All language subtitles for Wake.Up.Punk.2022.1080p.WEBRip.x264.AAC-[YTS.MX]

[intense music rock]

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- [Corre] When I
was a young kid,

my parents weren't kind of
considered so much as iconic.

They were considered
as anti-establishment.

They were considered as scum,

and some people thought
they were geniuses.

It wasn't like it is now.

My mother is a
national treasure.

[dramatic rhythmic music]

[tools clanging]

[workers murmuring]

[suspenseful orchestral music]

- Get the others.

[suspenseful orchestral music]

- Ssh.

Coast clear.

- Just a few people control
the world's economy.

They keep you trapped in debt.

I can get money off this card.

I'm working here to
pay the interest.

That's how they make money.

The world's bankrupt and
they're wrecking our planet.

- There are all
these poor people

and just a few billionaires
and trillionaires.

They're ripping us off.

All caused by the
rotten money system.

They're squeezing the poor

and giving all the
money to the rich.

We all work for them.

How can we get the whole
world to understand

they're being ripped off?

Grab their attention,

challenge them to think
about what they really value

and save the planet.

[dramatic orchestral music]

- [Corre] My father Malcolm
used to like to portray himself

as a kind of modern-day
Fagin kind of character,

with everyone around him
as one of his urchins.

Played the role like he
was always on the run,

always one step ahead of
the law or the bailiffs,

and that's how he portrayed
himself in his film

"The Great Rock
'n' Roll Swindle."

[suspenseful music]

- We have got a lot of stuff.

It's quite an impressive
amount of stuff we've got.

- Yeah.
- Really.

- When punk first started,
the hairstyles were so mad.

The people had the most
brilliant hairstyles,

and I remember going to a
party and nobody could move,

and there are all these people.

There's a girl in front of
me with a fringe down to here

and I couldn't see her at all.

Long black hair and a fringe,

and you just couldn't
see where her eyes were.

And people with the most
mad, curly, spiral hair

and all kinds of things.

It was absolutely great.

But, anyway, and then
it all kind of petrified

into the punk look that
you see on a little duck

that you float in the bath,

and there's one of the queen
that you can float in the bath

and she's got a crown

and the punk's got a Mohican

and a red T-shirt
on or something.

But anyway, it's all
petrified into the punk-

- Yeah, uniform.

- Uniform.
- From whatever,

the icon punk.

- All this has got to today,

you know, you've got punk
beer and punk credit cards.

- Oh yeah.

Considering it was-
- Punk rock McDonald's.

- Taken to court when
it was originally done,

it is ironic that now
it's on Mastercard.

- Really?

- Yeah.
- That's incredible, isn't it?

- [Ben] Mm-hmm.

- Oh, I see.

"Never Mind the Bollocks,
Here's the Sex Pistols."

Virgin Mastercard.

Yeah.

That's the Virgin cred.

The Sex Pistols
and the bollocks.

[anticipatory orchestral music]

- Now, this is funny
'cause this is Malcolm

sending a letter into
the "Melody Maker."

It says, "In view of articles

written in your paper
about my production,

'The Great Rock 'n'
Roll Swindle' film,

the film's original title,
'Great Rock 'n' Roll Swindle,'

its theme, script,
construction, attitude,

and above all,
style, was my own.

The Sex Pistols trial
last year hinged on

the writing of that script,

the production of the film,

and the money
spent on making it.

The script bore my name
and was read out in court

by Lydon's lawyers as an
indictment of my ideas.

They made the comment that it
was filth written by Satan,

harmful to John
Lydon's new image.

The judge asked if
he had reformed.

He replied, 'I've changed.'

As a result, the court seized
my company and the film.

Unwilling to work under
the auspices of the court

to take into
consideration their cuts,

and unwilling most of all
to have Virgin Records

seize 25% of a film they
had nothing to do with

by donating 150,000 pounds
of Sex Pistols royalties,

Jones, Cook and Lydon
and agreed to it.

It was their last and
most pathetic performance.

I decided to withdraw my name
from the credits of the film,

both as a producer and writer.

Jamie Reid withdrew his
name too from the credits

for similar reasons to my own."

And they've given
him a little prize,

LP Winner for
Flogging a Dead Horse.

- That just shows you the
jealousy of the press.

It means that
Malcolm was dangerous

and they don't like
dangerous people

and they don't like people
who are more advanced,

more avant garde than
any of their stupid,

uneducated people.

When Johnny started
and when he wrote

the lyrics "Anarchy In The UK"

and the lyrics of
"God Save the Queen"

and "your future dream
is a shopping scheme"

and "I want to be anarchy,"

at that point, Johnny,
I think, was fantastic.

He was really fabulous.

He was really going for it.

It was like revolution to
him and he really meant it.

And then at a certain point,

like as you say, he's been
led astray by Malcolm,

but no, he was into it.

I believed in him.

I really did.

And I find it disappointing
that his role today

is to just try to
stay on this pedestal

and look like he's
good at spitting.

I mean, that's about
his claim to rebellion.

I got out of punk
because I realized

it was actually a
marketing opportunity,

and the main thing
it was marketing is,

isn't England this
wonderful free society?

It's got all these rebels.

And so there you are, Johnny
Rotten, stay on your pedestal,

You're a punk and you're proof

that we live in a free society.

[drummer tapping a cadence]

- Malcolm McLaren wanted
to cause maximum chaos,

and he just giggled through
the absurdity of it all.

He was just like a
kid who wanted to take

the bottom tin of beans
from a supermarket display

to see them tumble.

Lots of disturbed adolescents
got into punk rock.

I mean, Steve Jones
was disturbed.

McLaren was disturbed.

I was very disturbed.

Most of the stars
were, actually.

In fact, I think that's
why people go on stage,

'cause they're
crippled in some way.

People got all this energy out

and I'd have killed someone

if I hadn't been
in Tenpole Tudor,

'cause all that
aggression, you get it out,

but not in an aggressive way.

You don't have to hit
someone or anything,

so it's a terrific therapy.

- My name is Jordan.

I worked with Malcolm
McLaren and Vivienne Westwood

in their shop in 430 Kings
Road for several years.

I would say probably
the three of us,

we're like a kind of perfect
storm, and we, in a way,

created the whole scene
of punk in that time.

The relevance of punk today

I don't think is
necessarily aesthetic.

I think it's more
of a mind issue.

I would hope the legacy would
be that people feel empowered,

both men and women,

'cause I feel that at
the time, in the 70s,

'75, '76, '77, maybe '78,

it created an
atmosphere where people,

men and women, could feel equal,

and I don't think
that corporations

can ever buy anything like that.

I think it's to do
with individuality.

And as I said before,

I think it's all to do
with how your mind is.

[somber trumpet music]

- I just really
believed in Malcolm

because we were both rebels

and I was just so disgusted
about the human rights,

about the Vietnam War,
and about killing,

and I wanted to change the
world then just so bad.

Anarchy, that was me.

I invented this sign, anarchy-

- [Corre] What do you mean
you invented the sign anarchy?

- Well, apparently,
this A in the circle

is what I decided
was the anarchy sign.

It's still used as it.

You've got "ban the
bomb" in a circle.

- [Corre] You invented that?

You put the A in the circle?

- Yeah, of course.
- I thought that was

a really old thing.

Is that you that invented it?
- No, I did that.

My idea of anarchy was
that the older generation

had just totally made a
disaster of everybody's life

and the life of
everybody in the world,

and it was just
this mismanagement

and this destructive,

power-driven people
that ruled the world.

