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End of The Century: The Story of The Ramones

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Standard Def Screener.
Directed by: Jim Fields & Michael Gramaglia
Edited by: John Gramaglia & Jim Fields

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The story Of The Mighty MC5 - Part 1 - The Beginning

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The story of MC5 with pictures and video.

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Arturo Vega Ramones designer

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In 1971, budding artist Arturo Vega was arrested in Mexico City with 149 others. The big, boldface headline in the Mexican daily El Nacional on February 13, 1971 read: "Federal Judicial Police Arrest 149 Drug Addicted Hippies of Both Sexes."

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Vega (1947-2013) carried this clipping around with him until his death in 2013 , a stark reminder of the oppression he narrowly escaped when he emigrated to New York City. The detained "hippies" were actually 148 important actors, actresses, artists, writers, poets and filmmakers of the day, including the famous Chilean filmmaker Alejandro Jodorsky . They were all arrested at a party in an affluent suburb of Mexico City.

The clipping would become more than a reminder of his "hippie" past. While he initially moved to New York not long after the arrest to pursue a career in the performing arts, auditioning for the touring version of the Broadway musical 'Hair," he had been actively producing collages as a visual artist starting in 1970.

In his visual arts work, Vega used that headline clip as a springboard for exploring his fascination with the power of the printed word in hundreds of paintings and prints throughout his prolific career as a graphic designer and artist. Today, he is best known for his association with-and designing the round logo for-the Ramones, who are currently the subject of a retrospective called " Hey! Ho! Let's Go: Ramones and the Birth of Punk " at the Queens Museum running through July 31, 2016.

Soon after arriving in New York City in 1973, Vega took a large loft space at 6 East 2nd Street to live in and use as a studio. He started painting works based on grocery store signs but changed direction after meeting musician Jeffrey Ross Hyman (soon to be better known as Joey Ramone), before the Ramones formed in 1974 and started playing at CBGBs, located around the corner from Vega's loft.

I met Arturo at CBGBs in 1977 and was invited to his loft around the corner for the nightly after party. The loft was like a version of Warhol's Factory loosely organized around the Punk subset of the avant-garde, with art covering the walls, well-worn couches and beds, and work tables strewn about the airy space.

Over the next few years I would help Arturo with his art career, setting up shows with him, archiving photos and memorabilia for the band, and making endless rounds of art openings in the East Village and Soho. As the Ramones' fortunes grew, he started collecting art-Warhol, Barbara Kruger, Richard Hambleton-and he backed the short-lived gallery, Spiritual America, I co-founded with Richard Prince in 1983.

Just about every time I went to the loft, he gave me a couple of Ramones t-shirts, and by the 1990s I had more than 50 of them. For the exhibition at the Queens Museum, I have loaned three of the shirts and a rare canvas handbag he designed for a Japanese company.

At the beginning of his association with the band, Vega was knocked out by the power of the Ramones' high energy, three-minute songs and what he considered their all-American look of ripped jeans, sneakers and leather jackets, and he let them start living and rehearsing at his loft. To make them stand out, he designed a banner for the stage backdrop that simply read RAMONES in big black letters on a white background, which he hung in the loft while they practiced. The font and typography were lifted directly from the headline of El Nacional.

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"My house became 'The Ramones Loft.' It was warehouse and headquarters, often used for interviews and photo shoots," Vega noted on the now defunct RAMONESWORLD website he created for the band. Referencing an early photo of the band, Vega explained: "In the background you can see the first backdrop I hand-painted on the occasion of a show with the Heartbreakers. We thought they were real competition so I felt I had to do something extra for that show."

From there, Vega printed the simple new one-word logo on t-shirts to sell on the road to help pay his way to accompany the band so he could run the lights for their shows. Band members initially snickered at the idea, wondering if anyone would bother to buy a shirt with the name of an unknown band on it. In a video interview Vega claims he printed about three dozen shirts and they all sold.

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The band took off and the Ramones were signed to a deal within a year. Bigger shows were booked, and Vega, who was constantly on the lookout for words and symbols for inspiration, began pulling from some unlikely sources.

