All language subtitles for Punk In London

- Right now

* Ha, ha,
ha, ha, ha *

* I am an anti-Christ

* I am an anarchist

* Don't know what I want
But I know how to get it *

* I want to destroy
the passerby *

* 'Cause I want
to be *

* Anarchy

* No dog's body

* Anarchy for the U.K.

* It's coming sometime
and maybe *

* I give a wrong time,
stop a traffic line *

* Your future dream is
a shopping scheme *

* 'Cause I

* I want to be

* Anarchy

In the city.

* How many ways to
get what you want *

* I use the best,
I use the rest *

* I use the enemy

* I use anarchy

* 'Cause I

* Want to be

* Anarchy

* It's the only
way to be *

* Is this the MPLA

* Or is this the UDA

* Or is this the IRA

* I thought it
was the U.K. *

* Or just

* Another country

Another council tenancy.

* I

* Want to be

* Anarchy

* And I

* Want to be

* Anarchy

Oh, what a name.

* And I

* Want to be

* An anarchist

* I get pissed, destroy

* I smash the light in anger
Push my bed against the door *

* I close my lids
across the eyes *

* I don't need
to see no more *

* The eye receives the messages
and sends them to the brain *

* No guarantee the stimulus
must be perceived the same *

* When looking through
Gary Gilmore's eyes *

* Looking through
Gary Gilmore's eyes *

* Looking through
Gary Gilmore's eyes *

* Looking through
Gary Gilmore's eyes *

* Looking through
Gary Gilmore's eyes *

* Gary don't need
his eyes to see *

* Gary and his eyes have
parted company *

- That's it.

- Anyway, the beginnings
of punk.

Um...

- Why don't I let
you talk, go on.

- Why don't you let me talk.
What was the--

Yeah. In London last year,
right, there was a pub scene,

and you had various
bands playing a lot of,

you know, the pubs in London.

A lot of people were having
music in pubs, you know.

Hope & Anchor, the Keni--
Kensington, The Nashville.

Jim, in or out.

- Go on, then.

Go on, tell them
about punk rock.

- The identification
with--with--

to identify with
something of their own.

They have nothing
of their own.

- No kids have had
a message for years.

- Everybody would say how
great the '50s were,

how great the '60s were,
you know, and that we were

all living off the '60s,
you know.

- Not even related to the '60s.

- Put down all that old crap
that was going down, you know,

like, you know, we needed
an identity of our own,

you know, 1977.

- No. This political angle
ain't new.

They've all done it all before

in that movie "The Privilege"
with Paul Jones.

- "Street Fighting Man" by
The Stones, you know.

I mean, that was political,
you know.

- But the point is, we just,
you know, talking about youth

and singing songs about
problems of everyday life.

People have just been
singing songs

about science fiction
fantasy and shit like that.

- You know, I mean, what
relevance is, like,

I love my baby, you know,
and I've shagged my bird

'round the back street,
you know,

what relevance
is that today?

There are problems,
you know, which have been

pushed underground
for too long,

which today have to be
brought up to light.

- People ain't got time
to think about the cosmos

and the universe, you know.
- Yeah.

- When they ain't got
any money to live on.

The whole Western world's
a big joke.

- You go around, you know,
you got 50 pence, you know.

You used to get a meal
or something.

Go to the movies.

It's totally boring,
you know, after the, like,

the hippie era, you know, where
like, everything is free, man.

You know, it was, like, you
could live off that, you know.

It was great.

It was great
to live off that.

I used to live off that,
personally.

That scene, you know,
that era, you know?

But, uh...

This is it, you know.

And I just thought, well,

with the crap that was
going down then, you know--

One second.

The crap that was
going down then, you know,

it was, like, not relevant
to me at all, you know.

It was nothing to do with
the way I felt, you know.

So I thought, well, I'll
do it myself, you know.

Come spring, and then the band
got together, you know.

James Stevenson on guitar,
Carey Fortune on drums,

and Andy Czezowski,
our manager.

- Hello.

- You know,
Simon Vitesse on bass.

You know, we just got together
and we thought, right,

let's change it.
Let's do something.

- Sound out of
tune, actually.

- Play the right key, there.

- Tune to a chord.

- Take five.

- You're not filming this.

- Yeah, yeah.

- One, two, three, four.

Yeah!

* Standing around just

* For seven days a week

* I won't even get
no singing on fee *

* I feel
ripped off, yeah *

* Hey, what about you

* Where was I born

* What are we gonna do

* But this I say

* We have
the right to work *

* We have the right
to work *

* We have
the right to work *

* We have the right
to work *

* Hey, yes we do

* I don't even know
what tomorrow will bring *

* But let me tell you, having no
future is a terrible thing *

* Standing around just
waiting for a career *

* Listen

* We don't take drugs
and we don't drink beer *

* We're not dead weight

* We have the right
to work *

* We have
the right to work *

* We have the right
to work *

* We have
the right to work *

* Hey, yes we do

Chelsea was like, um...

one of the first bands ever

to play the Roxy, you know,
with other bands, you know?

I think it's very,
very important to the music
that's going down now.

It's very hardcore,
very political.

We have this single
out "Right to Work,"

which is about, you know,
the millions of kids

that leave school, you know,
who haven't got a job

and the individual--really
the rights of the individual

to do their thing,
you know.

That's what it's about.

You have the right to work.

- When the punk rock
business was starting up

and groups wanted to play,
they were rejected

by everybody and everywhere,

and so it was very difficult
to get work for them.

So the obvious thing was to try
and do something yourself,

which was equally as
difficult because we have

a lot of problems
in London about licenses

and drinking and
playing loud music.

So there's a lot
of problems that came up
about the same time.

See, I managed a
group called The Damned,

and I also managed a
group called Generation X.

When I worked with Generation X,
I realized that

there's a problems that
are involved with...

with getting work
for these bands,

so the easiest thing probably

was to just find
a place yourself.

This I did by finding
a club called The Roxy Club,

and I put on this band
called Generation X,

and it worked very well,
which we knew it would.

