Fascinating, thought-provoking and sometimes shocking insights into the 1976-7 Punk explosion
Directed by Mark Sloper, the man behind ‘Billy Fury: The Sound Of Fury’, ‘Sid! By The People Who Knew Him’, and ‘The Story of Skids: Scotland’s No.1 Punk Band’, brand-new documentary movie ‘50 Years of Punk‘ provides a fascinating and thought-provoking insight into the explosion of the genre exactly half a century ago, straight from the mouths and memories of those who were there at the time…
Sometimes shocking, sometimes controversial, frequently humour-filled, energetic and creative, Mark has created a captivating film which keeps us on the edges of our seats. Combining interviews with well-known names such as Hugh Cornwell, Dave Vanian, Vivienne Westwood, Rat Scabies, Gaye Advert, Richard Jobson, Glen Mattlock, Jah Wobble, Terry Chimes, Tony James and Viv Albertine with rare archive footage from 1976, this documentary takes us back to the very start of a year which saw a musical and societal eruption like nothing London had seen before!
Beginning with the historical perspective of the social background to Punk, and the realisation by many working-class youths that the system was in fact rigged against them, combined with heavy police oppression and a violent culture in a crumbling city; all were catalysts for a movement of change. The time was long overdue for a riot of their own…
Musically, the garage rock influences of New York Dolls and Iggy And The Stooges, alongside the heavier rock of Black Sabbath and Led Zeppelin were already influencing the alternative landscape for those who wanted something different from disco and glam pop. Along came New York City’s Ramones, whose songs shifted the tempo up by several gears, and who combined their gritty swagger with an effortless cool which the kids wanted to emulate.
Meanwhile, the art and fashion worlds collided in a colourful mishmash, driven by the Warhol-influenced Malcolm McLaren and Vivienne Westwood. Their boutique at 430 King’s Road, London, in its third and fourth incarnations as SEX and Seditionaries, became a hub of London Punk artistry. The shop’s wares were out of the price range of most, but the true Punk ethic of DIY saw youngsters creating their own looks from second-hand clothes, whilst face make-up was liberally applied as both art and identity.
Westwood and McLaren encouraged individuality, seeing Punk as an art form rather than a movement. Much of the look was customised in order to shock their elders, yet very few of the youth adopted it at first, as the archive footage of the crowds arriving at Patti Smith’s shows at Camden’s Roundhouse in May 1976 shows the majority clad in the mainstream garb of the time.
This new look was especially empowering for women, who could look tough and act tough as Punks. The DIY spirt also flowed through the music, as physicality, energy and attitude on the stage were considered more important than any musical ability at first! However, the bands soon found that constant playing improved their musicianship. As in the fashion side of Punk, everyone tried to be as different musically as they could. There were plenty of gigs happening around London in hot, sweaty, packed-out pubs, clubs and concert halls. These unique venues were filled with London’s outcasts as they made each space their own. The exceptional summer heat and high spirits sometimes meant that violence erupted amongst the gig-goers – and the bands!
Oxford Street’s 100 Club hosted a 2-day Punk Special in September 1976, featuring eight Punk rock bands, most of which were unsigned.
Fledgeling bands Subway Sect, The Clash, Sex Pistols, Stinky Toys (from France), Chris Spedding & The Vibrators, The Damned and Buzzcocks all performed, and an improvised set by Siouxsie and the Banshees (who had no songs and no idea how to play!) became their genesis as a band. The event was promoted in the press by ‘50 Years of Punk’ interviewee and Melody Maker journalist Caroline Coon, although most of the music press were not at all in favour of the Punk movement at first…
However, the release of The Damned’s ‘New Rose’ and Sex Pistols’ ‘Anarchy in the U.K.’ in October 1976, followed by the infamous Sex Pistols interview on live TV that December by Bill Grundy (which saw national paper the Daily Mirror run a headline “The Filth and the Fury!” in reaction) saw local and national press jump into the fray, thereby bringing Punk to a considerably wider audience.
McLaren’s Sex Pistols rapidly became public enemy number 1 – a calculated move by a manager who delighted in chaos and trouble! The band were an art project for him, and a vehicle to sell his and Westwood’s clothing lines. However, the band had minds and ambitions of their own, with their performances reflecting the crowd and the furious energy of the time, plus they soon improved their ability to play and write songs.
The histories of The Clash, The Stranglers, The Adverts and Adam and (The Ants) are also explored in the film, with informative and entertaining input from Terry Chimes, Hugh Cornwell, Gaye Black and Dave Barbarossa respectively. Mention is additionally made of the horrible practise of spitting at Punk gigs – a craze Captain Sensible attributes to Rat Scabies as the instigator of – and how much the bands all hated it. Sensible reckons that it was better to catch flying spit in his mouth, so he could regurgitate it back out into the crowd!
As we reach the concluding chapter of the film, the flames of Punk begin to die down almost as rapidly as they sparked into existence. It would be inaccurate to say that Punk spiralled into oblivion, as the countless bands, fanzines, culture and this very magazine are living proof that its music and ethos are very much alive and kicking, 50 years on. Punk’s legacy has persisted, smashing down barriers and bringing a wildly different approach to music. Although it is now marketed to the mainstream – Pistols T-shirts in Primark for example – the core of the scene remains. Punk has evolved, not died. Its rebellious spirit is clear in the genre’s approach to modern politics, calling out the fat cats, corruption, and the mass exploitation of the non-wealthy and of our only planet by the rich.
Mark and Terry kindly answered questions following the preview showing of ‘50 Years of Punk’, offering additional insight into its background and creation. Here’s Terry on the evolution of the genre, and Mark on his early involvement in Punk:
Terry reckons that Punk was pretty much a secret until the mainstream press got involved, and both he and Mark agreed that the film brought back lots of memories. I agree with Mark that this film accurately portrays the broader spectrum of the movement – it’s not just the Pistols! – although Terry conceded that Malcolm McLaren lit the match. It’s clear that there was a large degree of rivalry between bands back in the early days, something that fortunately didn’t continue, as eventually the bands realised that if they wanted to make any money, they’d have to work together…
To conclude, this is essential viewing for any Punk fan or historian, with a clear timeline presenting the rapid rise and fall of the first generation of Punk, illustrated delightfully by some of its main characters. You’ll be entertained by their exploits, surprised by some of their opinions, laughing at the funny moments, and shocked by some incidents. In short, all of the things that make for a highly compelling story!
Mark Sloper hopes to bring ‘50 Years of Punk’ to a cinema in Blackpool during this year’s Rebellion Festival, and you can also hear all about the documentary from the director himself, on the Festival’s Literary Stage.
‘50 Years of Punk’ goes on general release via Screenbound Pictures in September – keep an eye on their website for screening dates and places!
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Usually found jumping around down the front at gigs, I also relish taking photos and videos, singing, speaking with fellow music fans, and asking musicians the questions nobody else does. Writing about my favourite bands and connecting with people who love music too keeps me more-or-less sane! I’ve worked for over 25 years at a video production company, mainly filming live music events, therefore I have an additional backstage perspective on the scene.
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