He found a cool looking eagle on a belt buckle and took pictures of himself wearing it in a photo booth in Times Square. He used the eagle under the band's name for the logo in the next version of the t-shirt in 1976.

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But the logo needed more.

"I saw them as the ultimate all-American band," he told Jim Bessman, author of the book " Ramones: An American Band ." " To me, they reflected the American character in general, an almost childish innocent aggression. I thought, 'The Great Seal of the President of the United States' would be perfect for the Ramones, with the eagle holding arrows to symbolize strength and the aggression that would be used against whoever dares to attack us, and an olive branch, offered to those who want to be friendly. But we decided to change it a little bit. Instead of the olive branch, we had an apple tree branch, since the Ramones were American as apple pie. And since Johnny was such a baseball fanatic, we had the eagle hold a baseball bat instead of the arrows."

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"This is the way the original logo looked on the back cover of the second album, 'Leave Home.' Yes, it's before computers, and there was a lot of real cut-and-paste."

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Going back to the newspaper clip, the development of the Ramones logo reflects a direct connection to the eagle in the circle of the letter O that was used at one time for the El Nacional front page logo.

Developing the Ramones logo further, a pattern of red arrows was added to the body of the eagle. Taken from a Polish-made nylon shirt Vega bought in a store on 14th Street called Robbins, the shirt was made in a few different patterns; Vega bought all of them. He wore some, taking pictures of himself wearing them with an eagle belt buckle, and kept others in original packaging - one of which now resides in a glass case in the permanent Ramones Museum in Berlin, Germany.

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Vega replaced the words "Seal of the President of the United States" on the t-shirt with the names of the band members. In early versions of the logo, the words LOOK OUT BELOW replaced E PLURIBUS UNUM on the ribbon streaming from the eagle's mouth. In later versions the words were changed to HEY HO LET'S GO in a nod to the chorus of one of the band's most popular songs.

"As much as anything, it was Arturo's very decision to make a logo for a rock group that is important," Queens Museum curator Marc Miller wrote in an email to Hamptons Art Hub. "The only real precedent was the 'tongue and lips' logo that John Pasche created for the Rolling Stones in 1971. Pasche was working with a world-famous group and his logo was designed primarily to reinforce the Stones bad boy image. Over the years it has been used only intermittently because frequently the connotations it evoked did not conform to the Stones evolving identity."

"Arturo's challenge was different since he was working with an unknown group," Miller wrote in the email. "His logo based in the presidential seal sought to confer stature and authority and has become inseparable from the Ramones. This can be attributed to the strength of the design and to the fact that stature and authority are always desirable attributes. Its success is also rooted in the inspired way Arturo has been able to exploit the design's flexibility, adjusting it to reflect Ramones personnel changes as well as the group's new projects."

After the logo was designed for the t-shirt, the next step was to take it to the stage, wrote Vega on the band's defunct website. "Here I am working on the second eagle stage backdrop, the 'white one.' It was painted right on the floor."

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Over the years the design would morph as band members came and went and different events were staged.

The shirt reinforced the branding of the band and became a real phenomenon, selling at an enormous rate. At first Vega printed them in his loft, buying the black shirts in bulk on Canal Street and setting up a printing shop in the loft. He hired local neighborhood kids to help.

I remember going to the loft in the 1980s and seeing hundreds of freshly printed shirts hanging from the overhead pipes, the overwhelming smell of silkscreen ink in the air. Music was always playing, beers were consumed and the print-a-thon went on for days.

Eventually the demand was too great, and Vega began licensing the production of the shirts to other companies. Soon that deal grew into something much larger as he made licensing deals around the world for everything from sneakers and socks, to shorts, jackets, wallets, skate boards, baby clothes, hats and stickers-all bearing the logo. They were, and still are, sold in stores globally and online.

