaret Thatcher as she walked into Downing Street in May 1979, with their luxuriant moustaches and thick sideburns, looked as though they had been transported 10 years forward in time.

But like so many stereotypes, the cliches of the grim 1970s have more than a grain of truth. These were desperately difficult years for Britain, both politically and economically.

In many ways they marked a reckoning for a country that had been too complacent for too long, basking in the sunshine of post-war affluence, and indifferent to the fact that our foreign competitors had not only caught up with us - they were leaving us behind.

In 1970, the self-made builder's son Edward Heath came to power promising a "quiet revolution" that would turn around the fortunes of Great Britain PLC.

Sailor Ted, however, soon ran aground, his ship scuppered by the lethal combination of an energy crisis, a financial crash and a second miners' strike in two years.

And though Labour's Harold Wilson got the country back to work, it came at the price of inflation at almost 30% and a humiliating bailout from the IMF.

Perhaps fittingly, the decade ended with another prime minister being humiliated by the unions in the Winter of Discontent, though this time the victim was the veteran Labour bruiser Jim Callaghan.

Perhaps never before had the political establishment seemed so impotent and irrelevant - little wonder, then, that for the first time in years, emigrants actually outnumbered immigrants.

The cultural texture of British life probably changed more quickly between 1970 and 1980 than during any other post-war decade

Even Callaghan himself seemed to have little faith in his native land. "Our place in the world is shrinking: our economic comparisons grow worse, long-term political influence depends on economic strength - and that is running out," he told his colleagues in November 1974. "If I were a young man, I should emigrate."

And yet the strange thing about the 1970s is that although many people vividly remember the power cuts, strikes and shocking headlines, they often have surprisingly affectionate personal memories of the decade that taste forgot.

It has become a cliche to look back through rose-tinted glasses at the world of Bagpuss, space hoppers and Curly Wurlies - all of which, I should admit, dominate my memories of the decade, because I was born in 1974.

But in a funny way, those things actually work very well as symbols of the decade, because what they represent is the reality of everyday affluence.

The fact that so many children had space hoppers, ludicrous as it may seem, is testament to the fact that even working-class families now had a solid disposable income and could afford toys for their younger members.

Even Star Wars, which first went on general release in Britain in early 1978, would never have become such a phenomenon had not so many children had the pocket money for all those Palitoy figures.

The truth is that behind all those terrible economic and political headlines, most ordinary families in 1970s Britain were better off than ever.

While people shook their heads sorrowfully over the breakfast table, digesting the news of some new IRA bombing or absurdly petty British Leyland strike, their surroundings often told a rather more optimistic story.

The lurid furnishings of their new suburban homes, the swanky hostess trolley in the kitchen, the bottles of Blue Nun and Black Tower cooling in the fridge, the brand new colour television in the lounge, the turmeric-coloured Rover SD1 in the drive, even their teenage children's painfully tight flared trousers - all of those things, which are so easy to satirise today, reflected the realities of a brave new world, forged in the crucible of mass abundance.

And although we often think of the 1970s as the end of something - the tired, miserable hangover after the long party of the Swinging Sixties - it makes much more sense to see them as the beginning of a new chapter in the story of modern Britain.

For most ordinary people, after all, the 1970s brought new experiences that their parents and grandparents could barely have imagined.

The most obvious example is the package holiday abroad, which 30 years earlier would have seemed like something from science fiction.

In 1971, British tourists took some four million holidays abroad - which then seemed an awful lot. But by 1973 that figure had jumped to nine million and by 1981 it was more than 13 million.

For even relatively poor, working-class families, holidays no longer meant Blackpool and Bognor but Malta and Majorca. And "abroad", once regarded with such suspicion, now meant two weeks of sun, sea, sand and sangria.

The boom in foreign holidays was only one example of a nation broadening its horizons. Yes, the TV schedules were still full of casual sexism and astonishing racism, while teenage boys who wore make-up in emulation of Marc Bolan and David Bowie often risked a vigorous kicking.

But from professional working women to long-haired footballers, from pornography in the corner shop to computers in the office, the cultural texture of British life probably changed more quickly between 1970 and 1980 than during any other post-war decade.

As late as 1971, women were banned from going into Wimpy Bars on their own, after midnight, on the grounds that the only women out on their own at that hour must be prostitutes.

Yet only eight years after that rule was lifted, Margaret Thatcher was walking into Downing Street as Britain's first woman Prime Minister. There could hardly be a better symbol of change.

Of course Mrs Thatcher's election victory is often seen as the decisive watershed in our recent history - the moment when everything was radically transformed, for good or ill. But Mrs Thatcher won in 1979 not just because she offered something different, but because she understood how much Britain had changed already.

As a working woman distrusted by the traditionalists, she was a fitting representative of the changes that had remade Britain in the previous 10 years.

She appealed to a new spirit of self-interested materialism - the same spirit that the Yorkshire miners' leader, Arthur Scargill, of all people, had captured as early as 1970, when he told an interviewer: "You only get as much as you are prepared to go out and take."

And she appealed to a new ethic of populist individualism - the same ethos of permanent self-reinvention that David Bowie had captured, when as the androgynous Ziggy Stardust, he told Britain's teenagers that "one isn't totally what one has been conditioned to think one is".

Thatcher, Scargill and Bowie. You could hardly imagine three stranger bedfellows - the grocer's daughter from Grantham, the Marxist miner from Barnsley, the gender-bending rock star from Bromley.

But in their different ways, they captured the complicated, contrary spirit of a decade that was richer, more interesting and a lot more important than most of us realise.

Dominic Sandbrook's series The 70s is broadcast on BBC Two at 21:00 BST on Mondays 16, 23 and 30 April and 7 May 2012. Catch up via BBC iPlayer (UK only) at the above link.

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Was the 1970s really such a grim decade?

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Of all post-war decades, the 1970s has undoubtedly had the worst press, but the truth is that most ordinary families in 1970s Britain were better off than ever, writes historian Dominic Sandbrook. The 1950s are symbolised by the television and the washing machine, which transformed the lives of so many families.

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Swearing  |Sex Pistols interview |Today Show |Thames TV | 1976

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BÉRURIER NOIR. Portrait d’une jeunesse révoltée et engagée dans les années 1980

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Punk: 50 years of Rebellion - Twist - Watch the full show | ARTE

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Has the subversive and rebellious movement become too commercial? 50 years after the Sex Pistols burst onto the scene in Britain, what is left of the punk spirit? Twist talks to German artist Daniel Richter, Parisian designer Jeanne Friot and Georgian group Gerchi.