Original subtitles

- 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