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This programme contains very strong language | 0:00:02 | 0:00:05 | |
In a short while it will be 1977, | 0:00:06 | 0:00:11 | |
Jubilee year and I'm sure all of you join with me in wishing Her Majesty | 0:00:11 | 0:00:15 | |
a joyous and happy new year. | 0:00:15 | 0:00:18 | |
Well, you can see why the druids have midsummer celebrations | 0:00:18 | 0:00:22 | |
here at Stonehenge and not cold, New Year's Eve celebrations. | 0:00:22 | 0:00:26 | |
Mind you, they did have the good nature to leave a glass here | 0:00:26 | 0:00:29 | |
for me and a magnum of champers, so I'll get stoned on this. | 0:00:29 | 0:00:34 | |
Happy new year. | 0:00:35 | 0:00:37 | |
These people share Britain's most common surname. | 0:00:41 | 0:00:44 | |
They're all called Smith and they've come here from all over the country. | 0:00:44 | 0:00:48 | |
Together they make up a statistical cross section of the population. | 0:00:48 | 0:00:51 | |
If you like, they're average British citizens | 0:00:51 | 0:00:53 | |
and, because they are, it's likely they'll represent the hopes, | 0:00:53 | 0:00:57 | |
the fears and the attitudes that may or may not help to | 0:00:57 | 0:00:59 | |
make 1977 a happy new year, | 0:00:59 | 0:01:02 | |
not only for them, but for the rest of us too. | 0:01:02 | 0:01:04 | |
Not that there's much chance of it being a particularly | 0:01:04 | 0:01:07 | |
prosperous new year if the merchants of doom are to be believed. | 0:01:07 | 0:01:10 | |
We, the people of Britain, are all here, ready to grit our teeth | 0:01:10 | 0:01:14 | |
and face whatever fate has in store for us in this year of 1977. | 0:01:14 | 0:01:18 | |
BIG BEN CHIMES | 0:01:22 | 0:01:26 | |
MUSIC: Two Sevens Clash by Culture | 0:01:28 | 0:01:31 | |
# Wat a liiv an bambaie | 0:01:42 | 0:01:45 | |
# When the two sevens clash | 0:01:45 | 0:01:49 | |
# Wat a liiv an bambaie | 0:01:49 | 0:01:52 | |
# When the two sevens clash. | 0:01:52 | 0:01:54 | |
Ring out, wild bells to the wild sky. | 0:01:54 | 0:01:58 | |
The year is going, let him go, | 0:01:58 | 0:02:00 | |
Ring out the false, | 0:02:00 | 0:02:02 | |
Ring in the true, | 0:02:02 | 0:02:03 | |
Ring out the narrowing lust of gold, | 0:02:03 | 0:02:06 | |
Ring out the thousand wars of old, | 0:02:06 | 0:02:08 | |
Ring in the thousand years of peace, | 0:02:08 | 0:02:11 | |
Ring in the valiant man and free, | 0:02:11 | 0:02:14 | |
The larger heart, the kindlier hand, | 0:02:14 | 0:02:17 | |
Ring out the darkness of the land. | 0:02:17 | 0:02:20 | |
# It's only a housing scheme that divide | 0:02:20 | 0:02:22 | |
# Wat a liiv an bambaie | 0:02:22 | 0:02:25 | |
# When the two sevens clash, the dread | 0:02:25 | 0:02:29 | |
# Wat a liiv an bambaie | 0:02:29 | 0:02:33 | |
# When the two sevens clash. # | 0:02:33 | 0:02:36 | |
As many of you probably know from the hangovers you are nursing | 0:02:39 | 0:02:41 | |
right now, we really go for it in a big way on New Year's Eve. | 0:02:41 | 0:02:46 | |
A kind of collective catharsis, | 0:02:46 | 0:02:49 | |
blotting out all memories of the year gone by, | 0:02:49 | 0:02:53 | |
to leave us with a blank slate to write on | 0:02:53 | 0:02:56 | |
during the year ahead. | 0:02:56 | 0:02:58 | |
# And it has been destroyed by lightning | 0:02:58 | 0:03:01 | |
# Earthquake and thunder, I say, what? | 0:03:01 | 0:03:04 | |
# Wat a liiv an bambaie | 0:03:04 | 0:03:07 | |
# When the two sevens clash. # | 0:03:07 | 0:03:10 | |
All years are special, some good, some bad... | 0:03:10 | 0:03:13 | |