At the same time, a lot of
new groups were coming

and playing in London
all the time,

so they actually
contacted me

to put on their groups
to play in the club.

But the club was on
a very loose basis.

I hired it every week,
and very expensive too

because the man wasn't prepared
to let me have the club

because he said there was
too much risk involved

because of teenagers
and drinking

and drugs and loud music.

So I had to pay very high
rent to compensate him.

But it was worth it to me
because we weren't so much

interested in making money,
but just to have some fun

and have an outlet for this
new energy which was growing

all the time,
especially the music

and the clothes and
the fashions, everything.

So we had an
understanding between us,

the sort of thing
we wanted to do.

So it became an
immediate success,

and we didn't have to advertise
because it wasn't necessary

to bring people from
the streets into the club

because we only wanted
people in the club

who were interested.

If they were interested in
the music and the clothes,

they would come down naturally
because of their friends

who would be involved
in something.

So it became a very exciting
and central point

to all the punk rock

because they had somewhere
to create things,

to mix with each other,

to form new bands
and exchange ideas.

It stopped because it just
got too much eventually.

The money that was wanted
from us, we couldn't afford

to generate from the bands
and from the people

because we had still
the restraints

of the outside world
which was high rent,

and they just
wouldn't meet.

We couldn't--

We wouldn't put
the prices up on the door

because we would be in the same
capacity as the people

who had--were in rock music
before, where they were

charging maybe five pounds,
you know, to get to see a group,

which we didn't
want to do.

We were only concerned
with charging

maybe one pound
to see three groups.

- Little girls should be
seen and not heard.

Oh bondage, up yours.

One, two, three, four.

* Bind me tie me

* Chain me to the wall

* I wanna be a slave

* To you all

* Oh bondage up yours

* Oh bondage no more

* Oh bondage up yours

* Oh bondage no more

* Chain-store chain-smoke

* I consume you all

* Chain-gang chain-mail

* I don't think at all

* Oh bondage up yours

* Oh bondage no more

* Oh bondage up yours

* Oh bondage no more

* Thrash me crash me

* Beat me till I fall

* I wanna be a victim

* For you all

* Oh bondage up yours

* Oh bondage no more

* Oh bondage up yours

* Oh bondage no more

* Bind me tie me
Chain me to the wall *

* I wanna be a slave

* To you all

* Oh bondage up yours

* Oh bondage no more

* Oh bondage up yours

* Oh bondage no more

* Bind me tie me
Chain me to the wall *

* I wanna be a slave

* To you all

* Oh bondage up yours

* Oh bondage no more

* Oh bondage up yours

* Oh bondage no more

* Oh bondage up yours

* Oh bondage no more

I write things--I
write most things about

plastic things and
artificial things.

You could say
they're social comments

that they're slightly different
to what anybody else is writing.

- Do you like plastic?

- I mean, it's there, isn't it?
I mean, it's part of now.

It's not a question of whether
I like it, it exists

and I just write
about things like that

in my major environment.

* Identity

One, two, three four

* Identity

* Is the crisis

* Can't you see

* Identity

* Identity

* When you look
in the mirror *

* Do you see yourself

* Do you see yourself

* On the T.V. screen

* Do you see yourself

* In the magazine

* When you see yourself

* Does it make you scream

* Identity

* Is the crisis

* Can't you see

* Identity

* Identity

* Identity

* Is the crisis

* Can't you see

* Identity

* Identity

* When you look
in the mirror *

* Do you smash it quick

* Do you take the glass

* And slash your wrists

* Did you do it for fame

* Did you do it in a fit

* Did you do it before

* You read about it

* Identity

* Is the crisis

* Can't you see

* Identity

* Identity

Well, bondage is just--
most people associate bondage

with sexual bondage and
things like that.

That's probably why we get
banned because they think

it's perverted, and, you know,
they think of whips

and things like that,
but it isn't really.

It's about any
form of slavery

and it's against that, and
saying no bondage, up yours,

you know, fuck off tonight.

- Cunt.

And that's that one, really.

And then what was
the other one we did?

Identity.

It's just about that's one
of the current problems

at the moment is identity,
you know,

people try to
identify something.

Everybody's looking
desperately to try

and identify with one
thing instead of themselves,

and that's what that's about.

- All right.

- I don't like talking,
you know, very much.

That's why I write songs.

- It's just I've always
liked energetic music,

but it became really
stagnant over

the last four years, sort of
with heavy metal groups

with long guitar solos
and 20-minute numbers.

And--

And I just like it
because it's so accessible.

You can get--it's really easy
to understand because it's,

you know, two-minute numbers

and you get
straight to the point

with no monkeying around,

not like someone like,
I don't know,

Led Zeppelin or
Black Sabbath or whatever.

It's really, like,
too long and drawn out

and you can go to sleep.

I've fallen asleep at a
Black Sabbath concert before.

Even the volume
couldn't keep me awake.

I was just really bored.

Punk is so much more energetic
and to the point, you know.

- There are some punk
groups like The Clash

with political
and social statements.

What do you think about it?

- They're really good.

It needed to be said.

A lot of groups are just
singing about love all the time,

and that's always been
done for years and years.

No one's ever sung
political songs before,

and it's about time
somebody did

because it affects
everyone all the time.

There's no doubt about it.

You can't get away
from politics.

It affects everybody--
every move you make...

from drinking a pint of beer
to buying a car or whatever.

It's all to do with politics,
which really stem from money.

And The Clash can put
political situations

and aspects of politics into
a really short space of time,

in two-minute numbers
and really get a point
over about it.

I think it's really good to be
able to sing about politics.

- How long are you
playing now, the bass?

- With The Lurkers?
- Uh, no.

- Oh, the--I've only
been playing the bass

since I've been
with the Lurkers,

which is about four-and-a-half
months, five months.

But I've mucked around
just playing the guitar

for about five years
without ever doing anything.

Just playing in my bedroom,

you know, to myself,

annoying my mom and dad and
making the ornaments shake

on people's mantelpieces,
you know?