And the idea of
anarchy is we will not

let this older generation ever,

we've got to do something.

But Malcolm wasn't
really in it for that.

He just hated the
older generation,

'cause like I said,
he hated his mother,

and he had a terrible
ego, Malcolm,

and anybody that was powerful,

he automatically
didn't like them.

He didn't like Richard
Branson for that very reason.

And I'd just come to
what Malcolm used to say

about "never trust a hippie."

In 1968, there were all
these student sit-ins,

and Malcolm got
all excited by that

and was following them.

I was living in a caravan
in Wales looking after you

and they were supposed to be
burning the American flag,

and he was really pissed off

because they didn't even
practice setting fire to a flag.

And when they wanted to try
and burn it, they couldn't,

and I think Malcolm managed it
in the end by emptying petrol

from some lighters onto
it and making it set fire.

They just had a box of
matches and it wouldn't work,

and I don't know, but anyway,

but he got the idea

that he wanted some
sort of revolution.

He didn't like hippies
because he just thought

they were soppy or
whatever the word is.

I know he really
brought that phrase out

when he got involved
with Richard Branson,

and that's when that came out

because Richard Branson
was a powerful person,

and in fact he
actually took over

The Sex Pistols in the end
when they all fell out.

[person singing into cone]

["Peer Gynt Suite
No. 1 Morning"]

- What's this hotel got
to do with punk rock?

Why are we in this flash hotel?

It's jolly nice but it's
got nothing to do with punk.

- We always have a good time.

It's to let go, isn't it?

You know.

- As part of the punk rock
celebrations of punk London,

40 years of "Anarchy in the UK,"

they are doing the Anarch-Tea.

Part of their
marketing department's-

- One of the grandest
hotels in the West End.

- This is what they're
putting on for everyone.

- And that is where
we got to, folks.

Marco, they got one of your
old singles on this cake stand.

- [Alan] Horrible.

- Adam Ant.

- Is it?
- "Stand and Deliver."

- Really?

Is it?

- Yeah.

That's where you've
ended up, mate.

You've ended up on a cake stand.

[all laugh]

You mustn't forget
how funny Malcolm was.

- He was hilarious.
- Most of the time,

he was laughing.

Talk, laugh, and everyone
was laughing with him,

'cause he used to take us out

and he'd be surrounded
by a load of people

in let's say the Green Man
by Great Portland Street,

having these ideas on the
run, "And then, and then,"

and laughing at his own ideas.

It was sort of like a riff.

- "You, write a song."

"What?"

"You, design some clothes now."

- That's right.

- "You, ride a motorcycle."

"But I've never..."

"Just do it."

- Every Saturday we'd
have the windows broken

by the Teddy Boys going
along and we never knew-

- [Marco] And all
the Chelsea fans-

- And I'll always
remember we used to

put the grills on
outside just to

make sure it didn't happen.

The one day we
didn't was the day

that they always got smashed in.

And I always remember
Vivienne was always

sort of paying out bills,

changing the glass.

[glass shatters]
[dramatic guitar music]

- [Derek] What do you
actually sell here?

- Clothes.

- These are cardigans
you can see through.

The wool is.

- [Vivienne] These restrict
your arm movement somewhat.

- [Derek] What's actually
wrong with what I'm wearing?

- Mate, you look so bloody
boring, I cannot believe it.

- [Derek] I agree
with that, yes.

- It's a question
of how you feel.

The point is to change
yourself, and if you change-

- [Derek] But why?

Why does one have to change?

- Because then
you'll feel great.

[discordant guitar music]

What happened is
that the police came

and just raided
all our T-shirts,

and if anything had
the word "fuck" on it,

they took the lot
of the T-shirts,

put them all into bin liners,
and put them all in their van.

We had T-shirts telling
you how to make bombs.

They didn't take them.

They only took the sex ones.

I remember Malcolm saying,

"If you'd have been in
Paris with that shop,

it would've been the opposite."

As for the swastikas
and everything,

it was my complete antagonism
to the older generation,

and it was, "You're all
terrible fascists anyway.

We're not going to
accept your values

nor are we going to
accept your taboos."

And it was a way of putting
that I accepted that swastika.

What has happened
that we got arrested

for selling this T-shirt,

and myself and Malcolm
defended it in court

that it wasn't indecent,

so the judge convicted us,

and I can't remember what
the first reason was,

but it was that the penises
were almost touching,

therefore it was indecent.

The first reason.

The second reason was that.

And the third reason
was that one man

was tying the other's necktie.

So, they just empty the shelves,

'cause lots of them had
the word "fuck" on on them.

And so I wouldn't
stop printing them.

I kept on printing
them and printing them.

- [Corre] I remember, yeah.

- And they said,

"If you do this anymore,
you'll have to go to jail."

[discordant guitar music]

- There's the 40th anniversary

of the start of the
punk rock movement,

a moment for celebration.

There's even been a grant
from the Heritage Fund

to help them celebrate.

But that and the supposed
endorsement of the Queen

and other establishment figures

hasn't gone down very
well with everyone.

- You'll forget, in those days,

you would be arrested for
wearing those clothes.

When The Sex Pistols
were Number One,

it was actually a
blank on the charts

because the establishment
refused to recognize it.

- Isn't that whole era of
rebellion pretty anachronistic?

It's passed into history
and therefore, in a sense,

it is a sort of museum piece,

all the memorabilia.

- Well, I don't know.

I guess punk rock
did become a bit of

a tourist attraction
a long time ago,

but those things actually meant

something much more deep to me.

And I'd like to invite
all the punk rockers

and all the anarchists
from all over the world

to come here and burn
the last fragments

of what they've got, because,

and I'd also like Boris
Johnson to light the torch,

and he should be
quite into doing that

because we all know

that when he was head
of The Bullingdon Club,

his initiation ceremony
was burning 50-pound notes

in front of homeless people.

- Joe Corre, thank
you very much.

I should just say the
allegation about Boris Johnson

burning 50-pound notes is
just that, an allegation.

Thank you very much
for joining us.

- Well, you would say that.

[bright orchestral music]

[suspenseful music]

- Why is the establishment
promoting anti-establishment?

I think irony and contradiction

are key components of what
punk is about in London.

If the argument is kind of
punk shouldn't be commodified,

if it's saying punk
shouldn't be put in museums,

then I think you could say that

about a number of other
artifacts and things.

- None of those involved
in tonight's debates

seem to have anything to do

with the London
punk scene today.

Our program is bollocks.

We are protesting against the
corporate takeover of punk.

Basically punk is a subculture

that is constantly regenerated

by every new generation
that comes through.

Every new young generation

that discovers punk
makes it their own.

It's a fresh and vibrant
music scene, a subculture,

an artistic and
political movement that
constantly evolves,

has continued throughout the
last 40 years since the '70s.

This yearlong
exhibition of punk,

which is state-sponsored,

endorsed by Boris
Johnson, of all people,

and are funded by
the National Lottery,

goes against everything
that punk was and punk is.

Everything that is the
essence of punk rebellion,

street culture,

doesn't have anything to
do with being in a museum.

It's to do with the streets.

Punk should be on the streets.

- [Host] Can you give a warm
welcome to our chair and panel?

Thank you.

[attendees cheering]

- Richard,

why do you think people think
that punk music in particular

is bigger than history?

- It's not bigger than history.

It's part of history.

