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Cover of Vive Le Rock - with anarcho-punk cover advertising features inside

THE NEXT ISSUE of Vive Le Rock magazine has a special focus on the history of the original British anarcho-punk wave.

Currently available for pre-order, issue 65 will explore how ‘how punk rattled the government gates’, and include coverage of Crass, Subhumans, Conflict, Flux of Pink Indians and Zounds amongst others.

Vive Le Rock 65 Anarcho Punk

Anarchy + Peace
How Punk Rattled The Government Gates

With…

Crass
Subhumans
Conflict
Flux Of Pink Indians
Zounds

Plus…

The Members
Flipper
Nofx
New Model Army
Thin Lizzy
Pauline Murray (Penetration)

And loads more!

Who was the greatest anarcho-punk band? Pre order now – the story of anarcho-punk with Crass, Subhumans (UK), Flux of Pink Indians, Conflict, Zounds and more!

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Crass - Uncut magazine - 2019
 
THE MARCH 2019 issue of Uncut magazine includes a new feature on Crass in which the “DIY punk politicos tell their amazing story”.

An online promotional preview for the issue includes the commentary:

Not many bands are involved in front page exposés over episodes of international espionage, but not many bands were like Crass. The band were the product of a unique confluence of people, place and time, punks who lived like hippies and wrote aggressive songs about politics. They recorded five albums between 1978 and 1983 as well as a related body of films, publications and artworks and at times were less a band than “an information bureau”, says Steve Ignorant. “Everything serious or heavy that went on, we felt we had to be saying something about it.”

Crass - Uncut - March 2019

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Maximum Rocknroll - Volume 1 - Issue 1 - cover
 
SAN FRANCISCO BASED punk magazine Maximum Rocknroll has announced that the publication will cease print publication after 37 years once the final three issues have rolled off the presses.

After starting life as a radio show, the first print issues of MRR appeared in 1982. The new fanzine developed its growing readership through a focus on DIY, independent punk rock and an interest in punk cultures across the globe. MRR became a landmark (and a stalwart) publication within the scene, notable for its lenghty band interviews, extensive scene reports and huge reviews section.

Unsurprisingly, over time the magazine was embroiled in a number of controversies and subject to some sustained criticism from within the scene and without. But despite the emergence of rival titles (which adopted different perspectives on the question of what the global punk scene was about), MRR retained its focus on “anti-corporate ideals, avowedly leftist politics, and relentless enthusiasm for DIY punk and hardcore bands and scenes from every inhabited continent of the globe” across more than 400 issues.

Through the eighties, nineties and beyond, MRR covered countless anarcho-punk bands in its pages, and included a well-remembered series of articles on the 1980s’ UK anarcho-punk scene authored by the sadly-missed Lance Hahn; each of them an early draft of a chapter for his unfinished manuscript for the book Let the Tribe Increase.

An open public meeting (being held today) will discuss MRR‘s future plans, including online, digital and on-air outlets for news and reviews.

In the spring of last year, MRR announced plans to launch (what would, over time, grow into) a comprehensive free-to-access and fully-indexed online archive of the magazine, following two years of fundraising. The project hit a major early stumbling block in September 2018, when the company chosen to generate metadata-tagged PDFs from the first batch of print originals went out of business without warning. Work on the project has continued, but the setback has left the team unable to provide a launch date for the new service.

Clarification on the impact (if any) that the end of print publication will have on the MRR archive project is expected shortly.

The statement from the editors explaining the reasons for the print closedown is reprinted below:

Maximum Rocknroll banner
 
It is with heavy hearts that we are announcing the end of Maximum Rocknroll as a monthly print fanzine. There will be three more issues of the fanzine in its current format; later in 2019 we will begin publishing record reviews online alongside our weekly radio show. Readers can look forward to more online content, updates regarding the archive project initiated in 2016, and other yet-to-be-announced MRR projects, as well as new ways for punks around the world to get involved. We will be having a public meeting at 2:00pm on Sunday, January 20 at the MRR compound to discuss the future — please write mrr@maximumrocknroll.com for details.