Making the windows rattle.

This is the first time
I'm playing with a group

this time with The Lurkers,

and it's really good.

Better than all this stuff.

- What have you done before
you become a musician?

- Worked as a store man,
gardener,

packer in a factory,

French polisher.

Newspaper boy
when I was 10.

- Hot dog stand.

- I used to sell hot dogs...

...at race meetings.

I've been out--

I left school
five years now.

I've been on the dole for about
three years, haven't I?

- Off and on.

- Off and on for about three
years out of five unemployed.

Out of choice mainly.

Boomtown Rats.

Useless.

Not as good as the Lurkers.

- ... successful?

- They are.

Big record company behind them
putting their money into it.

That's the only way you
get a lot of fame.

Corrupt.

Sold out.

- Do you think you
may be corrupt too,

by the business sometimes?

- We don't have
the chance to be.

No one offered us
any money.

We've got managers,
but they've got nothing.

It's hard enough to get a
packet of strings out of them,

a set of strings,

let alone a hundred
thousand pound advance

to live in luxury.

Have to live in this place.

We're up in the sky.

Talking to the birds as
they fly past the windows.

- Now, question
to your parents.

What do you
think about punk rock

and your son now
as a musician?

- Well, I'm glad he's going
on a bit, you know?

- I'm glad he's doing
something he likes, you know?

- I've always been
aimless, haven't I?

- Yeah, drifting about.

- I've never done anything
till I was in a group.

- Yeah.

- Have you ever seen
a concert of The Lurkers?

- No. No.

- They'd have to come
with ear plugs on.

- I've heard his records.

I heard a record of his.

It's all right.

Better than some of them.
- Yeah.

- My mom said it's as good
as anything The Rolling Stones

have ever done, didn't you?

Didn't you, Mum?

It's better, though.

They'd had it.

Gone to America.

Nothing English anymore,
nothing British.

Sold out.

- It's a song

and it's called Shadow.

Right, next.
All right.

- One two three four.

- * Shadow shadow shadow

* Shadow shadow shadow

* Shadow

* My heart's in
the shadow *

- * His heart's
in the shadow *

- * My heart's
in the shadow *

- * His heart's
in the shadow *

- * I heard you got a new boy

* He got more
than me *

* He's lots of fun
to have around *

* He's got lots of money

* Shadow shadow shadow

* Shadow shadow shadow

* Shadow

* My heart's in
the shadow *

- * His heart's
in the shadow *

- * My heart's
in the shadow *

- * His heart's
in the shadow *

- * Last night I saw
you dancing *

* I had to watch it
all the while *

* He whispered
something in your ear *

* You both saw
me and smiled *

* Shadow shadow shadow

* Shadow shadow shadow

* Shadow

* My heart's in
the shadow *

- * His heart's
in the shadow *

- * My heart's
in the shadow *

- * His heart's
in the shadow *

* Jenny said she'd
lend me a gun *

* She knows I'm not well

* Then I'll shoot
that boy in the legs *

* When he comes
to ring your bell *

* Shadow shadow shadow

* Shadow shadow shadow

* Shadow

* My heart's in
the shadow *

- * His heart's
in the shadow *

- * My heart's
in the shadow *

- * His heart's
in the shadow *

- * My heart's in
the shadow *

- * His heart's
in the shadow *

- * My heart's
in the shadow *

- * His heart's
in the shadow *

- We've...

Now let's go have
some music.

- How'd you like the rehearsal?

- They opened the door...

Don't open the door.

- ...working in an office.

- Bet you have.

- It's exactly like a year...

- It's exactly
a year tomorrow

since we formed.

- Since we formed.

- Tomorrow is our first
anniversary.

- Yeah.

- * You're cold

- * Your life is a farce

- * You're cold

- * You're a pain in the arse

- * You're cold

- * You make me despair

- * You're cold

- * 'Cause you just don't care

- * You're a must to avoid

- * Try so hard to be kind

- * You're a must to avoid

- * Going out of my mind

- * You're a must to avoid

- * Try so hard to be nice

- * You're a must to avoid

- * You're as cold as ice

* I've seen your face
everywhere that I've been *

* Your face it haunts me
like bad, old dream *

* Your only value
is how you appear *

* You're so stupid
that it's driving me square *

- * You're cold

- * Your life is a farce

- * You're cold

- * You're a pain in the arse

- * You're cold

- * You make me despair

- * You're cold

- * 'Cause you just
don't care *

- * You're cold

- * Your life is a farce

- * You're cold

- * You're a pain in the arse

- * You're cold

- * You make me despair

- * You're cold

- * 'Cause you just don't care

- This is only the second
edition of this magazine.

- Right.

- What do you charge an ad?

- 50 pounds for a full page.

- How much?

- 50 pounds for
a full page.

- Yeah?
What's the circulation?

- 5,000 this last time.

- Do you have anybody
selling it here?

- Yeah, me.

- Because you might
ought to talk to Harry

because, you know what I mean,
he's selling all the Glues.

Maybe he'd be interested in
helping you distribute.

- Yes, that would be nice.
I'll have to talk to him.

- He's already got
a set up for it.

I mean, that's--a lot of
people are coming to us

because we've already
established

a distribution network and
to slot something else in

doesn't add anymore cost
to us and saves everybody--

saves other people
a lot of money.

- It certainly does.

- So, I mean, Sniffing Glue
is up to 10,000 circulation now.

And if they're shipping that
kind of stuff out,

with another magazine,

I'm sure he'd
be interested in doing
something with you guys.

- Well, you'll have to
introduce me, won't you?

- Yeah, well, he's here,
you know.

Hey, Harry?

Well, I got rather bored
with things that were going on,

and, um...

I had some of
the people in the office

who were telling me that
things were going on

in the clubs and I wanted
to come down

and see what's happening,
and--which I did.

And I spent time out
in the clubs and see all
the new groups.

And the Roxy Club was
in the beginning then.

And I was very
excited about it.

Most of the groups I had been
dealing with were groups

that--which were getting
over 30 years old, almost 40,

they had kids.

