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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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Anarcho punk albums - the bands' story behind anarchist punk music -front cover

ANARCHO-PUNK IS an ideology of personal freedom. Its artistic self-expression should be available to everyone, regardless of technical ability. The message is far more important than the musical content itself.

During the late 70s and early 80s, many new bands emerged to expound serious anarchist ideas. They embraced the DIY punk ethos, creating zines to be distributed at gigs as well as a mine of information on their often gate folded record sleeves.

‘Anarcho-Punk Albums: The Band’s Story Behind Punk Music’ is a book that explores how some of the most controversial material ever written came to the forefront.

Over a year in the making, through a series of short interviews with band members, we delve into how the groups started, what were the primary political motivations and what they thought of the albums once recorded.

Interviews with Crass, Chumbawamba, Zounds, Omega Tribe, Subhumans, Blyth Power, Lost Cherrees, Antisect, Cravats, Icons of Filth, Rubella Ballet and Flux of Pink Indians reveal all we need to know about the defining LPs of the era.

A thoroughly engaging read, we find out about the growth of the squatting culture, the increasing interest shown by the Special Patrol Group (SPG) and MI5, how the albums were often outselling the mainstream pop acts of the time as well as numerous personal thoughts and opinions of fellow bands and individuals.

Punk rock recently celebrated 40 years since the Sex Pistols first burst onto the scene. However, for many of us, the Anarcho-Punk bands and their albums was when the real meaning of the movement came into its own.

Gary Miller. 2018. Anarcho punk albums: the band’s story behind anarchist punk music. Hedgehog Productions: punkonline.co.uk. ISBN 9781980274025.

Available in both print and Kindle eBook formats.

Anarcho punk albums - the bands' story behind anarchist punk music -back cover

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EXITSTENCIL PRESS HAVE now published the eagerly awaited complete collection of International Anthem magazine.

The first issue of International Anthem (a ‘nihilist newspaper for the living’) was put together by Gee Vaucher in 1977-78, when she was living and working in Manhattan, New York, as newly formed punk band Crass began to emerge from the rehearsal space at Dial House.

This soft-bound, full-size collection brings together the full contents of all five issues, including rough early drafts of the never-before-published issue four (‘Ireland’) and issue five (‘War’).

The book includes a brief introduction by Vaucher, and a short scene-setting contextual explanation for each issue (together with a timeline of political events for the year of publication).

The complete International Anthem can be ordered direct from the Exitstencil Press site.

Created from 1978-1982 by Gee Vaucher, International Anthem came into existence as a vehicle for Vaucher’s own work and that of friends who she felt had something worthwhile to share. Amongst others, these included Penny Rimbaud, Eve Libertine and Steve Ignorant… Overall, they represent, and are the realisation of, a dream that Vaucher had carried throughout her early years as a political artist.

International Anthem - collection - Exitstencil Press - cover

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Matthew Worley - No Future - book launch


Matthew Worley. 2017. No Future: Punk, Politics and British Youth Culture, 1976-1984. Cambridge: Cambridge University Press.

Matt Worley will be in conversation with Steve Ignorant, formerly of legendary punk band Crass. Chair: Cathi Unsworth. DJ set by Tim Wells.
Tuesday 17 October 2017, 19:00
Rough Trade East
Old Truman Brewery
91 Brick Lane
London E1 6QL

19:00 – On-stage “in-conversation” + audience questions // 20:00 – Book signing + Tim Wells DJ set // 21.00 – close.

‘No Feelings’, ‘No Fun’, ‘No Future’. The years 1976–84 saw punk emerge and evolve as a fashion, a musical form, an attitude and an aesthetic. Against a backdrop of social fragmentation, violence, high unemployment and socio-economic change, punk rejuvenated and re-energised British youth culture, inserting marginal voices and political ideas into pop. Fanzines and independent labels flourished; an emphasis on doing it yourself enabled provincial scenes to form beyond London’s media glare. This was the period of Rock Against Racism and benefit gigs for the Campaign for Nuclear Disarmament and the striking miners. Matthew Worley charts the full spectrum of punk’s cultural development from the se Sex Pistols, Buzzcocks and Slits through the post-punk of Joy Division, the industrial culture of Throbbing Gristle and onto the 1980s diaspora of anarcho-punk, Oi! and goth. He recaptures punk’s anarchic force as a medium through which the frustrated and the disaffected could reject, revolt and re-invent.

Pre-order a copy of No Future by Matt Worley | Pre-order a copy of References by Steve Ignorant

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All Around Was Darkness - front cover

THE NEWLY PUBLISHED ANTHOLOGY, And All Around Was Darkness is “the third in the Tales from the Punkside series; a collection of books whose main concern is to provide a space for stories, anecdotes and various other shenanigans by those persons rarely heard – the fans and everyday participants in the punk movement.”

Published by Itchy Monkey Press, the book is A4 size, 288 pages, and full to bursting with essays, reflections, memories, photographs, flyers, poems and drawings. The first edition is a limited run of 100 copies, and can be ordered for £12.00 (plus £3.00 p&p, in the UK) via Paypal. Contact Mike Dines to confirm order and arrange payment.