You know,

while we worry about
Daesh bombing Palmyra,

quite rightly worrying,

equally we should worry about
burning punk archives, sir.

[audience claps]

- Nevermind the bollocks.

[audience laughs]

- The thing is that
if it's his to burn,

it's his to burn.

If you want to talk about punk,

it's a talk about freedom

and it's a talk about
being individual

and deciding your
future for yourself.

- Punk, to me, that's
something that's dangerous,

that can have an effect, that
can actually change something,

that can create a social change,

and all it's becoming
today is another conformity

in another uniform that
sits next to Beefeaters.

And the whole thing could not
work without the acquiescence

of all these self-appointed
experts that continue this myth.

You can't tell this
lie to young people.

It's a lie.

- Can I just say that I don't
think any of you are punk.

No, there are no
punks in this room.

The only punk thing
left about London

as "The Guardian"
know, as Joe knows,

and everyone else in the
room is WikiLeaks, right?

It's the only thing punk left
in London is Julian Assange.

- I'll absolutely
agree with you there.

- [Lismore] And he's not here.

- There was punk danger.

There was a revolution.

The establishment was
shitting themselves, right?

That doesn't happen anymore.

- [Speaker] Thanks
very much. Jennifer.

[audience cheering]

- You're here coining it
in as a punk professor

perpetuating this
idea of young people,

which I think is shameful,

that somehow punk is still
gonna get 'em out of this mess.

- You want punk.
- You know equality.

You're establishment.

So you can bind yourselves up.

- Okay, punk, in it's first-

Excuse me, everybody.

- I don't know where the idea

that interrupting is punk 'cause
it's actually really rude.

- They cut me off.

[audience laughs]

- You were a little kid
when I first met you.

You were down here, all right?

[audience laughs]

[panelists speaking
over each other]

- [Panel Peer] I'm
taking this from him

because he is being a bully.

He's talking over me like,
please, finish your thing.

- [Bob] And you're listening
to Resonance 104.4 FM.

Mr. Joe Corre has
joined us in the studio.

- There's an opportunity-
- Joe!

There's a few other
things going on

in the world right now, man.

- And I can't actually see
any punk rockers standing up

and saying anything about it.

They're all kind of going
along with this thing

with their hands out for a bowl
of gruel hoping to get a job

kind of advising some museum
or establishment or another

about their collection
or something.

- He is destroying
our youth culture.

For him to burn something

that's valued at five million
pounds is utterly vulgar.

[energetic rock music]

- Where he's coming from
is a whole bunch of hurt

in himself and in his heart

and he's kind of
expressing it in that way.

He's kind of taken
it really personally,

but as I said, I think
right from the start,

punk was commodified,

and his father was
probably very much

a part of that very process.

And I've got a book
which I've co-edited.

It's an anthology
and it's about punk

and it's coming out
next year in March.

[dramatic guitar music]

- This is Ray Gange,
star of "Rude Boy."

- How you doing?

When it got announced,

"Oh, the 40th anniversary,"

and the mayor's
office were going

to get involved
in supporting it,

and lots of, let's say,
names from the old punk era

were slagging that
off and talking about

how they weren't going to
have anything to do with it.

As events have gone on,

they're all gradually
participating in these events

that they weren't going to
have anything to do with.

- [Nigel] What are
they saying now?

- "I wish I still
had all my old stuff,

'cause when he burns his,

my stuff would've been
worth more money."

[dramatic music]

- I knew The Sex Pistols,

some of them more
intimately than others.

My then-boyfriend was
the original bass player

in Adam and the Ants.

I was Adam's muse for
quite a long time.

But they didn't actually have
a word for what was happening,

so they said, "Boys
in nails varnish,

girls dressed as whores,

and people who look a
bit like Hell's Angels,"

and I thought that was fantastic

because they were
struggling to describe

and contain what was happening.

That was in October.

Less than two months later,

you had Bill Grundy,
December the First,

and suddenly you
had a word, punk,

and you could shove that
like a label onto it all,

and that killed it.

That was it.

They could shove you in
a pigeonhole, into a box.

[Edward playing guitar melody]

- Well, if some guy
hadn't rang me up.

He said, "You know The Sex
Pistols are auditioning

for a new singer, Ed?"

I said, "No?"

He says, "Yeah."

I says, "When?"

He said, "Tomorrow."
I said, "Where?"

He said, "The Duke
of York's Theatre,"

or it's one of those
West End theaters.

I said, "What time?"

He says, "11:30."

I said, "Thanks, mate."

'Cause it was in the "NME."

I didn't see the ad.

My heart was hammering '
cause I knew I'd get it

'cause I was so full of...

No one had the
intensity that I had.

Anyway, to cut a long story
short, McLaren was said to me,

"I want you to write a song
called "Who Killed Bambi?"

So, I was in my basement squat

with damp running down the walls

in Albany Street, Regents Park,

with my guitar,

trying to write a song
called "Who Killed Bambi?"

This was my first job.

I thought, "This is nice.

How does he know
I can write song?"

There's a mark of respect.

I was strumming
away, and I thought,

"Who killed Bambi?

That's a good bit."

I thought that.

Right, that's one good bit,

and he came 'round, and he said,

"Well, I like that bit.

I don't like the rest.

I'll come back in four hours."

So, I'm carrying on.

And I thought, "One man went
to mow. I could nick that."

[sings indistinctly]

So, that's where
the tune came on,

but the words, man, I couldn't.

I mean, I didn't know
what to write about.

So, I wrote some words,
which they weren't very good.

So, Vivienne came
'round to check me out,

and she improved my
words dramatically.

Some of them I wrote, but
most of them she wrote,

like "Gentle, pretty thing,

you only had one spring.

You bravely faced the
world ready for anything.

I'm happy that you lived
and your life is mine.

What have I except to cry.

Spirit, never die."

You know, they're her words.

Right early on she said,

"Create your own look
and be original."

And to me, that's still
my favorite definition.

But you know, go to Germany
to a punk rock thing,

they're all in uniform.

You know, the Mohicans.

It's strict dress code.

The jackets, the studs.

So, I go over, they said,
"You're not ze punk."

"Why no spikey hair?"

You know.

- Well, I was just thinking
about this newspaper here,

and it's dated Saturday,
February the Third.

I remember the day I woke up

and Malcolm was just coming in

through the front
door with the paper,

and he went like that.

"Sid's dead. Sid's
fucking dead."

- Oh wow.
- You know?

"I told them, if you're
gonna let him out,

tell me first,

'cause I knew that if
you didn't tell me first,

his mom would get him."

What did his mom do?

Took him out.

He'd just got off
heroin addiction

by being put on
methadone in prison.

She took him out
to a bloody party.

Apparently, she gave him
his usual dose of heroin,

and it killed him, so.

- She started him-
- She's the one

who killed him.
- When he was 14.

- She gave him his first thing.

- [Ben] So concerned about his
image and his public persona,

she killed the poor fucker.

- As a kid. I remember
making these with him.

- Can I just see what he's like?

- Yeah, yeah.

- Yeah, well that's it,

'cause his hair should
be all sticking out.

And the thing is that this
actually looks like Sid.

It looks ever so much like him.

- Bits of fake fur that we cut
out into strips and glued on,

but it was a girl doll
and we melted the tits off

with like a hot knife.
- It's actually lost

one little bit there.

It needs a repair.

Sid was completely immoral.

He did not know the difference
between right and wrong.

He was highly intelligent,
fantastic company,

sweet and lovely,
as well as mad.