It was very difficult
to work with them

because you start
having success and...

they wouldn't be able
to follow through

because of their home life.

For instance,
The Climax Blues Band.

We had a single which
became a very big single

in England, very big
in America.

I had TV shows booked
in Europe.

They couldn't--they wouldn't
go because they had something

to do with their families,
which is fair enough,

but it means
it's very frustrating

for somebody dealing
with older people.

They don't work very hard.

And so when you see the
young kids and the energy

that is being expressed
by these kids,

also the political aspect of
it to me was very exciting.

I've always been interested
in the politics,

and these kids are actually
reacting to society,

which to me is
far more important.

Two places right now
that are interesting

musically right now, and that
is New York City and London.

London is twice as
exciting right now

musically as is--
as is New York.

Maybe it's because
the economic situation

is England is
more aggravated.

It creates more ferment
in this society.

I don't know.

But London is a very, very
exciting place

musically at the moment,

and it's much easier for a
group to get a start here.

In New York, there
are very few clubs that
a group can play in.

There's CBGBs, there's Max's,
and one or two others.

In London there's 20,
30 clubs, all over the country

there's more clubs.

So it's easier for a group
to get in front of the people.

- I know you don't
like folk music.

By the way, I'm wearing--
I'm wearing a pair

of Joan Baez's
dirty panties.

She wore them at the 1964
Newport Folk Festival.

I was a big fan of hers
back then, you know.

I was only three--
three years old.

I didn't know no better,
you know.

She's okay.

This song--this is for all
you jerk offs in the audience.

Ooh, look at the wankers.

This is called "You Make Me
Cream In My Jeans."

* Oh yeah, all right

* Yeah

* You make me cream
in my jeans *

* You make me
cream in my jeans *

* Every time
I pass you by *

* Oh, can't you see
the gleam in my eye *

* You make me cream
in my jeans *

* You make me
cream in my jeans *

* You make me cream
in my jeans *

* I try so hard

* To run away

* You make me do it

* Every single day

* You make me cream
in my jeans *

* I tried and I tried

* It's just no use

* I tried to break away

* But I can't cut you loose

* I try to keep dry

* But baby, you got
me juiced *

* Every time is just
like the first time *

* You make me cream
in my jeans *

* You make me
cream in my jeans *

* Every time
I pass you by *

* Can't you see
The gleam in my eye *

* You make me cream
in my jeans *

* You make me
cream in my jeans *

* You make me cream
in my jeans *

* You make me
cream in my jeans *

* You make me cream
in my jeans *

* Yeah

Thank you.

- That's it. See ya.

* And you say we're old pals

* I don't know what the fuck
you're talking about *

* The press only like us
because we scream and shout *

* But they don't know
what I'm on about *

* It could be me

* It could be me

* It could be me

* It could be me

* It could be me

* It could be me

* It could be me, it could be me
it could be me *

* You say you won't accept
that advice *

* Speaking your piece
every fucking night *

* Have a little drink,
have a little bite *

* I try going out and
see your mother at night *

* It could be me

* It could be me

* It could be me

* It could be me

* It could be me

* It could be me

* It could be me, it could be me
it could be me *

- Yeah. Well, we're
the Killjoys,

as you know,
from Birmingham.

We formed about a year ago
in Birmingham through adverts

in the papers and we knew--
knew some of each other.

And we would have--
We would have--

We would
make it a lot quicker

had we have come from London,

but Birmingham
is 120 miles away.

That was obviously not--
that's not where London is.

But, um...

Things are starting to go all
right for us now, you know.

We've got a lot of
people interested.

We're going down well wherever
we go, and we're accepted now

in London, whereas we used
to play in Birmingham before.

- All right.

Could you please tell me
something about

the punk scene
in Birmingham?

- It started off really
laid back at first.

There were only a few
to begin with.

And it's taken quite
a long time

to catch on in
the initial stages.

But John Tully
and Bob Ruthers

have done a lot to promote
punk in Birmingham.

- London is where it comes
from though, really.

I mean, Birmingham is behind,
there's no doubt about it.

Birmingham is--London is
the center of punk, you know?

It's the center of
the music world,

and Birmingham--

Birmingham people just do

what London people
tell them to do.

If it comes from London and it's
punk, they think it's good,

whether it's good or not.

They just do what London
tells them to do.

One, two, three, four.

* I don't care what's
going on tonight *

* So leave me out
of your double-headed mind *

* I'm sick of hearing you
try another... *

* Get it right

* How the hell do you go
to sleep at night? *

* At night

* You abuse your position
every time *

* You've got to pay
your rent *

* ...someone else's band

* It's time to take
a look around *

* See you're really not
going nowhere *

* Just going round
in circles... *

* That you care

* Make a band

* Future's riding
in your hand *

* You don't like
the song of mine *

* How you going
to sleep at night?

* How?

* Who needs punks
like you do... *

* 'Cause in three months time

* You'll be kicking him
in the teeth *

* In the teeth

* 'Cause it's up to you
to pick a band *

* Future's riding
in your hand *

* You don't like
the song of mine *

* How you going to
sleep at night *

* 'Cause it's up to you
to make a band *

* Future's riding
in your hand *

* You don't like
the song of mine *

* How you going to
sleep at night *

- The way the shop was started,
it was started as a--

not as a record supermarket,
but as an agitprop shop,

which had a political
point of view.

- People can come in
and just sit down and sort
of talk about things.

You can't do that
in most other shops.

In most other shops they would
come in and, like,

buy a record and go out, or
buy whatever they're selling.

And they just want to
get rid of you, you know,

because there's no interest
in anybody talking
or doing anything.

That's why people
can come in

and read the magazines and
do things like that.

It was obvious that this shop
would know about punk music

from the beginning because
people that work in these shops

spend their time
going to gigs.

And if you go to gigs,
you know what's going on

because people tell
you what's good.

And if you've got
ears to listen,

you go out and
see what's happening.

I mean, that's the
only reason why this shop

was at the start
of the new wave

because everyone here
was involved in it.