Maximum Rocknroll began as a radio show in 1977. For the founders of Maximum Rocknroll, the driving impulse behind the radio show was simple: an unabashed, uncompromising love of punk rock. In 1982, buoyed by burgeoning DIY punk and hardcore scenes all over the world, the founders of the show — Tim Yohannan & the gang — launched Maximum Rocknroll as a print fanzine. That first issue drew a line in the sand between the so-called punks who mimicked society’s worst attributes — the “apolitical, anti-historical, and anti-intellectual,” the ignorant, racist, and violent — and MRR’s principled dedication to promoting a true alternative to the doldrums of the mainstream. That dedication included anti-corporate ideals, avowedly leftist politics, and relentless enthusiasm for DIY punk and hardcore bands and scenes from every inhabited continent of the globe. Over the next several decades, what started as a do-it-yourself labor of love among a handful of friends and fellow travelers has extended to include literally thousands of volunteers and hundreds of thousands of readers. Today, forty-two years after that first radio show, there have been well over 1600 episodes of MRR radio and 400 issues of Maximum Rocknroll fanzine — not to mention some show spaces, record stores, and distros started along the way — all capturing the mood and sound of international DIY punk rock: wild, ebullient, irreverent, and oppositional.

Needless to say, the landscape of the punk underground has shifted over the years, as has the world of print media. Many of the names and faces behind Maximum Rocknroll have changed too. Yet with every such shift, MRR has continued to remind readers that punk rock isn’t any one person, one band, or even one fanzine. It is an idea, an ethos, a fuck you to the status quo, a belief that a different kind of world and a different kind of sound is ours for the making.

These changes do not mean that Maximum Rocknroll is coming to an end. We are still the place to turn if you care about Swedish girl bands or Brazilian thrash or Italian anarchist publications or Filipino teenagers making anti-state pogo punk, if you are interested in media made by punks for punks, if you still believe in the power and potential of autonomously produced and underground culture. We certainly still do, and look forward to the surprises, challenges, and joys that this next chapter will bring. Long live Maximum Rocknroll.

Poison Girls feature - MAXIMUM ROCKNROLL - #379 - December 2014
Poison Girls feature – Maximum Rocknroll – #379 – December 2014

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Penny Rimbaud - Crack magazine

PENNY RIMBAUD IS interviewed in the online edition of Crack magazine.

Dave Reed travelled to Dial House to talk with Rimbaud about his life history, the work of Crass, and Rimbaud’s views on aspects of the current political and cultural scenes (with the latter subject eliciting some predictably provocative responses).

 
Davy Reed. 2019. ‘Penny Rimbaud: Freedom Fighting’, Crack, 12 January. https://crackmagazine.net/article/long-reads/penny-rimbaud-freedom-fighting/

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Alice Nutter - Guardian interview - 14 January 2019
 
SCREEN WRITER ALICE NUTTER, a member of Chumbawamba for more than two decades, is interviewed in today’s Guardian newspaper.

Interviewer Sam Wollason talks to Nutter about her anarcho-punk past, work and life in Chumbawamba, and her talents and successes as a screenwriter. Of the transition, Wollason reports:

Alice left the band in 2004, because “if you’re jumping about in your mid-40s, you look fucking stupid”. And because she knew she wasn’t really a musician, she was a writer. “I’d been planning it, in my head, all my life.”

Sam Wollason. 2019. ‘How Alice Nutter went from Chumbawamba to prestige TV’, Guardian, 14 January. https://www.theguardian.com/tv-and-radio/2019/jan/14/chumbawamba-alice-nutter-trust-tv

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Tubthumping - Chumbawamba

IN THE LATEST legal action by the guardians of Chumbawamba’s publishing rights, a nationalist Australian political comeback wannabe has been told he cannot use the band’s hit song Tubthumbing in his electoral campaign.

Mining magnate Clive Palmer used material from the song in a number of different social media and print media contexts, including a poor quality rendition of part of the song in a (now deleted) YouTube video. The “rendition was ‘badly sung’ with a ‘bunch of embarrassed “workers” who clearly don’t know the words,” said a statement from the band. A toe-curling clip of the ‘performance’ was still available on Palmer’s Twitter feed at the time of writing.