Poor old Sid, I mean, he
was his mother's victim.

He was spoiled
when he was young.

Meaning spoiled like ruined.

You know, he had no chance

of somehow making the right
choices in this world.

He was finding out.

He was finding out for sure.

He was an affectionate person.

- [Corre] Yeah, he was.

- I don't want people to think

that we're aggrandizing
Sid in any way.

I don't think they should.

He's not a role model.

That's the last thing he is.

[solo trumpet plays]

- Hey, there's no royal
wedding this year.

Instead, the establishment
are celebrating anarchy.

Think about it for a minute.

- It's absurd.

- It's an opportunity
on a silver plate.

We've got to take it.

- What are we gonna do?

- Money rules.

We've got to attack
the establishment.

[suspenseful music]

I've got an idea.

Let's create a spectacle
to wake them up.

The media is going to love it.

Oh, but the people
are going to hate us.

- We don't care about
what people think of us.

- They don't think of us anyway.

- Let's go talk to
the old punk upstairs.

He made millions out
of women's knickers.

[children yelling]

- So, you want to
create a spectacle

and wake everybody up?

If you want to grab
people's attention,

you've got to destroy
parts of their value system

in front of their eyes.

- How do we really
celebrate punk anarchy?

- Burn the acetate of
"Anarchy in the UK,"

the only one ever recorded.

- It could be worth millions.

- Their shock will
first turn to anger

and soon become hatred.

Now they're all ears.

[dramatic music]

[record squealing]

- Well, yes, I've done PR
for Joe for quite some time.

You know, "Malcolm's son burns

five million pounds worth
of punk memorabilia,

bum-bum-bum-bum,"

that sort of thing,

and I think I laced it with
a few fuck-words as well

and I may have slightly
over-exaggerated

and said the Queen was
backing punk London.

[dramatic classical piano music]

It was the perfect storm.

You got a bit of celebrity,

Joe being Vivienne
and Malcolm's son,

and a complete act of anarchy,

true to form by the
son of Malcolm McLaren.

We hadn't even really thought

whether he was really
gonna do it or not.

We just said, "We're gonna
say we're going to do it."

I think he might have thought
he was going to do it.

I hoped he was gonna do it.

But anyway, it
didn't really matter.

We thought this was
a bloody good story

so we put it out there.

Not sure if anyone was
going to run it or not,

but anyway, off it went,

and just went [makes explosion
sound] like a mushroom,

like a nuclear mushroom,

global, absolutely
global straightaway,

which is the sort of
essence of the media.

[discordant guitar music]

- I thought it'd be
quite a good idea

to put together a coverage book,

and that's basically
an industry PR tool

that helps you to see how far
and wide a story is traveling.

It's traveled internationally

to 1.91 billion people
have reviewed this story.

It's just amazing to see
how fast it's traveled

without research and without
proper due diligence.

I think the hatred is
really unnecessary,

and the fact that it's
gone international now

and he's got an international
hate campaign against him.

- You know,

this now belongs to the
cultural heritage of London,

this bloody theme park,

and let's not pretend that this

was all some kind of
joyous cultural movement

that the establishment
embraced and wanted to own.

I mean, you know,

the mayor of the London at
the time or the equivalent,

the head of the GLA, the
Greater London Authority,

suggested that the best
thing to do with punk rock

was to dig a bloody great
hole and bury everybody in it.

- I think most of these groups

would be vastly improved
by a sudden death.

I would like to see somebody
dig a very, very large,

exceedingly deep hole and drop
the whole bloody lot down it.

You know,

I think the whole world
will be vastly improved

by their total and
utter nonexistence.

- I'm just saying if you're
going to talk about nostalgia,

let's talk about the truth.

Let's talk about the fact
that people got beaten up

and stabbed and cut up
for being a punk rocker

or spat on or kicked in.

I don't think what it
should be is castrated,

sanitized, neutered,

and boxed up as a lie to
sell to younger people

and try and pretend
that it's cool

and that that version,
that sanitized,

harmless version
is something that

we should all now feel belongs

to the culture of this nation.

I just think it's
ridiculous and a lie.

- And how do you know
it's worth five million?

Is it definitely
worth five million?

- Well, it's an
interesting point,

and I think part of this is
to have that conversation

about the difference
between price and value.

You know, we all know
the price of a house,

but do we know the
value of a home?

- There's no link anymore
between money and value.

- What does value mean?

Do I have any?

- Well, I'm not sure.

Let's think about it.

[dramatic orchestral music]

- The difference between
culture and consumption

is that consumption is
about sucking things up,

opinions, the lot.

Culture is about
investing in the world.

You get out what you put in.

You've got to try and
understand the world.

You've got to think.

You've got to see
your way through.

You've got to compare what
people did in the past,

what they had to say,

with what people are
doing today to know

who are human beings?

What are we?

Get an overview.

You never ever get an overview

of anything in today's
consumption media.

Never.

- [Reporter] Joe, do you
have any doubts about this?

At any point did you think,

"Hang on, this is an act
of historical vandalism"?

- No, because I think that

these items represent
something that was very heroic.

This ending for them
is an heroic act.

- Did it not occur to you to
maybe donate stuff to charity

or use some way of raising
money towards a cause?

- I have witnessed the
selloff of every asset

that this country ever owned.

The job of the state
is now taken up

by the charitable sector.

You have charities where people

are earning 250 grand a
year to sit on the board.

This whole thing is a process,

and the stage we are at now

is about winding the media up,

and that's what they
want to talk about.

Let's give it to 'em.

You want to talk about
my father's manipulation

of media or industry.

At the time,

in order to kind of cut
through all the crap,

he was very influenced
by the Situationists

and Guy Debord and
people like that.

And yeah, certainly he
used all of those um,

all of those devices.

- Malcolm hated
the establishment

because they're hypocrites.

Let's start again.

Let's have anarchy.

Destroy the past.

That's where he was coming from.

And I think this
1968 student movement

that swept through
Europe at the time

was what that was about.

We don't want your education.

And therefore,

I think the song that summed up

the punk movement
better than any other

was from The Sex
Pistols' Glen Matlock.

He wrote it and it said,

"We are so pretty,

pretty vacant, and
we don't care."

And we were pretty.

We were gorgeous
and we were vacant.

How you ever going
to convince people

that this is worth
even a million pound,

'cause you haven't got anything

that's really anything
but a bit of old stuff.

- A bit of old stuff
can be expensive.

[dramatic electric guitar strum]

♪ When Johnny comes
marching home ♪

♪ When Johnny comes
marching home ♪

- The public need a price
before they get angry.

- We need an expert
to put a value on it.

- For me, the special
piece is the suit.

But obviously, the Venus.

Again, a very
well-documented piece.

Why not go for a
hundred, 100,000?

- As far as I remember,

at one point this was put
into a photo frame on the wall

along with three other
completely iconic T-shirts,

and this was the fourth-
- Yeah, I remember.

- Iconic one.

- Yeah.
- And Sid Vicious

came in one day,

smashed the glass,
and took this off.

I worked with Malcolm on this.

It was his idea to put

the bike tire on the shoulders.

- I think the beauty
of pieces like this

is that you see, in a way,

you see the birth of
Vivienne Westwood.

You see her being a
bricklayer and taking various,

you know, the bike
tire, the studs.

You've got the birth of,
shall we say, punk clothing.

Every piece is unique.

Vivienne wore it.

We know it's Joe's.