# When the two sevens clash. # | 0:03:15 | 0:03:17 | |
..but in 1977, with the Labour Party leading us | 0:03:18 | 0:03:21 | |
into another winter of discontent, and Mrs Thatcher | 0:03:21 | 0:03:24 | |
waiting in the wings, more seemed at stake than usual. | 0:03:24 | 0:03:28 | |
Perhaps even now, it's not too late for us all to learn something... | 0:03:28 | 0:03:32 | |
..from what went down back then. | 0:03:34 | 0:03:36 | |
1977 had more of a millennium feel than the millennium did. | 0:03:36 | 0:03:40 | |
There was definitely something that you could see changing culturally. | 0:03:40 | 0:03:43 | |
There was a lot of anticipation about 1977, | 0:03:43 | 0:03:45 | |
not only because of the stir that punk rock had | 0:03:45 | 0:03:48 | |
created across the country, and also in the Rasta circles. | 0:03:48 | 0:03:52 | |
The prophet Marcus Garvey had prophesised that | 0:03:52 | 0:03:55 | |
when the two sevens clashed, there would be chaos. | 0:03:55 | 0:03:58 | |
As it turned out, there wasn't chaos in Jamaica, | 0:03:58 | 0:04:01 | |
but there sure was a lot of chaos in the United Kingdom. | 0:04:01 | 0:04:04 | |
The two sevens did clash. | 0:04:15 | 0:04:16 | |
# Say what? | 0:04:16 | 0:04:18 | |
# Wat a liiv an bambaie | 0:04:18 | 0:04:22 | |
# When the two sevens clash | 0:04:22 | 0:04:25 | |
# Marcus Garvey was inside of | 0:04:27 | 0:04:30 | |
# Spanish Town District Prison | 0:04:30 | 0:04:34 | |
# And when they were about to take him out. # | 0:04:34 | 0:04:38 | |
Happy new year. | 0:04:38 | 0:04:40 | |
On New Year's Day 1977, a few months before they released | 0:04:40 | 0:04:43 | |
their first album, The Clash officially opened | 0:04:43 | 0:04:46 | |
the Roxy Club in Covent Garden and kick-started the year of the punk. | 0:04:46 | 0:04:51 | |
In the weeks leading up to that gig, a no-budget film was being made | 0:04:52 | 0:04:56 | |
about The Clash by a bunch of clueless amateurs. | 0:04:56 | 0:05:00 | |
Aborted, abandoned and banged up in a leaking shed for many decades, | 0:05:00 | 0:05:05 | |
the film was destined never to see the light of day. | 0:05:05 | 0:05:09 | |
Now, nearly 40 years later, | 0:05:11 | 0:05:14 | |
in times not so different from those we lived through back then, | 0:05:14 | 0:05:18 | |
the film has risen once more from the cold vapours of the vault, | 0:05:18 | 0:05:22 | |
and again raised its ugly head for your viewing pleasure tonight. | 0:05:22 | 0:05:27 | |
This is the first time we've ever been filmed, do you know what I mean? | 0:05:27 | 0:05:31 | |
-I cringe a lot. -Yeah. | 0:05:31 | 0:05:34 | |
-Don't my nose look big? -Yeah. | 0:05:34 | 0:05:36 | |
Can I be so ugly? | 0:05:37 | 0:05:41 | |
I think it's really good cos it, like, | 0:05:41 | 0:05:43 | |
helps us as a group get our message across in another medium. | 0:05:43 | 0:05:46 | |
It's evidence of life. | 0:05:46 | 0:05:49 | |
Why don't you like doing things that are set up, then? | 0:05:49 | 0:05:54 | |
Cos I think it's stupid. | 0:05:54 | 0:05:57 | |
I don't go around doing things like that normally, right, | 0:05:57 | 0:06:00 | |
so why should I do it when you're around? | 0:06:00 | 0:06:03 | |
It's stupid. | 0:06:03 | 0:06:05 | |
Makes me feel like a tit, you know? | 0:06:05 | 0:06:08 | |
Do you think the film's any good, then? | 0:06:08 | 0:06:10 | |
-Oh, yeah. -It's fantastic. | 0:06:10 | 0:06:13 | |