At a show I attended in Miami Beach in the late '80s at the Cameo Theater, I watched Vega-who had been dubbed the band's "artistic director"- running the light board he designed, then running to the merchandise table to sell shirts. He left the venue with a large duffel bag. Later I saw it was stuffed with money, thousands of dollars in small bills, proceeds from the show. At venues in South America the band played to crowds of 60,000 and more, Vega said that every kid that went bought a $25 shirt. You do the math.

"They sold more T-shirts than records," said Danny Fields, the band's early manager in an interview with the "and probably they sold more T-shirts than tickets."

Vega had a large-scale logo tattooed on his back a few years before he died.

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Today the shirt can be seen on someone almost everywhere you go. There have been countless imitations by other bands. The exhibition at the Queens Museum, "Hey! Ho! Let's Go: Ramones and the Birth of Punk", has many variations of the shirt as designed by Vega, including three examples on loan from my collection of about 50. Taken as a whole, the exhibition is a powerful testament to the enduring appeal of Vega's brilliant, bold design.

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In a bizarre coincidence, at the opening of the Queens exhibit attended by thousands on April 10, 2016, a fan named Christina Gemora wore the arrow shirt. This thrift shop find was the same shirt that inspired elements of the logo 40 years ago. She had no clue about its importance. I couldn't resist a photo-op of her in front of the banner.

"Hey! Ho! Let's Go: Ramones and the Birth of Punk" was organized by the Queens Museum and GRAMMY Museum in collaboration with Ramones Productions Inc., JAM Inc., and Silent Partner. The exhibit is co-curated by Queens Museum guest curator Marc H. Miller and Bob Santelli, executive director of the GRAMMY Museum.

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BASIC FACTS: "Hey! Ho! Let's Go: Ramones and the Birth of Punk" is on view at the Queens Museum, Flushing Meadows Corona Park, Queens, NY from April 10 through July 31, 2016. The exhibition then travels to the GRAMMY Museum in Los Angeles where it will be exhibited September 16, 2016 to March 2017.

Programming at the Queens Museum includes two conversations presented on June 19, 2016, from 1 to 4:30 p.m., in connection with the Ramones exhibition.

At 1 p.m., "Punk Magazine: The Original Fanzine" will feature Punk co-founder and cartoonist John Holmstrom talking with Roberta Bayley, Punk's principal photographer and photo editor.

At 3 p.m., "The Legacy of Arturo Vega, Art Director of the Ramones" will feature artist Ted Riederer and author and filmmaker Sandra Hale Schulman. Schulman is a regular contributor to Hamptons Art Hub.

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Copyright 2016 Hamptons Art Hub LLC. All rights reserved.

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Arturo Vega and the Making of the Ramones Logo | Hamptons Art Hub

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In 1971, budding artist Arturo Vega was arrested in Mexico City with 149 others. The big, boldface headline in the Mexican daily El Nacional on February 13, 1971 read: "Federal Judicial Police Arrest 149 Drug Addicted Hippies of Both Sexes." . .

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Hailing from Brooklyn, back when it was still a gang town, Jerry Nolan (1946-1992) was an indisputable force in shaping the look and sound of the city's biggest glam and punk rock bands. As the drummer for The New York Dolls and The Heartbreakers, Nolan set the pace, crafting the face of hard rock during the 1970s - a distinctive combination that was at once raw, rough and rugged, yet highly dandified and charismatic.

"Jerry saw Elvis when he was really young, back in 1956. It reminded him of the gangs he saw in New York," says Curt Weiss, author of Stranded in the Jungle: Jerry Nolan's Wild Ride - a Tale of Drugs, Fashion, The New York Dolls, and Punk Rock (BackBeat Books), which released its Kindle edition yesterday. "For Jerry, gangs and rock and roll were interchangeable. It was a secondary family. He never had a dad; his mother kept divorcing, remarrying, and moving around. The only constant men in his life came through gangs or music."

Nolan, who had learned to sew and cut hair, created what he described as a "profile," which allowed him to stand above the crowd. "People thought he was in a band even when he wasn't," Weiss notes. But soon enough, he was. He joined The New York Dolls in 1972 after drummer Billy Murcia died of asphyxiation following efforts to revive him after a drug overdose while on tour in England.