It's special.

We've got to be talking,

in the right hands,

probably to a museum,
half a million.

You could go higher.

You could go to a million.

- So, this might very
well be my jacket

that was once stolen from me.

I could try it on if you like.

But yeah.

'Cause I wore this all the time.

I had very few clothes.

I'm not an acquisitive person.

I try not to take clothes
even from my own collection.

So, as I said,

I think this is a jacket

that was probably
stolen from me once.

- [Corre] Yeah, but
what was that bunk?

- By Malcolm's girlfriend.

But yeah, he sent her around
to take all my clothes.

He was jealous.

He didn't want me to have
access to my own designs.

That was what it was all about.

- I mean, the beauty
is this is Joe's,

so nobody's going
to question that.

That does make
the prices rocket.

Yeah, why not?

Why not?

It could go five million.

Maybe it's 10 million.

There's no reason why not.

It about who wants it,
why they're buying it.

If he was ever to sell it
or if he's going burn it,

burn it, fine.

I think that would
actually act as

a very nice end to
the whole chapter.

It would absolutely also
upset a lot of people.

That would be very
punk in its own way.

I like that idea.

- You know, Boy George.

He made his own bondage things.

He copied them.

He just bought some
tartan and made them

for less money than we charged.

- I'm the person that
sold, what is it?

Apparently 80,000
pounds worth of clothing

that was all fake.

I don't blame Malcolm
if he went along

and said it was all fake.

That's very Malcolm.

- Yeah. Yeah.

- It's kind of amusing.

- And how would he know?

[laughs]

- Well, you could say,
how would he know?

Let's face it.

He wasn't sitting down
making this stuff.

- He was in the office
running The Sex Pistols.

- Exactly.

- But that looks like
an original thing.

That zip's not, is it?

- No, it doesn't
look right to me.

- No, it's not an
original thing.

I don't know what it is.

It's got our label on it.

That's not ours.
- That doesn't really

mean much, I'm afraid.

There's so many people
doing funny copies, and-

- Really?

- They make the
labels and everything.

They do.

Japan and funny places.

People have been making
those things for years.

- But you've got
several companies.

You've got 666, Aced or Robot,

Peel & Lift, AFFA,
KS Corporation.

They're just producing
this stuff every day,

and have they ever given

any money to Vivienne in the
years when she was struggling?

- [Corre] No. No.

- No.
- None.

Not to Vivienne, not to
charity, not to anything.

- And they claim they have
permission from her to do it.

Well, they don't.

- I guess the one person
who really does know

all the truth about
what's original,

what's authentic is Vivienne,

and she's completely
bored shitless by it.

- Of course.
- You know.

But in that sense as well,

it therefore allows other
people to step in and go,

"Well if she's bored of it,

that's all right, but I'm not,

and I'm therefore
going to spend my life

looking at all
these details that

are of no importance to her,

but they're important to
everyone else" about her.

But at the same time,
because of that,

it's almost like they don't want

to give her any credit for it,

because let's give
Malcolm credit for it,

because then that
allows us to kind of

exist within this space and
have some sort of authority.

- Malcolm, particularly
when he was alive,

he always sidelined her.

He did it all by himself.

It's all his idea.

- I do think that later on he
became very bitter about her,

and the idea that
somehow Vivienne

had taken all his ideas
and made a success happen,

which was just a
megalomaniac thing to think,

and he kind of portrayed
her like that in public.

Kind of wanted to
belittle her in that way,

and it was just a bit
cruel, but that's, you know.

[dramatic orchestral music]

- There we are, get your hat.

[dramatic orchestral music]

["When Johnny Comes
Marching Home"]

- Find them kids.

- [Commentator] No
one who's part of

the right-wing elite
of this country

should ever lay
claim to punk rock.

They don't have the right to,

so if they're gonna
get their paws on it,

then fucking burn that,
do you know what I mean?

Never forget what they
actually represent.

Well, his parents
spearheaded the movement,

so if they're not happy about

the current political climate

and how people are trying
to manipulate punk rock,

then let them do what they see
fit for future generations.

Youth today have united
in a way which basically

they all understand
that they exist

outside of the system
that's handed to them.

So, you know,

I think whether you're
skating in places

you're not meant to,

whether you're painting on
places you're not meant to,

or whether you're spitting
bars on grime beats,

you all carry a
punk rock attitude

that's kind of come
through the ages.

- If someone's passed away,

they don't have a
say in it anymore,

and I think as
Malcolm McLaren's son,

he's in a position to
say, "No, fuck you,"

whereas other people might not.

Who knows?

Do you know what I mean?

Maybe other people from
the original punk era

might not step in
and do anything,

and Boris Johnson
just parades around

like he's all for
punk rock and shit,

so I don't think you can
really tell him what to do.

It's his family's
personal items.

- The stuff that
I do now has got

a chance to last for a bit.

You know, five, 10 years.

You know, spray paint,
it's going to fade.

Someone's going
to paint over it.

You know, a graffiti
like that across the road

is going to last for
like five minutes.

You know, Joe burning the stuff,

it's not meant to last forever.

[bright orchestral music]

[suspenseful music]

[footsteps landing]

["When Johnny Comes
Marching Home"]

- [Escapee] He's
coming! Come on!

["When Johnny Comes
Marching Home"]

[children panting]

- We're free.

Now what?

- There's nowhere to run.

- We have to get everyone
together and make a plan.

[dramatic orchestral music]

[energetic electronic music]

- We're from the youth media
organization Fully Focused.

We're all about representation

and young people
having the platforms.

- So, we're just trying
to jump this idea

that sometimes
escaping something

is not always the best solution,

'cause you need to
know about this,

'cause if you don't,

you just become ignorant
and then you're just stuck.

- Some of the solutions
that we found for our future

are things like the
government really

getting a grip with
corporation tax avoidance.

Distractions.

We live in a world
of social media

where it is so easy to get
distracted away from the truth

and away from the things
that really matter.

Another major thing is that we
don't have enough role models

or we don't have
enough role models

who are invested
in our interests,

in the interests
of our children,

and of our grandchildren
in the future.

So, we really need to
stop, as someone once said,

"Making stupid people famous."

Use your purchasing power.

If you think about it this way,

that each pound you
spend is a vote,

is a vote for whatever
you are buying,

whatever you're
spending that money in

is something that
you're voting for.

It's a world of
supply and demand.

The more you demand it, the
more they're gonna supply it,

so if you spend your money
more on clean energy,

there will be more
clean energy provided.

But I think what we found
overall as a major issue

is that as a young generation,

we don't go out and vote
enough in numbers, you know?

And that's where you
get what you want:

at the ballot boxes by voting.

- [Sauven] All the young
people come out and vote,

that is the most powerful
thing that they can do.

And as a bloc, they are
enormously powerful,

and politicians have
to listen to that bloc.

I mean, they have immense
power in many ways,

and I don't think they realize
how powerful they could be,

and particularly because
they've got tools

at their disposal today
to really organize

in ways that when I was a
young person, I didn't have.

I could only dream of the
kind of tools that they have

to organize and mobilize today.

- [Protestors]
Solution, not pollution.

Solution, not pollution.

Solution, not pollution.

Solution, not pollution.

- It's very easy to have
politics of division,

to have them and us.

You know, white versus
Black, men versus women,

old versus young, cities
versus rural areas,

and so on and so forth.

We have to overcome
those divisions

if we are going to build
a new and just society.