I mean, and as soon as
we first heard the music,

we knew this was
the kind of music

we've been waiting for
for a long time.

I mean, people come
in to buy records,

and their attitude would be

well, I must get a
new sound for this week,

or get a piece of
aural wallpaper,

and they take it home

and they sit in their rooms
and listen to it.

But all that changed
when people realized

that if there was a record that
they really wanted to hear,

not because it would
make them sit down

and forget about the world,
but because it would make them

get up and do something
about the world,

or at least feel good enough
to go out and be on the street,

and that was a change.

It's just something-- it's
just a matter of us realizing

that something was going on.

And that whole
"Mr. Jones" syndrome

you know, something
is happening.

- But now it's getting back
because, like, people are

coming and just buying
every record without

even thinking about it,
and not listening about it.

- Just because it's punk
or something like that.

- You've got certain groups
that they just buy

straight off, every title.

- It's just become a trendy
thing now, hasn't it?

Punk is just a trend.

- It's a fashion.
- Yeah. It's a fad.

- But it's still, I mean--

- With people getting in, like,
people getting into reggae

and stuff like that
because that's exciting music,

and it's interesting.

- Because the major record
companies don't seem to--

It's a mass market record.

And having made
that decision,

they're not interested
in making

those records
available to the public.

And if they're not available,
people can't buy them.

And given the fact that the
music is made by black people,

and there's a tremendous
amount of racialism

amongst white person in their
attitude towards blacks,

that also plays a part in it.

But, I mean, we feel--
we feel really excited

because boundaries are
beginning to be broken down.

We're finding that
a lot of shops around

the country are interested.
In Germany too.

I mean, we send records to
a shop in Berlin.

All right.

- I think they're
a great band.

You all know the fucking--

- Here comes
The Adverts, right?

- Hi, how you
doing tonight?

Right.

I don't care what you
do down there,

but don't injure yourself,
don't injure us.

- Impart these words
of wisdom.

Let's do it.

One chord wonder!

* I wonder what we'll play
for you tonight *

* Something heavy
or something light *

* Something to set
your soul alight *

* I wonder how we'll
answer when you say *

* We don't like you,
go away *

* Come back when
you've learned to play *

* I wonder what we'll do
when things go wrong *

* When we're halfway through
our favorite song *

* We look up and
the audience has gone *

* Will we feel
a little bit obscure *

* Think we're not
needed here *

* We must be new wave

* They'll like us
next year *

- * The wonders don't care

- * We don't give a damn

- * The wonders don't care

- * We don't give a damn

- * The wonders don't care

- * We don't give a damn

- * The wonders don't care

- * We don't give a damn

- * The wonders don't care

- * We don't give a damn

- * The wonders don't care

- * We don't give a damn

- * The wonders don't care

- * We don't give a damn

- * The wonders don't care

- * We don't give a damn

- * The wonders don't care

- * We don't give a damn

- * The wonders don't care

- * We don't give a damn

- * The wonders don't care

- * We don't give a damn

- * The wonders don't care

- * We don't give a damn

- * The wonders don't care

* The wonders don't care

* The wonders don't care

* The wonders don't care

* The wonders don't care

* I've been walking along
this shallow slope *

* Looking for nothing
particularly *

* You consider no question

* Store contempt
for the lesson *

* See no true reflection

* With no intention

* To receive

* A visit soon

* Although you need

* A visit soon

* I'll guarantee

* A wooden spoon

* Ambivalence

* Calls your every tune

* Am I guided or

* Is this life for free

* Because nothing ever
seems to happen *

* To me

* And I won't be tempted
by vile evils *

* Because these evils
are vile evils *

* You consider no question

* Store contempt
for the lesson *

* See no true reflection

* With no intention

* To receive

- * A visit soon

- * Although you need

- * A visit soon

- * I'll guarantee

- * A wooden spoon

* Ambivalence

* Calls your every tune

* Yeah, ambition

- Can I turn this up
for the singing?

Turn this up.

One, two, three, four.

* When you see
the things you see *

* Don't exist

* No need to wonder why

* And if you can't see tall

* No need to cry

* The only time you'll see

* What is in the middle

* ...set the past

* As what will be

* Do you want to die

* Or is it too disgraceful

* Do you want to lie

* Or am I being wasteful

* Now

* Standing out of view

* See kids act in a way
you've never seen before *

* Do you want to die

* Or is it too disgraceful

* Do you want to lie

* Or am I being wasteful

* Now

* Standing out of view

* Out of touch

* Standing out of view

* Standing out of touch

- The words are not--

I don't
really think they're...

like most songs.
They're sort of...

The words that you
use are not the sort of

words that you usually
get in rock records.

They're sort of taken...
I write...

say an essay
or something like that,

and from that condense
the words for a song.

So it doesn't end up
being, like,

a sort of normal
rock song, hopefully.

Formed about a
year ago exactly.

Since then we've sort of

been playing with
different drummers.

We play with one drummer

and then stopping
for about three months.

Because we've never had
one drummer that we liked.

- Why do you play punk rock?

- I don't really
think we do.

Exactly.

We don't play what everyone
thinks is punk rock.

We're more like,
sort of Buddy Holly.

- Oh, yeah.

Load of Old Bollocks,
that's what we were.

Load of Old Bollocks.

That's what all
the new bands are.

Nearly all of them copy
the Sex Pistols or the Clash.

Now half of them are
jumping on the bandwagon.

They're a load of crap.

There's a couple
of good ones.

The Slits.

Interview them,
the singer is German.

You can speak to her.

There's this group downstairs,
Subway Sect, they're okay.

They're a bit different.

But, uh...

Most of them are all,
like, the same.

You just get bored
watching them.

Like, when it started,
we wanted lots of different

sorts of groups,
not lots of groups

all trying
to copy each other.

That's why I like...

The Clash and the Sex Pistols,

the only two of the old ones
who are any good.

All the rest sort of
just copied.

- What do you think
about reggae music?

- About what?