"Jerry had been playing in bands like Suzy Quattro, Billy Squier, Wayne County - he could play with anybody," Weiss recounts. "He laid down that beat and reminded everyone where the cuts, accents, and changes were. He was a master of simplicity on that first record. His style of drumming is a template for what Paul Cook did with The Sex Pistols."

Hailed as the second coming of The Rolling Stones, The Dolls recorded and released their eponymous debut album in 1973, filling the void left by the dissolution of The Velvet Underground. True provocateurs on all fronts, The Dolls embraced cross-dressing decades ahead of popular culture, donning high heels, flamboyant hats and androgynous clothes as decidedly cisgender heterosexuals.

"If you listen to that first album, there's not a bad song," Weiss opines. "They are three-minute packages of pop songs, with that unmistakable Johnny Thunders sound of an alley cat whose tail hit the third rail. It's very simple but they were undisciplined, sloppy, and out of tune. The press loved them but the problem was taking it to the radio and taking it outside of New York. They were too early. America was not ready for men who looked like women."

Although commercial sales were poor, Malcolm McLaren took notice and decided to manage them. "Malcolm spurred them on to write new songs including Red Patent Leather [which is] about Chairman Mao," Weiss explains. "They played behind a hammer and sickle. And this was in '75 when America was still in the Cold War. It was too early and too raw."

After their second album Too Much Too Soon (1974) failed to sell, a feeling of panic overcame Nolan. "Jerry was doing heroin," Weiss explains. "He and guitarist Johnny Thunders bonded over that. Jerry's trauma was abandonment - not really having a father; Johnny also never knew his father."

The Dolls end came on a Malcolm McLaren led tour. Vocalist David Johansen got sick of them and said they were replaceable. Nolan told him, 'The hell with you.'" He and Thunders returned to New York where they were treated like kings. In 1975, they started The Heartbreakers, a new band with bassist Richard Hell and Walter Lure.

"It was their way to move into the new look, the new sound," Weiss explains "As much as The Dolls kick-started CBGB, they were still at the end of glam. The Heartbreakers immediately went to the front of the class. The problem was they were unrepentant drug addicts."

McLaren invited The Heartbreakers on The Sex Pistols' infamous Anarchy in the UK tour, where they only played seven of the 19 gigs booked. "They got a record deal out of it - but again, they had the wrong people in the studio. The record, L.A.M.F. - gang slang for 'Like a Mother Fucker' - is a flawed masterpiece," says Weiss.

Yet once again, the band was unable to crossover. "That lack of success, the lack of success of The Dolls, watching Peter Criss, a childhood friend who wasn't half the drummer he was become a star in KISS, Suzy Quattro sell millions of records, that all just tore at him," Weiss goes on.

"Even Thunders, a walking trainwreck, was still a cult star. Johnny, just like all those father figures, would eventually abandon him. Jerry had a lot of pain. But he was not bitter. He helped define these two bands both musically and stylistically who are as influential as anyone - from Bob Dylan to David Bowie. There are so many bands that saw The Dolls and got the message."
Stranded in the Jungle: Jerry Nolan's Wild Ride - a Tale of Drugs, Fashion, the New York Dolls, and Punk Rock, published by BackBeat Books, is now available on Kindle.

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Hailing from Brooklyn, back when it was still a gang town, Jerry Nolan (1946-1992) was an indisputable force in shaping the look and sound of the city's biggest glam and punk rock bands.

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Synopsis

Born in 1946 in London, England, Malcolm McLaren was one of the creative forces behind the sound and attitude of the Sex Pistols. With a passion for style and social friction, the daring McLaren went on to manage several other bands following the Pistols' demise in 1978, as well as record several albums of his own material. He died in Switzerland from complications related to cancer on April 8, 2010.

Early Life

Artist, musician, band manager. One of the creative forces behind English punk rock and the Sex Pistols in particular, Malcolm Robert Andrew McLaren was born January 22, 1946, in London, England. The son of a Scottish engineer, he was raised primarily by his maternal grandmother, whom he later credited with fostering his well-regarded subversive spirit.