You can tell how a good a film is by when you leave the cinema. | 0:06:13 | 0:06:16 | |
If you're acting like the person in the film, like a cowboy film, | 0:06:16 | 0:06:19 | |
I always go down the street for a few hours. | 0:06:19 | 0:06:22 | |
I do, you know, bow-legged and that. | 0:06:22 | 0:06:26 | |
Taxi Driver was great cos everyone come out of Taxi Driver, | 0:06:26 | 0:06:29 | |
they put their lapels up. | 0:06:29 | 0:06:31 | |
-Yeah, and hands in pockets. -Everyone was doing it. | 0:06:31 | 0:06:33 | |
The whole cinema was walking down the street like this. | 0:06:33 | 0:06:35 | |
It's like when you go to those Bruce Lee films, | 0:06:35 | 0:06:38 | |
there's all people going down the street going... | 0:06:38 | 0:06:41 | |
It's true, yeah. | 0:06:41 | 0:06:42 | |
-You don't mind being filmed? -No, I don't care. It's great. | 0:06:42 | 0:06:46 | |
All kids want to be on television or something | 0:06:46 | 0:06:49 | |
and see themselves on the screen. | 0:06:49 | 0:06:51 | |
'You've got to remember, no-one had seen themselves on video before.' | 0:06:51 | 0:06:55 | |
Ha ha, it's great! | 0:06:55 | 0:06:57 | |
Spin, spin. | 0:07:00 | 0:07:03 | |
It looks like those calendars you get in those old films. | 0:07:03 | 0:07:06 | |
Joe, Joe, watch me on the telly. | 0:07:08 | 0:07:12 | |
Hold on. | 0:07:12 | 0:07:14 | |
No, you're in the way. You're in the way. | 0:07:14 | 0:07:16 | |
OK, go. | 0:07:16 | 0:07:18 | |
PLAYS PIANO | 0:07:21 | 0:07:24 | |
You want to get it wider. | 0:07:25 | 0:07:27 | |
Fucking hell. | 0:07:28 | 0:07:30 | |
Use it as a mirror. Looks great. | 0:07:30 | 0:07:32 | |
What, like a mirror on the wall? | 0:07:32 | 0:07:34 | |
A telly thing. One of these. | 0:07:34 | 0:07:36 | |
Look, look, can you see? | 0:07:37 | 0:07:40 | |
Joe. | 0:07:40 | 0:07:43 | |
Oh fuck! | 0:07:52 | 0:07:54 | |
You look at it and you think, | 0:07:54 | 0:07:55 | |
"Next time I go on stage, I'll do that more often" | 0:07:55 | 0:07:58 | |
-and it helps make the show a lot better... -It helps, yeah. | 0:07:58 | 0:08:01 | |
..for the kids and all that. | 0:08:01 | 0:08:03 | |
We don't get a chance to see ourselves as often as we get | 0:08:03 | 0:08:06 | |
a chance to see other groups. | 0:08:06 | 0:08:08 | |
You wouldn't like to act at all? | 0:08:11 | 0:08:13 | |
We're not great actors. | 0:08:13 | 0:08:15 | |
Oi, Strummer, that outfit needs sewing up. | 0:08:15 | 0:08:18 | |
I can see myself on the big screen like a big star | 0:08:18 | 0:08:22 | |
doing all the tough bits. | 0:08:22 | 0:08:24 | |
I wouldn't mind to make a film that wasn't boring in any way at all, | 0:08:24 | 0:08:28 | |
but I can't be bothered to think about it. | 0:08:28 | 0:08:31 | |
Rising oil prices, a trade recession, | 0:08:31 | 0:08:33 | |
failures in the money supply both here and abroad, | 0:08:33 | 0:08:35 | |
nearly a million and a half out of work, | 0:08:35 | 0:08:37 | |
standards of living dropping and, according to the | 0:08:37 | 0:08:40 | |
worst of our Cassandras, democracy itself on the verge of collapse. | 0:08:40 | 0:08:44 | |
I honestly don't know what's going to happen next year. | 0:08:44 | 0:08:46 | |
The situation is going to, as far as I can see, get worse and worse. | 0:08:46 | 0:08:50 | |
We rely upon the workers of this country and the trade unions | 0:08:50 | 0:08:54 | |
and that is the way in which this country is going to get through | 0:08:54 | 0:08:56 | |
if it gets through. | 0:08:56 | 0:08:58 | |