And I believe that young
people have got a critical part

to play in actually
building that society

and building it around
action on climate change,

building it around
social justice,

creating new industries,

industries of the future,

which are going to
answer the problems

that have plagued
us up until now.

And I think the
fossil fuel companies,

the oil companies,
the coal companies,

basically, they're history.

They're last-century.

But they will fight tooth and
nail to defend their power,

their privilege,
and their money,

and that's why it's
gonna be a fight

and that's why everybody's
gotta participate.

Everybody has got
to build the future.

That's what's really critical.

[energetic orchestral music]

[protestors cheering]

- I designed a set of playing
cards 'cause I'm an activist.

I had so many
graphics, I thought,

"I'm going to put them all
on the set of playing cards."

When I looked at the
set of playing cards,

I realized that it was a whole
strategy to save the world.

And this one here is misrule
of law by government.

[onlookers cheering]

- You're an inspiration.

- I'm a big fan of yours.

- [Individual] Lovely,
lovely. Come on.

[protestors calling out]

- [Protestors] We said no.

We said no.

We said no.

We said no.

- I think it's hard for
people to understand

without actually
going through it,

because people ask me
things like, you know,

"What was it like growing up
with your parents?" and stuff

as if I had a choice of a
different set of parents

that I could compare
it to, you know?

I only had one set of parents
and that was how I grew up.

You know,

my father was a bit more
bulletproof in some respects.

I mean, he kind of took
that as par for the course,

but for him,

he was a guy who sort of never
stopped running, in a way.

He always wanted
to have a new idea,

always onto some
kind of new thing,

and that to me was a
sort of nervousness

on his part of ever being
able to kind of sit still

and be questioned
about anything.

As long as he could keep moving,

he never had to
really face much.

- You never came to my school
parents' meetings at all.

You didn't offer,

and I definitely didn't
want you to come, either,

or being on the bus going
to see some exhibition

with the school and going,

we went past the
King's Road shop

when it was called SEX,

and all the kids go,
"Oh, it's a sex shop.

Sex shop," you know.

But I just sort of kept quiet.

- You told me you pretended

that you weren't
with me sometimes.

- That I would walk on
the other side of the road

or something or other.

- Yeah, that's what I remember.

I sort remember
holding Mom's hand

and you being behind the
other side of the road.

- No one knew who you were,

even though that was the
time punk was going off.

I told one of my
schoolmates once.

- Malcolm had been in America

and he brought a lot of these
graphics back from there,

but when he came back,

I had hidden a
shirt that I'd made

underneath the few things
in the airing cupboard.

It was hidden at the bottom
of a pile of few sheets

and stuff in the
airing cupboard,

and he found it.

- Why did you hide it?

- I was hiding it
because I thought

he would really get
annoyed with me.

And what I was trying to do was

I was trying to make a
shirt for an urban guerilla.

So, it was inspired by
the idea of Che Guevara,

but something for the city.

And so it was this sort of idea,

and so I hid it from
him 'cause I thought

he'd really hate it.

Anyway, and so this
is one of my slogans.

"Only anarchists are pretty,"

and it goes right down
the sleeve to there, okay?

So, this is a later
anarchy shirt.

I was still always
doing the main ones.

So, this is one where we
just used different prints,

and that's the
one with the queen

with the safety pin in there.

- [Corre] I remember
you working on that one

and talking about this
Hell's Angels thing here.

"As you were, I was.

As I am, you will be,"

and I remember sitting with you

and you were talking to
me about this 1% thing.

And I just remember
you doing this graphic

with these anarchy
flags and stuff, yeah.

- Anyway, you've put your
finger on something there.

It is inspired by the
Hell's Angels, as well,

and we had a couple of them

working with us making
this stuff in our house.

- [Corre] That's right.

- They used to come in every day

and put little studs on
these skirts and things.

- [Corre] That's right, yeah.

- Yeah. Red Baron.
- They were sort of doing

all the leather work thing.

I remember catching you-
- And you were little.

- [Corre] Snogging Red Baron
in the hallway one day.

- Well, was I
covering it up then?

No.
- Well,

I just remember
walking 'round the,

'cause he was there.

He used to work on the
Waltzer, as well, didn't he?

On the fun fair.

- He was really lovely.
- Oh Clapham Common.

- I liked him ever such a lot.
- He was a biker.

Yeah, I know you did.
- He was absolutely great.

- I remember seeing you
in the clinch with him.

- And Malcolm
wasn't around then,

and I thought we were finished,

and it wasn't that I was
being a traitor to Malcolm,

because, you know,
our relationship,

I thought it was over
most of the time, really,

but I was very loyal to Malcolm.

So, he'd gone away,
and when he came back,

you know, I was
really into Red Baron.

We loved each other.

- Did you?
- Oh, God, he was lovely.

He was so nice.

And when Malcolm came back

and said he'd like
wanted me back,

so I had to go.

Was just still loyal to Malcolm.

Sorry. Yeah.

And I was very sad about
that, and he was lovely.

[somber music]

When I met Malcolm
a long time ago

and I fell in love with him,

I thought he was beautiful.

I think people
are really in love

always do think that their
boyfriend's beautiful,

and I still do.

I mean, I still treasure
the experience of Malcolm.

- Malcolm fucked Joe over
when he died with his will.

Not that Joe wanted anything.

I mean, Joe went over
to Malcolm's dying body

and hugged him and
whispered in his ear,

"Travel well, Malcolm.

Travel well."

You know?

And Malcolm went, and
Joe was like, you know,

it was kind of a bit
of a release and stuff.

And then like he set
up this whole funeral,

put a great funeral for Malcolm.

Cash from Chaos.

The horses and carriages
going through London.

Got him buried in
Highgate Cemetery.

Paid for the bloody plot.

You know.

And then after this
has all happened,

and after the party
the next day, you know,

Young Kim gave Joe the will,

and the will said expressly
that Joe was not to get anything

penciled in on the
bottom of a letter

that he'd written just before

we turned up in
Switzerland, apparently.

So, you know, that was very
devious of her as well.

She should have showed
him the will straight away

anyway before the funeral.

So, that hurt Joe incredibly.

It was incredibly hurtful.

Feel like he'd been stabbed

from beyond the
grave by Malcolm.

[dramatic orchestral music]
[flames lapping]

[somber orchestral music]
[flames lapping]

- And I had to admit
and to accept in the end

that my father wrote those words

and he was willing
to write that.

You know what I mean?

And that's the truth.

You know, that's just the truth.

He was a fucked-up guy.

He had lots of personal issues

that affected me as
a kid growing up.

But I would never take away
from him his brilliance.

He was a brilliant guy and
he did some amazing things,

and I'm very proud of him.

I'm proud to be his son.

You know, after my father left
my mother in a terrible way,

he was horrible to Vivienne,

not just tried to smash
everything up when he left,

but did smash up
everything when he left,

you know what I mean?

And treated her really badly.

And we were with her

and we took the
brunt of it as well.

And he never had any
conscience for us

in what it meant to me and Ben,

and only later on did he
realize the error of his ways.

I just felt very fortunate at
the point when he was dying

that I was able
to go and see him

and talk to him and forgive him.

You know, I think he'd
turning in his grave

to see "Anarchy in the UK"
on a fucking credit card.

I think that's full
circle of showing

that everything he
did was useless.

You know, it's known because
it's a public document

that he said in his will,

"My son shall not fucking
inherit anything."