As such, school was not a perfect fit for the creative McLaren. He attended more than half a dozen different art schools, including Harrow Art School, where he befriended Jamie Reid, who would later serve as the brains behind the Sex Pistols' provocative graphics. His struggles in school led one institution to expel him and another, Croydon College of Art, to try to have him committed to a mental institution.

In 1971 McLaren dropped out of school for good and opened a boutique shop in Chelsea. Initially called Let It Rock and later renamed Too Fast to Live Too Young to Die, the store specialized in 1950s "Teddy boy" fashions.

Life in Music

McLaren's world changed when the New York Dolls, a glam-rock band that performed in high heels, visited his shop one day. McLaren and the musicians quickly hit it off and eventually he followed the band back to the United States, where he worked as its manager. McLaren brought an unusual approach to his job, pushing the band to shock its American audiences as much as possible. In one instance he had the Dolls perform in Maoist Red Guard uniforms and play in front of a hammer-and-sickle flag.

But the Dolls' run was short-lived, and after the group broke up, McLaren returned to London intent on trying to ramp up what he'd tried to do in the States.

He found his new cause in a group of musicians headed up by lead singer John Lydon, later renamed Johnny Rotten due to the condition of his teeth. In every shape and form, the Sex Pistols was the product of McLaren's imagination. He put the band together and orchestrated the outrage that made them the toast of the English punk rock scene. Rotten called McLaren "the most evil person on earth."

With singles like "Anarchy in the U.K." and "God Save the Queen," the Pistols climbed the charts in Britain. The group's short run consisted of just one album, the 1977 release Never Mind the Bollocks: Here's the Sex Pistols. In 1978 the group embarked on its first and only American tour. It quickly concluded when Rotten walked off the stage at a performance in San Francisco, leaving the band behind and marking the end of the Pistols as a group.

Even with the band's demise, McLaren continued to stay heavily involved in the music scene. He went on to manage several other acts, and in 1983 issued an album of his own, Duck Rock, which featured a combination of world music and hip-hop. Several other albums followed, including Fans (1984), Waltz Darling (1989), and Paris (1994).

Later Career

Over the last several years of his life, McLaren stayed busy with several film, television and radio projects. He was one of the producers of the docu-drama Fast Food Nation (2006) and oversaw the production of a pair of BBC2 radio presentations, Malcolm McLaren's Musical Map of London and Malcolm McLaren's Life and Times in L.A.. McLaren fathered a son with his first partner, designer Vivienne Westwood, and was in a relationship with another partner, Young Kim, at the time of his death. He'd been battling cancer for several months and passed away at a clinic in Switzerland on April 8, 2010.

His varied, bombastic career was driven, he once said, by some advice an old art school teacher had given him. "We will all be failures," the educator told the young McLaren. "But at least be a magnificent, noble failure. Anyone can be a benign success."

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Born in 1946 in London, England, Malcolm McLaren was one of the creative forces behind the sound and attitude of the Sex Pistols. With a passion for style and social friction, the daring McLaren went on to manage several other bands following the Pistols' demise in 1978, as well as record several albums of his own material.

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How Vivienne Westwood's Punk Revolution Changed Fashion Forever

How Vivienne Westwood's Punk Revolution Changed Fashion Forever

Soon enough, Paradise Garage shut down, and by 1971 the couple took over the space. Expanding on their brand of romanticizing the 1950s, they transformed the space into Let It Rock. With the expansion, Westwood, who was still perfecting her sewing, began to sell reinterpreted renditions of Teddy Boy fashion. The style, which harkened back to post-WWII England, mainly composed of flamboyantly colored zoot suits, drainpipe pants and thick sole creepers.