Draw your sword on the fight. | 0:08:58 | 0:08:59 | |
I'm going to fight on and I'm going to take this country through | 0:08:59 | 0:09:03 | |
if I have half a chance. | 0:09:03 | 0:09:04 | |
The Clash prepared for the Roxy gig | 0:09:04 | 0:09:06 | |
holed up in the bollock-freezing cold of Rehearsals Rehearsals. | 0:09:06 | 0:09:10 | |
A broken jukebox repair workshop in a British Rail goods yard | 0:09:10 | 0:09:14 | |
behind the Roundhouse on the wrong sides of the tracks in Camden Town. | 0:09:14 | 0:09:19 | |
One, two, three, four... | 0:09:19 | 0:09:21 | |
MUSIC: What's My Name by The Clash | 0:09:21 | 0:09:25 | |
# What the hell is wrong with you? | 0:09:32 | 0:09:35 | |
# Do they know what to do? | 0:09:35 | 0:09:38 | |
# But I tried spot cream an' I tried it all | 0:09:38 | 0:09:41 | |
# Crawling up the wall | 0:09:41 | 0:09:43 | |
# What's my name | 0:09:43 | 0:09:46 | |
# Name | 0:09:46 | 0:09:49 | |
# Name... # | 0:09:49 | 0:09:52 | |
I like it, seeing it, when you can hear the music, you know? | 0:09:55 | 0:09:59 | |
Before, I've only been able to see our group on a silent homemade, | 0:09:59 | 0:10:05 | |
sort of, family Norfolk Broads-type camera, you know? | 0:10:05 | 0:10:08 | |
You couldn't hear the music then. | 0:10:08 | 0:10:10 | |
It just looked like a bunch of lunatics all going like... | 0:10:10 | 0:10:13 | |
Do you know what I mean, and you can't hear the music? | 0:10:13 | 0:10:16 | |
LYRICS UNDECIPHERABLE | 0:10:16 | 0:10:20 | |
# Name | 0:10:26 | 0:10:29 | |
# Name | 0:10:29 | 0:10:32 | |
# Name... # | 0:10:32 | 0:10:34 | |
To Geordie exiles in particular who can't get | 0:10:34 | 0:10:37 | |
home for the New Year festivities, | 0:10:37 | 0:10:38 | |
may I wish you a very happy time and indeed to everyone everywhere. | 0:10:38 | 0:10:42 | |
From the North East, a very happy new year to you. | 0:10:42 | 0:10:45 | |
I'm going to negotiate with the IMF | 0:10:45 | 0:10:47 | |
and I need your support to do it. | 0:10:47 | 0:10:50 | |
APPLAUSE | 0:10:50 | 0:10:52 | |
It means sticking to the very painful cuts in public expenditure | 0:10:52 | 0:10:56 | |
on which the government has already decided. | 0:10:56 | 0:11:00 | |
That's what I'm going to negotiate for | 0:11:00 | 0:11:02 | |
and I ask the Conference to support me in that task. | 0:11:02 | 0:11:06 | |
APPLAUSE | 0:11:06 | 0:11:08 | |
How serious do you think Britain's economic problems are at present? | 0:11:11 | 0:11:15 | |
76% said very serious. | 0:11:15 | 0:11:18 | |
18% said fairly serious. | 0:11:18 | 0:11:21 | |
In other words, 94%, nearly all of us, | 0:11:21 | 0:11:23 | |
feel that the situation is serious. | 0:11:23 | 0:11:25 | |
We all agree that the crisis is indeed serious. | 0:11:25 | 0:11:29 | |
Edward Smith of Cheshire, | 0:11:29 | 0:11:30 | |
what do you think our solution in 1977 is to all our problems? | 0:11:30 | 0:11:34 | |
Do you feel optimistic about the future? | 0:11:34 | 0:11:36 | |
I don't feel at all optimistic about the future. | 0:11:36 | 0:11:39 | |
SINGS: AULD LANG SYNE | 0:11:39 | 0:11:43 | |
What are you, yourself, going to do? | 0:11:45 | 0:11:47 | |
Well, if the situation doesn't improve, | 0:11:47 | 0:11:49 | |
I would definitely think of going abroad and working abroad. | 0:11:49 | 0:11:52 | |
Overnight snow up to five inches in places closed | 0:11:52 | 0:11:55 | |
part of the M6 motorway in Staffordshire this morning. | 0:11:55 | 0:11:58 | |
