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Archive for the ‘Sources’ Category

A recent trip to Belfast has reminded me of this fantastic short(ish) film about Belfast’s legendary A Centre, produced by Dave Hyndman, which deserves the widest circulation and audience possible.
 

The A Centre or the Lost Tribe of Long Lane

November 1981: the A Centre was established as an alternative cultural space in Belfast city centre and ran on Saturday afternoons. Organised by the Belfast Anarchist Collective the centre soon became a magnet for young people and punks in particular. On loan from Belfast’s gay community, the Carpenter Club in Long Lane was transformed into a den of delight and subversion by exhibitions of numerous agitprop posters of the day. This was an experiment in mixed media: banned or controversial films, new wave music and punk bands, performance poets and artists, alternative books and comics, and a wholefood cafe being the weekly staple diet. The ever watchful RUC were continually perplexed at such a mixed gathering. This film is a record of just one of those Saturdays. Music featured from many of those bands who played at the Centre includes Stalag 17, The Defects, Xdreamists, Rudi, Spider, Rufrex, Dogmatic Element, The Outcasts, Just Destiny, Ten Past Seven.

Film produced by Dave Hyndman

You can find out more about punk in Northern Ireland from Spit Records including the publication on the definitive guide to Punk in Northern Ireland. Browse through over 100 photos from the A Centre on the Spit Records A Centre page.

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Penny Rimbaud reflects on the experience of his recent heart attack in a recent edition of BBC Radio 4’s Short Cuts (7 November 2016), which is available (in the UK) to stream and download through the BBC iPlayer. Host Josie Long also quotes from the lyrics of her favourite Crass song Big A, Little A.

Rimbaud’s appearance on the show is also available (as a ‘Radio Four in four’ clip) on the BBC Programmes‘ site.

Penny Rimbaud - Short Cuts

Why I found my heart attack a beautiful experience

Penny Rimbaud is a writer, philosopher and musician. He recently had a heart attack at Rochdale train station. He explains how confronting death was profoundly beautiful and liberating.

First broadcast on Short Cuts, 7 November 2016.

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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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As preparations for the upcoming “exhibition, gigs & talks celebrating seminal label & shop Small Wonder” continue apace, organisers have released a video clip from the BBC Oxford Roadshow featuring an ‘at home’ interview with Poison Girls from 1982.

“You have to start off by taking a grasp of yourself. The process that we’re all brought up in tends to murder the imagination and that’s a good place to start… reclaim your imagination and reclaim yourself” Vi Subversa

Oxford Roadshow visit Poison Girls (Vi Subversa, Richard Famous & Lance D’Boyle) and hear how they retain control of every element of the group from design, packaging and their live shows.

Poison Girls released “Piano Lessons/Closed shop” and the Hex EP on ‪#‎SmallWonderRecords‬ in 1979 (WEENY 3 & WEENY 4) in conjuction with their own label X-N-Trix Records.

The Small Wonder exhibition opens this September in Hoe Street, Walthamstow along with talks and gigs.
‪#‎PoisonGirls‬ ‪#‎Punk‬ ‪#‎RejectTheSystem‬ ‪#‎ViSubversa‬

 

Details of the events (scheduled to take place in September 2016) will be shared through the Small Wonder Records – exhibition, gig and talks Facebook page. The organisers are also keen for input from supporters of the label and the shop:

Have you got any Small Wonder memorabilia, posters, tickets, cuttings or records we could loan for the duration of the exhibition? We’d also like to hear your memories of visiting Small Wonder, Pete, Mari, Colin and the music they released and sold. The Small Wonder Records exhibition is part of Punk Waltham Forest – run and organised by Beatroots Creative.

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Supporters of US punk magazine Maximum Rocknroll have launched a crowdfunded project which aims to digitise and catalogue the publication’s entire print archive, making it searchable online; and to put into effect a clear preservation programme to manage and protect MRR‘s vast and growing vinyl archive for the long-term.

The first target of the fundraising programme has been met, but MRR are now looking to build on that foundation to extend the reach and viability of the project. A range of punk perks are available to all funders who pledge more than $5.

Since 1977, Bay Area punk institution Maximum Rocknroll has been producing a radio show, publishing a monthly magazine, releasing records, organizing shows, and supporting worldwide punk projects. As MRR enters its 40th year, we are undertaking our most ambitious project ever: creating a comprehensive online database of our record collection and music reviews. The project will also see out-of-print issues of the magazine fully digitized. We’re asking for your help to make it possible.

Our collection is the largest assemblage of punk material history on earth. In addition to records, the archive is home to countless rare and unheard demo tapes, zines, photographs, one-of-a-kind record covers designed by the magazine’s founder Tim Yohannan, and flyers dating back to the genre’s inception, many of which will be digitized for the first time. MRR has been instrumental in punk history and historiography, and the archive and database will be an essential resource for record collectors, historians, and anyone interested in punk, hardcore, and garage rock.

The monthly magazine, published since 1982, is self-sustaining, but we need your help to fund the archive project and its twin goals of long-term viability for our physical collections and a searchable, sortable online database of our holdings. MRR is entirely volunteer-run and independent. Your donation will help fund the various costs associated with a project of this scope.

Our database will be one-of-a-kind, serving as an online catalog and media repository for punk’s material history.

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As part of The Art of Crass exhibition project, curator Sean Clark has reinstated the no-longer-accessible Crass web site (maintained by Southern Records in the early 2000s).

The site offers a hyperlinked version of the ‘In Which Crass Voluntarily Blow Their Own’ essay; a short biography of Crass Records; an illustrated guide to all releases on the label; a wealth of original archival documents; extracts from International Anthem; the history of incidents such as the Thatchergate tapes; an introduction to several follow-on projects undertaken by members of Crass; and a whole lot more…

The Art of Crass - Southern Records - Crass web site

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Matt Grimes seminar - anarcho-punk fanzines - March 2016

Video seminar: Matt Grimes from Birmingham City University presenting his work “From Protest to Resistance”: British anarcho-punk fanzines (1980-1984) as sites of resistance and symbols of defiance
[ http://uontv.uk/?page_id=13 ]

This presentation focuses on the role that alternative publications played in the cultural, political and ideological practices of the British anarcho-punk movement between 1980 and 1984. Matt Grimes explore the way these ‘zines disseminated the central ideas of anarcho-punk and the way that the editors mediated a shifting notion of anarcho-punk. In doing so Grimes seeks to move beyond the simpler notion that ‘zines acted simply as channels of communication, but to the idea that discourses of resistance and defiance are constructed and reinforced through the embodiment and undertaking of ideological work of ‘zine editors as ‘organic intellectuals’ and thus represent cultural work. This raises some interesting questions about the role of ‘zine editors/producers as key agents in articulating the perceived central tenets and identity of a subcultural movement. Where previous studies on ‘zines have alluded to the role of editors little emphasis has been placed on the way that these ‘zine authors take on leadership roles and perceived positions of authority.

Grimes examines how DIY fan production practices, through the articulation of specific and at times oppositional ideological positions contributed to the construction of the musical, cultural and political boundaries of the anarcho-punk movement. Therefore this presentation explores how these discourses of political position, authority and identity were mediated and the sense of an anarcho-punk movement that they constructed.

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