Around the same time, resentment started to surface. The established super groups of the sixties-The Stones, Beatles, etc.-felt stale. They were all glitz and glamour, no edge. Hardened New York youth felt disconnected, that the established music scene did not accurately portray their economic struggle and turmoil. McLaren, who was living in-between London and New York, saw this emerging dissidence and positioned himself to seize the opportunity. He began to manage The New York Dolls, a key player in the proto-punk movement. Despite their quick demise, The Dolls' influence was massive. They played fast, hard, loud and aggressive. When they performed, McLaren had them fitted in all red uniforms, reminiscent of Soviets.

A student of the Situationists-the French political group who believe in absurd performances and propaganda to invoke political change-McLaren himself saw something in the anti-capitalist, anti-culture ethos of proto-punks like The Dolls. They rejected the establishment, felt sympathetic to Stalin and outwardly rejected Nixon. More than just resonate with their ideals, Mclaren knew he could package and mass-produce their malcontent.

By they time he returned to London, Let It Rock was no more. McLaren and Westwood had turned their attention to the disgruntled youth directly in front of them. The decaying façade out front was stripped away and the shop took on a new name, Too Fast To Live, To Young To Die. While the new store still looked towards the past-with influences such as Marlon Brando and James Dean-the slick leather jackets and heavy distressing fit in well with the proto-punk movement that was quickly crossing the pond. Too Fast To Live stocked ripped black T-shirts repaired with safety pins and inflammatory words such as "PERV," "ROCK" and "SCUM" emblazoned across the chest. Vests had zippers directly over the nipple and pants were adorned with glitter glue. Bleached chicken bones were attached to certain pieces. The goal was to recreate the heroes of youth rebellion in the here and now. Westwood pictured how the Wild Ones dressed in the face of insurmountable debt in the middle of Chelsea, and the results were surprisingly prescient.

The store's name was quite apt-within two years, Too Fast To Live, Too Young To Die was scrapped for a new retail experience. As proto-punk evolved from a niche sub-genre to a serious musical movement, Westwood and McLaren delved deeper into the subculture. No longer interested in romanticized icons, they immersed themselves amongst the neon-colored hair and tight spandex that populated their neighborhood. Employee Glen Mattlock-future bassist of the Sex Pistols-would help erect three pink rubberized letters on the shops façade that would change Punk forever: SEX.

Easily the most famous iteration of the store, SEX was a backlash against all things retail. The windows-like those of an actual fetish shop-were opaque, forcing those interested to physically walk inside in order to even know what was for sale. The shop was open sporadically, sometimes for only a few hours in the evening. McLaren famously explained, "Making money was never even a goal." The store interior was covered with a privately sourced material from the Pettonville Rubber Company: a spongy, pink rubber that was pressed against all walls to create the appearance of a womb. Punk icon JORDAN operated as the overseer, clad in full bondage.

SEX was as much about attitude as it was about fashion. While the tight latex and burnt T-shirts were key pieces, the shop's main commodity was punk itself. As early as 1972-back in the Too Fast To Live days-Mattlock, Sid Vicious and Johnny Rotten, all future Sex Pistols, were regulars at 430 Kings Road. Other key punk figures such as Mark Prionni, Gene October and Mark Stewart would also make frequent stops to hang with McLaren, buy Westwood's designs and smoke unseemly amounts of cigarettes. By the late '70s, when Punk kicked into high-gear, SEX was no longer a store, but a destination as inextricably linked with the scene as leather and dyed hair.

Even before managing the Dolls, McLaren took interest in Mattlock and his infant group, The Strand. Following his stint in New York working with the Dolls, McLaren became enamored with the scene developing in Lower Manhattan and reshaped The Strand using that proto-punk essence. The result? The Sex Pistols. In 1977, in honor of Queen Elizabeth II's Silver Jubilee, the Sex Pistols released their now seminal counter-culture anthem, "God Save The Queen." The record was outwardly rejected by nearly every radio station and became one of the most censored recordings in British history. While critics protested, fans flocked and sales skyrocketed. The single moved 150,000 units in its first week, a unequivocal, massive success. The group's and only album, Never Mind the Bollocks, Here's the Sex Pistols, would go on to hit number one on the British charts. Punk had officially arrived, and at the Top of the Pops no less.