Greg Bull and Mike Dines (eds.). 2017. All Around Was Darkness. Itchy Monkey Press. ISBN 978-1-291-74025-7

Contents

  • Introduction, Mike Dines
  • So You Joined a Band to Change the World, Gregory Bull
  • Recording No Doves/Laughing, Mark Wilson
  • Confessions of a Pre-Teen Punk, Chris Low
  • The Girl in the Band, Kathy Freeman
  • Anarcho-Feminism and Greenham Common, Lucy Robinson
  • Tales From the Ghost Town, Alan Rider
  • “No, It’s a Zine, Not a ‘Fan’ Zine”, Anth Palmer
  • Punk in Norway, Viggo Mastad
  • Should We Help the Miners?, Andy Hardcore
  • Poems, TS Paviour
  • The Mob Touring Finland (2016), Antti Lautala
  • Crass, Graham Burnett
  • Green Anarchist, Graham Burnett
  • Hyper-Active as the Day is Long, Neil Transpontine
  • A Woman in a Male Dominated Industry, Gail Thibert
  • Notes Written on a Tattered Page, Nick Hydra
  • Tales of a Teenage Punk, Andy Owen
  • How Much Longer?, Russ Bestley
  • Increasingly Right Wing, Ted Curtis
  • Fifteen Shades of Grey, Rich Cross
  • When John Met Clem, Rich Cross
  • The Stranger in the Pit, Francis Stewart
  • The Mother of all Soapy Stamp Stories, Phil Hedgehog Tonge
  • Amebix Art, Jonny R
  • Stopping the City – A Micro Memory, Stephen Spencer-Fleet
  • Smash the System, Persons Unknown
  • ‘Running Wild in the Disco’, Mike Dines

All Around Was Darkness - front and back cover

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References
Steve Ignorant (with Matthew Worley)
Dimlo Productions: 2017.

 
Available direct from the Dimlo Etsy online shop.
 

If you ever wanted to know how / why or what inspired Steve to write his lyrics than this is the book for you.

In conversation with Matthew Worley (‘old’ punk, professor and author himself) Steve is talking about his lyrics and stories around them.

The book contains Steve’s lyrics and also features original lyrics, photographs and images from personal collection.

With a foreword from The Shend of the Cravats and blurb by Jason Williamson from Sleaford Mods. If you want to read every single word or just flick through this is a great book.

Self published under the name Dimlo Productions, 160 pages, landscape ‘soft’ cover 230mm x 155mm x 15mm book.

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Mike Dines and Matt Worley (eds.). The Aesthetic of Anger: Anarcho-punk Politics and Music. Minor Compositions: Colchester / New York / Port Watson. ISBN 978-1-57027-318-6.

322 pages, 5.5 x 8.5
US: $25 / UK: £18 (one released, in print version, to book suppliers this autumn).

Available (in print) now direct from Minor Compositions for the special price of £10 (plus postage). The open access PDF can also be downloaded free of charge from Minor Compositions. (Please see below for more on the open access publishing model of Minor Compositions.) Official release to the book trade in Fall 2016.

Punk is one of the most fiercely debated post-war subcultures. Despite the attention surrounding the movement’s origins, analyses of punk have been drawn predominantly from a now well-trodden historical narrative. This simplification of punk’s histories erases its breadth and vibrancy, leaving out bands from Crass to The Subhumans who took the call for anarchy in the UK seriously.

Disillusioned by the commercialization of punk, the anarcho-punk scene fought against dependence on large record labels. Anarcho-punk re-ignited the punk ethos, including a return to an ‘anyone-can-do-it’ culture of music production and performance. Anarcho-punk encouraged focused political debate and self-organised subversive activities, from a heightened awareness to issues of personal freedom and animal rights to the development of local cooperatives where musicians, artists and like-minded people could meet.

The anarcho-punk movement helped to reignite a serious anarchist movement in the UK and inspired actions challenging the Thatcher-Reagan axis. The Aesthetic of our Anger explores the development of the anarcho-punk scene from the late 1970s, raising questions over the origins of the scene, its form, structure and cultural significance, examining how anarcho-punk moved away from using ‘anarchy’ as mere connotation and shock value towards an approach that served to make punk a threat again.

Contributors: George McKay, David Soloman, Russ Bestley, Ana Raposo, Helen Reddington, Rich Cross, Matt Grimes, Pete Webb, Michael Murphy, Alistair Gordon, Mike Dines, Pete Dale, Steve Ignorant, and The Free Association.

Minor Composition’s approach to the practice of open access electronic publishing is explained in the prelim pages of the book:

This book is open access. This work is not simply an electronic book; it is the open access version of a work that exists in a number of forms, the traditional printed form being one of them. All Minor Compositions publications are placed for free, in their entirety, on the web. This is because the free and autonomous sharing of knowledge and experiences is important, especially at a time when the restructuring and increased centralization of book distribution makes it difficult (and expensive) to distribute radical texts effectively. The free posting of these texts does not mean that the necessary energy and labor to produce them is no longer there. One can think of buying physical copies not as the purchase of commodities, but as a form of support or solidarity for an approach to knowledge production and engaged research (particularly when purchasing directly from the publisher).

The open access nature of this publication means that you can:

• read and store this document free of charge
• distribute it for personal use free of charge
• print sections of the work for personal use
• read or perform parts of the work in a context where no financial transactions take place

However, it is against the purposes of Minor Compositions open access approach to:

• gain financially from the work
• sell the work or seek monies in relation to the distribution of the work
• use the work in any commercial activity of any kind
• profit a third party indirectly via use or distribution of the work
• distribute in or through a commercial body (with the exception of academic usage within educational institutions)

The intent of Minor Compositions as a project is that any surpluses generated from the use of collectively produced literature are intended to return to further the development and production of further publications and writing: that which comes from the commons will be used to keep cultivating those commons. Omnia sunt communia!

Support Minor Compositions / Purchasing Books
The PDF you are reading is an electronic version of a physical book that can be purchased through booksellers (including online stores), through the normal book supply channels, or Minor Compositions directly. Please support this open access publication by requesting that your university or local library purchase a physical printed copy of this book, or by purchasing a copy yourself.

If you have any questions please contact the publisher: minorcompositions@gmail.com

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