Police say icy conditions will make roads treacherous this evening. | 0:11:58 | 0:12:01 | |
I think there's a whole general atmosphere in England that's | 0:12:01 | 0:12:04 | |
getting everybody down. | 0:12:04 | 0:12:06 | |
Everybody seems to spend all their time moaning and being unhappy. | 0:12:06 | 0:12:10 | |
Mrs Margaret Smith, if I can come to you. How do you view 1977? | 0:12:10 | 0:12:13 | |
Even more depressed about it than I was in 1976 or 1975. | 0:12:13 | 0:12:19 | |
How about the visual image you've got, the way you dress? | 0:12:19 | 0:12:22 | |
Yeah, this is something we really work on | 0:12:22 | 0:12:24 | |
and something we really enjoy. | 0:12:24 | 0:12:26 | |
We want to look special, we want to look new, | 0:12:26 | 0:12:27 | |
we want to look different, right? | 0:12:27 | 0:12:29 | |
It's all come from us. We don't go in the shop | 0:12:29 | 0:12:31 | |
and get it cos there isn't any shop you can get it. | 0:12:31 | 0:12:33 | |
If there was, we probably would go and get it cos we're lazy. | 0:12:33 | 0:12:36 | |
It's so easy for them to go into the Jean Machine, right, | 0:12:36 | 0:12:40 | |
get a new pair of jeans when the old ones get too stinky. | 0:12:40 | 0:12:44 | |
-What's this here? -Hate & War. It's the title of our new hit. | 0:12:44 | 0:12:48 | |
OK, right, let's do some painting. | 0:12:48 | 0:12:52 | |
-Just lean it on the floor? -Yeah, put it down. | 0:12:55 | 0:12:59 | |
-Right, Joe, where do you want it? All over? -All over, yeah. | 0:13:00 | 0:13:03 | |
-Anything special? -No, just blanket coverage. | 0:13:03 | 0:13:07 | |
Any punks want their clothes grey, Joe? | 0:13:07 | 0:13:10 | |
Yeah, I'll queue 'em up outside, right. | 0:13:10 | 0:13:13 | |
It'll be Pete's Boutique. | 0:13:13 | 0:13:16 | |
That's the authentic look, | 0:13:16 | 0:13:18 | |
like you've been rolling about in grease for three weeks. | 0:13:18 | 0:13:20 | |
Right, Joe. Really good thinking. That's it. | 0:13:20 | 0:13:23 | |
-Look at that reacting. -Yeah. | 0:13:25 | 0:13:27 | |
I think it's some sort of weird paint, yeah. | 0:13:27 | 0:13:30 | |
Just try and get it black as possible. | 0:13:30 | 0:13:32 | |
I'm going to hammer something now. | 0:13:32 | 0:13:34 | |
Give it a good hammering, Joe. | 0:13:34 | 0:13:37 | |
Well, it's been a very tough year with industrial troubles and | 0:13:50 | 0:13:53 | |
economic strife and we've all had to tighten our belts just a little, | 0:13:53 | 0:13:56 | |
so, from Birmingham, a very happy new year. | 0:13:56 | 0:13:59 | |
I don't think the outlook is so good. | 0:14:02 | 0:14:04 | |
I think it's a rather depressing time to be having a baby. | 0:14:04 | 0:14:08 | |
It's the state of the world at the moment. | 0:14:08 | 0:14:11 | |
Mr Frank Smith from the Midlands, how do you see 1977? | 0:14:11 | 0:14:16 | |
I don't really share the views of some of these people that | 0:14:16 | 0:14:19 | |
it's as bad as we would have it believe. | 0:14:19 | 0:14:22 | |
We flog on. We're employing 10% more people than we were last year. | 0:14:22 | 0:14:27 | |
Can I ask you, what is your job? | 0:14:27 | 0:14:29 | |
I make cups of tea. | 0:14:29 | 0:14:30 | |
LAUGHTER | 0:14:30 | 0:14:32 | |
You've always got to have some form of refreshment. | 0:14:32 | 0:14:35 | |
What's your New Year's resolution? | 0:14:35 | 0:14:37 | |
I might try and give up smoking, something like that. | 0:14:37 | 0:14:40 | |
Giving up smoking. | 0:14:40 | 0:14:42 | |
Joe, can you come forward a little bit? | 0:14:42 | 0:14:45 | |