The statement dismisses Palmer as “a ridiculous narcissist” with repellent views “on climate change, immigration and abortion”.

Tubthumping is a song written to champion the resilience of working people, not to further a billionaire’s political ambitions,” the statement continues.

The band’s representatives are threatening legal action if Palmer does not comply with the cease-and-desist instruction.

A spokesman for the Palmer’s “Let’s Make Australia Great Again” United Australia Party acknowledged: “This is issue is being dealt with by the lawyers, therefore I don’t have any further information for you at this stage.”

Naaman Zhou. 2018. ‘Chumbawamba knock down “Trump-lite” Clive Palmer over song use’. The Guardian, 31 August. https://www.theguardian.com/australia-news/2018/aug/31/chumbawumba-knock-down-trump-lite-clive-palmer-over-song-use.

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Soap the Stamps - book launch - gig poster

Nick Hydra
Rubella Ballet
Hagar the Womb
CTRL
Punk rock karaoke band
Shocks of Mighty
Sarah Pinks’ Gravediggers
Kathy Freeman

21 July 2018 (from 16:00)
The Victoria
451 Queensbridge Road, London E8 3AS
£10 on the door

Today is the official launch gig for Gail Thibert’s new book Soap the Stamps Jump the Tube. “Come early and purchase some fab grub (vegan and veggies options available) – grab one of the 100 free goody bags for early birds. Anyone attempting to blag their way in old school style will be awarded a pint of cider and a dog on a string (joking!)”

It’s 1983. Convent-educated teenager Gail dyes her hair blue and escapes suburban boredom in Surrey to live a more exciting life among the colourful punks and squatters of London.

Leaving behind the twitching net curtains and disapproving looks of beige Morden (A.K.A. Bore-don), Gail places a music paper advert to seek out likeminded ‘friends and weirdos,’ and so her adventure begins.

Along the way, Gail meets the good, the bad and the just plain crazy while riding the crest of the anarcho and post-punk wave of music which defined the early 80s underground.

Invited to join punk band the Lost Cherrees as keyboard player, Gail points out that she can’t play any instruments. When the band laugh and reassure her that they can’t play either, she takes the plunge. For two years, the band tours dive venues and releases cult records, and Gail combines the lifestyle of a punk musician with holding down jobs ranging from Camden Market stallholder, to sandwich making and cycle couriering.

Living in squats around the capital, Gail mixes with drug dealers and drunken casualties, at times living life dangerously close to the edge. Encounters with various lunatic personalities leave her nerves frazzled, and a horrific rape at a party leaves her scarred for life, yet she deals with it by campaigning for justice for rape victims.

As Thatcher’s 80s march on, boyfriends and marriage proposals come and go. Mike introduces Gail to motorbikes and before long she is zooming around on an old GT500 which she acquires through ‘cosmic ordering.’

She meets Bill the witch and learns the art of psychic protection and how to read tarot cards, which she finds she has a natural skill for. A new career as a psychic beckons, but although older and wiser, Gail finds she still has a knack for encountering the freaky and surreal.

Soap the Stamps is a true and sometimes harrowing story about a girl finding her way in a London that no longer exists.

Remembered with a sense of humour, Gail’s storytelling has an authenticity that that only an autobiography can provide and a memory for detail that will have you smiling and laughing.

Including snippets from Gail’s diaries you will recognize many musicians and personalities from the underground scene from that period and letters and fan mail that she lovingly kept all these years.

(And the title? A reference to ‘sticking it to authority’ and saving money by travelling on the London Underground without a ticket, and rubbing soap over stamps so the postmark can be removed and the stamps reused. Both popular punk pastimes!)

Gail Thibert. 2018. Soap the Stamps, Jump the Tube. Unbound Digital. ISBN: 9781912618187, 1912618184.
Official book web site | Buy online

https://unbound.com/books/soap-the-stamps/

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