- Reggae music.
- Oh, Reggie.

- Green for the land,
yellow for the sun

that gives life to the land,

red for the blood
that was spilt for the land.

It's great.

Love it.

I think it's like...

It's good.

- A lot of bands are
influenced by reggae.

What do you think about it?

- Well, a lot of bands
were influenced

by The Clash and
the Sex Pistols liking reggae.

A lot of them didn't
know what it was until...

sort of, ten months ago.

What they thought
reggae was...

That sort of
Desmond Dekker things.

Lots of them didn't bother
with it until recently

when it became fashionable.

- Well, what have
you done before

you become a roadie
of the profession?

- As little as possible.

Unemployed most of the time.

Didn't work,
didn't like working.

Should I tell him
I was in prison?

Yes.

- And why?

- For insurrectionary
activities.

Expropriation of substances
from other people,

richer people, stealing.

Political activities.

That's what the angry
brigade man said in court.

- Well, for Sounds,
being a paper that's geared

to new music, to rock music...

we became aware of
the Sex Pistols,

who were really the first band

to open up
the punk rock thing.

The music papers, along
with everybody else,

was tired of the old game,
the old music business game,

and, in consequence,
got very involved

and very interested
in punk rock,

and the Sounds was
one of the first

to really pick up on it
and to explore it.

And maybe, although
this is more the case

of the national press,
to exploit it a bit.

I mean, the national press
have exploited punk

for its sensation value and...

The violence really stems

from their coverage
and the fact that

they've only really
given coverage

to the more violent aspects
and not to any of the ideals,

and certainly not very much
to the music at all.

They fail to understand
the music and they fail

to understand the ideals
behind the change,

because I guess it affects
their readership.

Their readership is
basically the generation

with which the punks are not--

or are disaffectionate.

And in some cases,
they have encouraged violence

between a non-existent
group of Teds.

They're not really--there is
no real Ted movement as such.

That whole movement
died out in the '50s.

That was when they
reached their peak.

That was when they were
the new young rebels,

and it's now just
maybe even kids

who have got nothing better
to do on a Saturday other than

go in search of
some violence or something

that will give them a chance
to appear in the papers.

- We're the Teddy Boys.

We like rock and roll
because we think there's
never been a better music.

We like our style of dress
because we think it's the best.

I don't like punk rockers,
but there'll always be fights

between different factions.

Let's face it, there's no war,
so people have to.

It's like--it's like bulls
in a herd fighting one another.

It's human nature.

People are different.

I don't like them, and they
probably don't like me.

I don't care.

- Why don't you like them?

- Well, they--to me,
they look effeminate.

They don't
look like they're gonna even
be men when they grow up.

They look like some
sort of third sex.

It's weird.

Strange.

They look like invaders from
another planet or something.

Very odd.

They just--they're whole
culture is alien to ours.

That says it all.

And the thing we don't
like especially is they--

they copy some our
styles of dress,

like they'll put
a drape jacket on,

and then they rip it,
you know?

Stupid.

And then they copy bits
of our music

and try and say its new,
you know.

It just sounds like rock and
roll played very badly to me.

There's more and more
Teddy boys all the time.

They just want
to be different.

They don't want to be
like everybody else.

I think a lot of them,
their parents were Teddy Boys,

and they start talking
about it to their fathers

and they tell them how they
used to get their clothes made

and everything, and they want
to be like their fathers,

I think, maybe.

That's 20 years ago.

These guys will have children.

The old Teddy Boys
have children,

I think these are a
lot of the children.

- We was--we've been around
a lot longer than anything else,

any other form of
dress or anything.

And they've come along,
they're saying

oh, we wiped Teds out,
we're like punks,

this Johnny Rotten,
this The Jam

and all this shit, you know?

And they're trying to--
they're trying to put it

across the country,
starting in Britain,

but we're not having it.

That is why we give them
a good hiding every time
we meet 'em .

- They can have
their Global Village

and all the places
they go to,

but when they start
coming around this area,

they go around Ted pubs,
they get a good hiding.

And that is us.

- They come around here

because they tend to shock--

They reckon it shocks people.

- They're taking
a mickey, piss, whatever,

out of our music.
- They think it shocks people.

- They're taking the mickey
out of our music.

- They shock people, right?

Why do people don't even see us
when we walk down the road?

They go dustbin liners,

strawberry colored hair,
why bother?

There's no point, it makes them
look silly little boys and girls

which they are.
Full stop.

- They rip drapes up,
don't they?

They rip them up and--

- Earring, short hair.

It all stems a bit of skinhead,
bit of Ted.

They take the piss
all the time.

So everyone I see,
bus, along the road,

in the swinging bars,

I'll give them
a good hiding.

Then he's got a bit
of red in his hair.

Blood.

- Yeah, right.

- Shouting.
- Yeah, this is it.

- Shout all the time.
They call it music.

- Punk rock ain't music.

- What do they call that?
They call that--

- Take away our stuff
and everything.

- They reckon dancing
is jumping up and down

like they're on a pogo stick.
- Jumping up and down.

- Is that dancing?
No, it ain't.

What energy can you
burn up through that?

- Like, and he had dog collar
on with a dog's chain

around his neck and a little bit
of leather where you hold

onto the dog
right at the end,

and he had tickets all stuck
over him with safety pins,

and he just all his
shirts ripped, everything.

And there's nothing good
about that, is there?

They look idiots.

- Take mickey all the time.

- They basically
started it by saying

they're gonna wipe Teds out.

Teds live in the past.

All right, fair enough,
the style lives in the past,

but Teds live for today,
and music today,

rock and roll still lives
and always shall live.

It started way back, what,
1940s, something like that?

Fats Dominoes
very first records,

something about '47,
'48, something like that.

Okay?

And it's been going
from there,

and it's going today
and it will be going tomorrow

and 20 years hence.

Punk rockers come along
and say, okay, we're clever,

we have a beat,
we've got music.

They may call it music,
but it's not.

They said they was
gonna wipe Teds out.

No way.
That's why they get hiding.