This shocking commercial boom coincided with the final iteration of 430 Kings Road, Seditionaries. Following the success of SEX, architect David Connor took over the space and remodeled the store to mimic Dresden following World-War II. Trading straight-up sex appeal for hardcore fetishism, Westwood fully embraced BDSM culture and made it central to her fashions. By the late Seventies, McLaren and Westwood-with significant help fromm shop manager JORDAN, credited for creating the punk look-were styling and managing the most successful punk act in the world. Through McLaren's work with the Sex Pistols, the duo managed to dictate the punk aesthetic, dominate the charts, airwaves and streets simultaneously.

In the midst of their 1978 American tour, Syd Vicious walked off stage and the Sex Pistols called it quits. Shortly after, McLaren and Westwood would do the same. By 1984, the couple separated, with McLaren focusing on music management and Westwood switching lanes from street to high-fashion, where she became an international success following her seminal 1981 collection, "Pirate."

While 430 Kings Road did briefly shut its doors, the shop has since re-opened, now managed by McLaren and Westwood's son, Joseph Corre and half-brother Ben Westwood. No longer a punk emblem, the shop, now called World's End, operates as a working museum, selling both mainline Westwood and archival pieces from the Seditionaries hey-day.

For those who have spent any significant time on Grailed, you may have noticed a bit of a pattern. The most sought after items on the site, from vintage Helmut Lang and Raf Simons to ENFANTS RICHES DÉPRIMÉS, share a thematic tie. Whether it's the destroyed tees and bondage straps or inflammatory logos and burn marks, a certain aggressive, counter-culture mentality runs through our favorite finds. To varying degrees, they all embody the punk spirit birthed at SEX. This is no accident. Even Kawakubo and Takahashi are not immune to the running obsession with Westwood. All of the above, and more, have cited her as a major influence. Even following SEX, Westwood was one of the earliest designers to politicize fashion, boldly expressing her often controversial viewpoints.

As with most things, King's Road is not what it once was. The dilapidated melting pot of contempt, colored hair and ill-tempered youth has since become a bustling downtown commercial hub. Yet, 430 Kings Road still remains. You can always find Punk at World's End.

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How Vivienne Westwood's Punk Revolution Changed Fashion Forever

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How Vivienne Westwood's Punk Revolution Changed Fashion Forever How Vivienne Westwood's Punk Revolution Changed Fashion Forever Soon enough, Paradise Garage shut down, and by 1971 the couple took over the space. Expanding on their brand of romanticizing the 1950s, they transformed the space into Let It Rock.

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Founded on the Bowery in New York City by Hilly Kristal in 1973; CBGB was originally intended to feature its namesake musical styles, but became a forum for American punk and new wave bands.

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The Guns of Brixton Lyrics: When they kick at your front door / How you gonna come? / With your hands on your head / Or on the trigger of your gun / When the law break in / How you gonna go? / Shot down on

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The Clash est un groupe de rock britannique, formé à Londres dans les années 1970, et connu pour être un des groupes majeurs de l'histoire du rock et du punk rock britannique. Le groupe commence sa carrière en 1976 et se dissout en 1985.

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Linton Kwesi Johnson - Inglan Is a Bitch

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Inglan Is a Bitch Lyrics: W'en mi jus' come to Landan toun / Mi use to work pan di andahgroun / But workin' pan di andahgroun / Y'u don't get fi know your way around / Inglan is a bitch / Dere's no escapin

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A life in writing: Thirty years since the release of his first album, reggae poet Linton Kwesi Johnson is still using his verse to fight racism and document black working-class life in London

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Inglan is a bitch

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Linton Kwesi Johnson - Inglan Is A Bitch -Whistle Test 1980 ( ENGLAND IS A BITCH ) Linton Kwesi Johnson (alias LKJ) est un Dub poet (poète Dub) britannique et musicien de reggae né le 24 août 1952 à Chapelton en Jamaïque. Kwesi est une transcription de "Crazy", fou en Anglais, qui se prononce Kwesi en créole jamaïcain.