[laughs]

[somber orchestral music]
[flames lapping]

- And then we'd just
go and sleep in barns,

all of us, didn't we?

We went to Anglesey, didn't we?

- That's the only family holiday
I ever remember us having

was hitchhiking to Anglesey
and sleeping in that cabin.

- What it would be,

it would be that I would be
there with the little baby,

which is you, hitchhiking,

and then I'd get in the car,

and then Malcolm
would come with Ben.

- [Corre] They were hiding
in the bushes, yeah.

- And ask if they could
get in as well, yeah.

And then that's how
we got our lifts.

He thought because it was
the island of Anglesey

where the druids
were that there was

some sort of ritual
had been practiced,

because we found a sheep
with its leg cut off

next to the barn where

we'd just all decided
we had to sleep,

and there was nowhere else.

And so he was terrified,

and we put all the hay
bales against the door

so nobody could come and
get us and everything.

Oh God, it was boring.

It was him that was so scared.

It wasn't me. I didn't care.

But yeah.

But then it was obvious
somebody had thought,

"Well, we've just
killed that sheep.

We might as well take
its leg and roast it."

- I remember in
the morning after,

as we walked into the little
town that no one was up yet.

Everyone was still in bed.

- Before that we went
to this lovely well.

There was a little well.

- I remember jumping in the well

and getting all the
money out of it.

It was a wishing
well, wasn't it?

And we took all the coppers
out the wishing well

and then went and wait for the
shop to open in the morning

so we could buy some breakfast.

Do you remember that?

I remember all our
pockets were soaking wet

still piled up with coppers.

- Really?
- Yeah.

- Yeah. Yeah.

- [Ben] We had no money.

- No, we always used to do
lots of things without money.

- We haven't got time

to fuck about thinking
about punk rock

or any other nonsense
or pretending

that somehow that's
all important,

when in reality

we are moments from extinction,

and we need to understand
that as a human race.

You know, we've got to
look at what's important,

because if we don't,

it's gonna be too late.

You know Nigel.

I mean we thought
that a campaign

against Nigel Farage
and UKIP, right?

In Thanet South.

And the main issue people had
was about immigration, right?

Immigration.

We're terrified of immigration.

The bloody immigrants had
come in, blah, blah, blah.

What I'm saying,

if you are worried
about immigration,

you better get worried
about climate change.

Where do you think all these
people are going to go?

[dramatic music]

[motor humming]

Pleasant morning on the Thames.

[motor humming]

This is a old friend
of mine's boat.

He lives here.

It's his old mine sweeper.

[travelers laughing]

- Where are you thinking
for the fire pit now?

- Well, I think the fire pit's
got to be on one end of it.

- Yeah, I think probably-

- On that front end.

I'm just thinking about all

the different
technical aspects of it

and who's going to do that.

- There's not too much
technical stuff, really.

- You've got to be
able to, I think,

allow people to hear
what I'm talking about

when I'm burning it here,

so that's power and
speakers and everything.

There's no power on
this boat, right?

So, we've got to
bring all of that on.

- Yeah, you could just drop the
focus between there to here.

If you're gonna say anything
about doing the burning,

then that would
be over the top of

whatever your mum's
saying or whatever.

- Well then to me it
would make more sense

that Vivienne was in over there.

Wish more people would
get up and do something

that could be counted.

- Okay getting frustrated.

- Well, that's easy.

- Oh, it's quite clean.

Oh, I suppose it
doesn't really matter

if they're all going
up in smoke, does it?

Just burn a few.

Just squash it all in
and get a bit more in.

Five million pounds worth
of punk rock memorabilia

in the 20 pound box,

which I thought
it was quite good.

Do you know what?

People think you
are fooling them

with burning these clothes?

- [Corre] So, I think people
are being fooled every day.

I've been able to, in
a slightly unique way,

to be able to use
this as an opportunity

to talk about more
important issues.

So, have I fooled everybody?

Well, I don't know.

I think to an extent
I've fooled some people,

but what I'm hoping out of it
is actually to wake them up

to the idea that they're
being fooled every day.

You know, we've
got really crucial,

important issues in front
of us about extinction,

about climate change that
are much more important

than celebrating a
kind of corporate idea

of what punk rock now is.

So, I took it as an
opportunity to do just that.

The job now is to really
get the main message across

and for people to
understand why.

Now, how successful I'm
going to be at doing that,

I don't know, but I'm going
to give it my best shot.

[jaunty orchestral music]

- The press aren't really,

they're just stoking things
up as they did in the past.

You know.

It's just the public reaction
that's rather disappointing.

They don't understand
punk at all.

The only one who seems to
understand punk here is Challan,

which is do things
to provoke the public

and provoke reaction
for a good cause.

It's to make you think.

- I think it's his to burn.

It's punk rock punk.

Burn it if you want to burn it.

Fucking burn it.

- You don't have to be into
The Sex Pistols to be a punk.

You know, it is an
attitude to life.

It's about being
aware of the injustice

happening in the world and
trying to do something about it.

And at least the one thing
you can definitely do about it

is not be taken in by the lie.

[dramatic electric guitar music]

- I think there's
a load of people

walking around London right now

and they're kind of saying,

"Joe's looking for
publicity" and whatever.

Actually, he's looking for
publicity for the right reasons,

to change the world and
to make people realize

what's really going on.

["When Johnny Comes
Marching Home"]

- The older generation
have made a mess.

They don't care about the
world they're leaving us.

These politicians are
destroying themselves

and taking us with them.

We need them to act
fast and slow down.

All they care
about is the money.

It's our future.

We've got to save it.

It's our only choice.

- There is nowhere to
run and nowhere to hide.

We've got to take
over the workhouse

and create a future
for all of us.

[children calling out]

- [Protestors]
Solution, not pollution.

Solution, not pollution.

[trumpeter playing
charge cadence]

[drummers playing march cadence]

[energetic army band music]

- One million anti-people
control seven billion.

It's the banks, the
conglomerate corporations,

and the politicians
who serve them.

That map comes from NASA,
the American space agency.

If you draw a line level with
Paris all around the world,

below that, it's uninhabitable.

By the end of this
century, by 2100,

there'll only be one
billion people left.

The rotten financial system,
and it's run on debt,

and it's run on fossil
fuel and cheap labor,

'cause they're just
so power-driven,

and they get their power

through the rotten
financial system.

As long as it works,
we can't help poverty.

It's designed to make poverty.

It's a war economy and
it causes climate change.

It's completely corrupt.

There's only one way and
that is a green economy.

Can you imagine when half the
country's on green energy,

the rotten financial system,

which is administered
by our government,

would not be able to do
what it does anymore.

It will be completely
undermined.

It couldn't function.

I never had an answer, and
I've got the answer now.

Switch to green energy.

It's the most important thing

you could ever do in your life.

This simple thing.

Switch.

[audience cheering]

[dramatic orchestral music]

[suspenseful music]

- [Kids] Now!

[suspenseful music]

[kids calling out]

[suspenseful music]

- You're gonna have to work
a little bit harder now.

The other kids are missing.

I've got my loans to
pay back to the banks.

[kids calling out]

Hey!

[kids cheering]

- Have you heard that the
old punk's having a bonfire?

Clearing out his old clobber?

- Nobody knows what he's burning

and nobody knows
what it's worth.

[kids calling out]

- Funny old world.

The establishments
celebrate anarchy

and the punks are trying
to save the planet.

- I thought the punks
were the anarchists.

- No, it's the politicians.