They get themselves
beaten up because

they reckon they're bigger
than us.

- There are fights between
Teds and punks.

It's not a new thing
in a way, really,

because you used to have
to fights

with the mods
and the rockers,

and the skinheads
and the Pakis, Pakistanis.

So in general, the youth
of any generation,

if there's a not a war on,

they like to use their
aggression up in some way

at football matches
or things like that.

So they--they've got
an ideal thing

to have a go at,
which is the punks.

In the Ted's point
of view, anyway.

It's very difficult
to sort of say

that they just like fighting
for the sake of fighting.

They feel as though
they've got to use their
energy on something.

- * Take a look
at the great street *

* It don't seem the same

* Remember how great
it should be *

* Think what it was

* Shops are full
of the fashion *

* People told what they want

* The street that
was a part of the *

* British Monarchy

* British Monarchy

* Who wants afghans
and all that *

* We don't need them now

* Why should we
accept the change *

* And buy clothes of today

* Kids, kids, kids repel
the change and *

* Bring back the street

* Shops filled
by whole nations *

* Carnaby Street

* Carnaby Street

- * Carnaby Street...

- * The street is a mirror

* For our country

* Reflects the rise
and fall *

* Of our nation

- * Nation

- * The street that
was a legend *

* Is a mockery

* A part of the British
tradition *

* Gone down the drain

* You don't need
no glass ball *

* To see its faults

* Take a walk
along that street *

* And you'll see
what I mean *

* Carnaby Street

* Carnaby Street

* Carnaby Street

* Not what it used to be

* Carnaby Street

* Not what it used to be

* Carnaby Street

* Carnaby Street

* Where all the kids
would go *

* Carnaby Street

* Carnaby Street

- Thank you.

- Quite ironic, isn't it?

Our problems
at Hammersmith.

Here's a tune you might know.

* In the city there's a thousand
things I want to say to you *

* But whenever I approach you,
you make me look a fool *

* I wanna say

* I wanna tell you

* About the young ideas

* But you turn them
into fears *

* In the city there's
a thousand faces

* All shining bright

* And those golden faces
are under 25 *

* We wanna say

* We gonna tell ya

* About the young ideas

* You better listen
now you've said your bit *

* I don't know what
you're thinking *

* You're scared of
that kind of crap *

* But you'd better
listen, man *

* Because the kids know
where it's at *

* In the city there's a
thousand men in uniforms *

* And I've heard they now
have the right to kill a man *

* We wanna say

* We gonna tell ya

* About the young ideas

* And if they don't work,
at least I fuckin' tried *

* In the city

* In the city

* In the city

* In the city

* In the city there's
a thousand things *

* I want to say to you

- Right, one of those.

- For one of the pictures--

- What are they gonna do?

- We want The Stranglers.

We want your band
to stay in our movie.

- Eh?

- We want only
your statement

why you don't want
to stay in our movie.

- Because I'm no prostitute.

- And you don't do--

- I don't want to sell
any records in Germany.

I want German bands
to sell them in Germany.

- And you hate Germans,
you said.

- Eh? The majority, yeah.

- Simply because
we are German?

- No. Simply because you
take and you don't give.

You don't--you've got
a lot of responsibility

to the idea of Europe,
and you're just taking.

I'll play to people who
want to hear us in Germany,

but otherwise I couldn't
care a fuck.

- But a lot of people in
Germany want to hear you

and want to know
something about you.

- Then they can
hear us next week.

They didn't want not
hear us nine months ago.

See, I'm very suspicious
of German motives.

I reckon they're
just a pose.

I don't believe
they're genuine,

until they've proven
themselves then

we don't want to know.

- I don't understand
your arguments because--

- Well, you never do.

- I think punk now is
a joke actually.

I don't think it
bears any resemblance

to what it started out as, and
I don't think it's fulfilled

very many of its original
aims in England anyway.

I mean, it's been turned
into a commercial carnival

so quickly that the people
who started it

and people put
the original ideas

have lost control of
what they're doing.

Record companies and
the music business in general,

and the media have cashed
in on it so quickly,

and they've taken
everything out of it.

They've taken the creativity,
the ideas, the imagination

out of it and they've put
nothing back except money,

and that has actually
killed it.

I mean, I think the people
who were responsible

for making punk rock what
it is, or making punk rock,

never envisioned what has
happened now, and, I mean--

- Yeah. They've lost out,
basically.

- Yeah.

- When they started
the whole thing

it was their idea,
and they've really lost out

on all the benefits of it.

- The people who put it
together were like people

like Andrew Czezowski,
who opened The Roxy Club,

people like that.

They've been bought out
by bigger concerns,

by big companies,
record companies.

They've ended up with
no money, nothing,

and punk has been taken out

as just another
commodity to sell.

So in a way it hasn't
achieved any of its ideas.

The original idea was
to get away

from the old music
selling of product.

- The original thing
for punk was that the kids
could identify with it.

They could talk-- they could
go up and talk to the bands.

- Right.

- The bands would
go to the same places
as they would.

They, you know,
they could just see the bands
all over the place.

They weren't stars.

But unfortunately,
it's very difficult,

because bands have got to get
record company contracts, right?

- Right.

- I mean, to be able
to survive.

- They've got
to make some money.

- It's very difficult
to see how they could have

combined the two,
you know,

keeping it on the level
with the kids

and having the money,
you know?

- There's no way that punk
could have stayed--

- As it was.

- There's no way punk
could have stayed as it was.

Punk would have had to evolve
and become a big business.

It's just unfortunate it became
a big business so quickly.

- And it trod on so
many people on the way up.

That's the problem.

- And a lot of the people
have proved

that once they're successful,
they're just as rich

and they're just as
into being capitalists,

and they're just as
into making money

and forget the people
who put them there,

as was the old generation of
the old farts or whatever.

So the new wave
has quickly become

exactly the same as the
old wave, I'm afraid.

- In most cases.
In most cases.

But unfortunately,
the punk followers

have gotten into the same
thing as these sort of--

the old hippies, you know,
the old farts as Rotten says,

you know, that they--they
only accept their own kind.