- Welcome to The Great
Punk Rock Swindle.

Punk provided an opportunity

for the no-future
generation of the 1970s

to create a way out of it,

not trust in the media,

not trust in the politicians,

investigating the
truth for yourself.

DIY.

If you want to understand
the potent values of punk,

confront taboos,

do not tolerate hypocrisy,

investigate the
truth for yourself.

You will find that the
problems are up here

with all the corporations
and the banks

and they're doing it with
the help of this lot.

So what can we do?

Stop buying their lies and
stop buying their products.

Now then.

Let me introduce
you to the band,

the greatest punk rock
group ever, Extinction,

as they play their track
record of your future.

[discordant rock music plays]

[fire crackling]

The Bullingdon
boy Boris Johnson,

Sajid Javid coming
to a town near you.

And for role to
[voice drowned out]

the people of
Lancashire of fracking.

Jeremy Hunt, Dr. Death.

[rocket flares]

Theresa Mayhem, secret squirrel,

secret [voice drowned
out by music].

[discordant rock music]
[fireworks squealing]

George Osborne.

555-billion-pound of public
debt under his innings.

[discordant rock music]

Dodgy Dave, Anarchy Andrea,

Go forth, George.

Goodbye.

Because what's got left behind

when all this is gone
is just that lot,

and they can't do
anything without this lot.

[discordant rock music]

[water spraying]

Why is that stuff of
any value whatsoever?

Why?

Why?

Because it represented
a moment in time

when people thought
they could do something,

and then it just
turned into a pose,

and it's been a pose ever since,

and now it's a pose that
belongs to McDonald's,

Louis Vuitton, car insurance,
and any other nonsense.

If this country and the
people in this country

and internationally
don't get serious

and their representatives
don't get serious,

then we've got get them out.

And we've got to get people in

who are going to start doing it.

Because they're not
representing your kids,

they're not representing
your future.

And punk rock is a side show.

- [Journalist] Joe, some
people said this was a hoax,

that you were burning
stuff that wasn't valuable.

- This is real, isn't it?

You are here.

You are present, right?

- [Journalist] Yeah,
but I'm not a collector

so I don't know if
it was valuable.

- Who cares?

I'm glad you're not a collector.

You're sensible.

Anything else?

Good.

Thank you.

[crowd laughing and calling out]

- So, what was the
point of burning punk?

You wanted to annoy
people, didn't you?

Upset them.

You know, we love our rebels.

This is our national treasure.

It's worth five million quid.

- My name's Nick Reynolds.

I'm a sculptor.

I'm the only, to my knowledge,

specialist in death
masks in the UK,

which is how I got
to be pally with Joe.

I did his dad's
death mask, Malcolm,

which you can see a
couple of copies here.

The original one's in bronze

on his headstone at
Highgate Cemetery,

for those who don't know.

And strangely enough,

we've got a bit of sort of

kind of kindred spirits of sorts

'cause my dad was
Bruce Reynolds,

the mastermind at the
Great Train Robbery,

and as you know, his partner
in crime, Ronnie Biggs,

was once upon a
time the lead singer

of the legendary Sex Pistols.

So, we've both got
rather naughty dads.

So, yeah, I'm looking
forward to actually

seeing this all finished and
seeing it in the gallery.

- I think for me,

when I first said I was
going to burn all his stuff,

it was about getting a
reaction out of people

and a public conversation
going about price and value.

You know what I mean?

We know the price of a house,

but do we know the
value of a home?

And I'll talk about
that metaphorically.

The home being the world
that we live in together.

[somber orchestral music]

- [Gallery Attendee] Very
interesting to see the way

that you can just reduce
five million pounds

into a small coffin,

and I'm still not sure

is it selfish and fucking
sad or is it brilliant?

- [Finn] When you walk up
into that room upstairs,

it's mind-blowing.

I've not seen anything like it.

- [Interviewer] Do
you think anyone

would pay five million
pound for the ashes?

- I think someone
might pay more.

[somber orchestral music]

- I think that punk
spirit transcends time,

so you can burn it and you
can burn the memorabilia,

but I think the spirit lives.

- The situation that led to all

this amazing passion and
spirit in historical form

being completely smashed
and destroyed and exploited.

People over-commercialized
and they manipulated

and re-appropriated
the punk spirit,

and that is why we are stood
in Mayfair, of all places,

looking at a pile of ash.

[somber orchestral music]

- [Sauven] You know, I
really like this work of art

and I love the film that's
being created that goes with it,

and I think if that
provokes a conversation

and people start talking about
what they really do value,

then, of course,

this becomes far more important
than some old designs.

What are we actually
valuing here?

Are we here valuing life?

Nature?

The beauty of planet Earth?

Or are we just turning into a
commodity and just selling it

for whatever money we can make,

regardless of how
much destruction it's
actually causing?

[gulls cawing]

[pigs snorting]

[somber strings music]

- [Vivienne] I hate
the establishment

because it's a killing machine

and the world
could be different.

That's why I wanted anarchy.

But they're the real anarchists.

Their whole political,

domestic home policy and war
policy is sow the whirlwind,

reap the whirlwind.

[somber strings music]

[animals howling]
[birds chirping]

[animals screaming]
[suspenseful music]

[suspenseful music echoes]

[eerie music]

♪ Where are your eyes ♪

♪ That look so mild ♪

♪ Hurroo ♪

♪ Hurroo ♪

♪ Where are your eyes ♪

♪ That look so mild ♪

♪ Hurroo ♪

♪ Hurroo ♪

♪ Where are your eyes ♪

♪ That look so mild ♪

♪ When my poor heart
you first beguiled ♪

♪ Why did you run from
me and the child ♪

♪ Oh, Johnny, I
hardly knew you ♪

♪ With drums and guns
and guns and drums ♪

♪ Hurroo ♪

♪ Hurroo ♪

♪ With drums and guns
and guns and drums ♪

♪ Hurroo ♪

♪ Hurroo ♪

♪ With drums and guns
and guns and drums ♪

♪ The enemy nearly slew you ♪

♪ My darling, dear,
you look so queer ♪

♪ Oh, Johnny, I
hardly knew you ♪

♪ You haven't an arm ♪

♪ And you haven't a leg ♪

♪ Hurroo ♪

♪ Hurroo ♪

♪ You haven't an arm ♪

♪ You haven't a leg ♪

♪ Hurroo ♪

♪ Hurroo ♪

♪ You haven't an arm
and you haven't a leg ♪

♪ You're an eyeless,
nose-less, chicken-less egg ♪

♪ You'll have to be put
with a bowl to beg ♪

♪ Oh, Johnny, I
hardly knew you ♪

♪ But sad it is to see you so ♪

♪ Hurroo ♪

♪ Hurroo ♪

♪ But sad is to see you so ♪

♪ Hurroo ♪

♪ Hurroo ♪

♪ But sad it is to see you so ♪

♪ To think of you now
as an object of woe ♪

♪ Your Peggy'll still
keep you on as her beau ♪

♪ Oh, Johnny, I
hardly knew you ♪

♪ With guns and drums
and drums and guns ♪

♪ Hurroo ♪

♪ Hurroo ♪

♪ With drums and guns
and guns and drums ♪

♪ Hurroo ♪

♪ Hurroo ♪

♪ With drums and guns
and guns and drums ♪

♪ The enemy nearly slewed you ♪

♪ My darling dear,
you look so queer ♪

♪ Oh, Johnny, I
hardly knew you ♪