They're not tolerant
to other people,

which is what
they should be.

I mean, the whole thing about
anarchy was to, you know--

- You do what you want to do.
- Say, personal anarchy.

- Right.

- You don't interfere
in anybody else's business.

You keep to what you want to do,
and that's how you should go.

And unfortunately, it
hasn't turned out like that.

He's the only person who's
kept doing that, really.

- The whole thing about
punk rock was

it didn't matter
whether you were black,

it didn't matter
whether you were white,

it didn't matter whether--
what your hair was,

what you looked like,
whether you're ugly,

rich, poor, or pretty.

But already there's a
snobbery within punk where--

- You've got to look
a certain way.

- You've got
to have short hair.

You've got to have
tight trousers.

You've got to have
plastic clothes, or whatever.

And already they're as bad
as the people with long hair

who said that
you couldn't be fashionable

if you had short hair
and this sort of thing.

So it's a shame
that punk has--

it's not fulfilled a lot of
its original aims in a nutshell.

And that's it, the cynic's
view of punk rock.

What next?

- Yeah, what next?

* There's no point in asking

* You'll get no reply

* Oh just remember
and don't decide *

* I got no reason
it's all too much *

* You'll always find us

* Out to lunch

* Oh we're so pretty

* Oh so pretty

* We're vacant

* Oh we're so pretty

* Oh so pretty

* Vacant

* Whoa

- It's like...

You just got done
somewhere like the Fort X,

listen to half the groups and
you see how boring they are.

We find that most people would
be put to sleep by it all.

There's just--just a couple of
good bands and that's it.

They're gonna make
a lot of money

and make a lot of music

and the rest will fade
away and die.

All the high plan ideals
disappeared years ago.

That shocked you.
You didn't expect that.

- They've become very
watered down.

- You're going
to Germany next month.

Do you have any
idea about Germany?

- Yeah. They're all rich
in Germany.

Lots of Deutschmarks,
apart from these three.

Yeah. No, I don't know.

I only know about--

the only things I bother
reading about Germany

are about the RAF

because they're interesting,

but reading about Willy Brandt
and Chancellor Schmidt

or whoever they all are,
is boring so...

Very efficient country
we're told.

Very efficient.

* Whoa

* Someone's really smart

* Whoa

* Complete control
even over this song *

- And then he met me,
then he met--

- And he met him,
and he met him.

- Right, then we both
bumped into him.

- Got that, all right?

- That's how we met.
- It was coincidence.

And then we all
met him together.

- And here we are.
- Fucked up.

- And then we met him
coming in the room.

- That was the worst time,
when we met him.

- We formed about a
year ago or two years ago?

People ask us this question
all the time, you know.

- I'd say 18 months.

- 18 months, right?

You cut--you nicked
my fucking--

Why you bothering
the cameraman?

- We haven't ate
since we've been here.

We've been here three days,

we haven't had
a thing to eat yet.

- * Hate and war

* The only things we got

* If I close my eyes

* They will not go away

* You have to deal with it

* It is the currency

* The hate of a nation

* Of a nation

* A million miles from home

* And get war
from the junkies *

* Who don't like my form

* I'm gonna stay
in the city *

* Even when
the house fall down *

* I don't dream
of a holiday *

* When hate and
war come around *

* The things that
we got today *

* Hate and war

* I have the will
to survive *

* I cheat if I can't win

* If someone locks me out

* I kick my way back in

* And if I get aggression

* I give it to
them two times back *

* Every day
the fucking same *

* With hate and war
on my back *

* Hate and war

* I hate all the...

* Hate and war

* I hate all the...

* Hate and war

* Hate and war

* Hate and war

- You had a lot of problems
in Germany.

- Yeah, yeah.
It's fucking horrible.

I never want to come
back there again.

It stinks.

- I do, though.

- Unless we're at war.
- I think it's great.

So far, but it's like,

we've been in hotels and
it's been really horrible.

People--a lot of
older people

have been very sort of,
like, nasty to us.

They're not sort of
helping us at all.

Like, the young people
are great,

like, at the concert tonight,
the reactions.

- They ain't got a
fucking hotel for us.

The gigs are fucking useless.
We ain't got no sleep.

- Yeah. We ain't
got a hotel.

We got--the police
came and dragged us out

from the hotel, you know.

I mean, we really want
to like, Germany, yeah.

Well, I do anyway.

I think it looks great.

- * Police and thieves
in the streets *

* Oh yeah

* Scaring the nation with
their guns and ammunition *

* Police and thieves
in the street *

* Oh yeah

* Fighting the nation with
their guns and ammunition *

* From Genesis

* To Revelation

* The next generation

* Will be hear me

* From Genesis

* To Revelation

* The next generation

* Will be hear

* And all the crowd
comes in *

* Day by day

* Don't try to stop it

* In anyway

* And all the peacemaker

* Turn war officer

* Hear what I say

- We'll rule the world.

- By Christmas.

- Depends if we can
get a hotel or not.

- Yeah.

A hotel, a hotel,
my kingdom for a hotel.

- A hotel.

- The group for a hotel.

* Back in the garage

* With my bullshit detector

* Carbon monoxide

* Making
sure it's effective *

* People ringing up

* Making offers for my life

* But I just wanna stay

* In the garage all night

* We're a garage band

* Oh

* We come from garageland

* Oh

* Things are hotting up in
the West End, all right *

* Contracts in the offices,
groups in the night *

* My bummin' slummin' friends
have all got new boots *

* And someone just asked me
if the group *

* Would wear suits

* We're a garage band

* Oh

* We come from garageland

* Oh

* Oh

* They think
they're so clever *

* They think
they're so right *

* But the truth is only
known by guttersnipes *

* We're a garage band

* Oh

* We come from garageland

* Oh

* Stop!

* 22 singers

* One microphone

* Back in the garage

* Back in the garage

* Five guitar players

* One guitar

* Back in the garage

* Back in the garage

* Back in the garage all night