So where are you living now? | 0:14:47 | 0:14:49 | |
Well, me and him sleep on that floor | 0:14:49 | 0:14:51 | |
and he lives with his granny in a council flat. | 0:14:51 | 0:14:54 | |
There's a whole generation arisen over the last three years, | 0:14:54 | 0:14:57 | |
who probably in 1972 were 13, now are 17. | 0:14:57 | 0:15:01 | |
All these kids in this country are out of work as is, | 0:15:01 | 0:15:04 | |
with very little future ahead of them as they see it | 0:15:04 | 0:15:08 | |
and they've had nothing. | 0:15:08 | 0:15:09 | |
We haven't got a lot going for us. | 0:15:09 | 0:15:11 | |
There ain't much future for us, just as people. | 0:15:11 | 0:15:14 | |
Not talking about being a pop group. | 0:15:14 | 0:15:17 | |
Just as people in the first instance, you know? | 0:15:17 | 0:15:19 | |
Come out of school, do a bit of college if you're lucky. | 0:15:19 | 0:15:22 | |
-Get bored of it. -What did you all do before this? | 0:15:22 | 0:15:24 | |
Where did you start out? | 0:15:24 | 0:15:25 | |
The school I went to, right, it was a real depressing school and that. | 0:15:25 | 0:15:28 | |
You don't learn nothing. | 0:15:28 | 0:15:29 | |
All you're working for is just to go into the factory | 0:15:29 | 0:15:32 | |
which is round the corner. | 0:15:32 | 0:15:33 | |
Most of the mates I know are all working in the factory. | 0:15:33 | 0:15:36 | |
What kind of jobs have you lot done? | 0:15:36 | 0:15:38 | |
I was cleaning toilets in an opera house. | 0:15:38 | 0:15:40 | |
I was a student. | 0:15:40 | 0:15:42 | |
An arts student cos I read Pete Townsend, Keith Richards, | 0:15:42 | 0:15:45 | |
John Lennon and all them people had gone. | 0:15:45 | 0:15:48 | |
Cos arts school has become respectable, hasn't it? | 0:15:48 | 0:15:51 | |
Turn to your right. | 0:15:51 | 0:15:53 | |
That's your left. | 0:15:53 | 0:15:54 | |
And I just realised I'd made a mistake | 0:15:54 | 0:15:56 | |
and I just thought it was better than work. | 0:15:56 | 0:15:58 | |
All you get there now is, like, vicar's daughters | 0:15:58 | 0:16:01 | |
-and doctor's sons, you know? -Yeah, I know. | 0:16:01 | 0:16:02 | |
Get rich kids getting a lift in the Rolls to the end of the road, right, | 0:16:02 | 0:16:06 | |
then walking up pretending to be poor all day. | 0:16:06 | 0:16:09 | |
I'll go like this. | 0:16:09 | 0:16:12 | |
The government paid for me to go there, a private art college. | 0:16:12 | 0:16:16 | |
All you used to do all the time was go round nicking all their paint | 0:16:16 | 0:16:19 | |
and going out with the birds and going up to their houses | 0:16:19 | 0:16:22 | |
and getting fed. | 0:16:22 | 0:16:24 | |
Fucking great. And on the way out, maybe borrow something for a time. | 0:16:24 | 0:16:28 | |
Go and treat yourself to an Ilkley Moor cocktail for new year. | 0:16:36 | 0:16:41 | |
Take a little ice. | 0:16:41 | 0:16:43 | |
Firm to taste. | 0:16:43 | 0:16:45 | |
Whisky and... | 0:16:45 | 0:16:47 | |
They didn't say the whisky would freeze. | 0:16:48 | 0:16:51 | |
Oh, well, happy new year. | 0:16:51 | 0:16:53 | |
George Smith, you come from Strathclyde. | 0:16:53 | 0:16:56 | |
How do they feel about things up in Scotland? Who do they blame there? | 0:16:56 | 0:16:59 | |
I think actually the poor, the workers, the unions, the | 0:16:59 | 0:17:03 | |
management and government have all got to take their share of the blame. | 0:17:03 | 0:17:08 | |
I put it down to communism occupying very serious | 0:17:08 | 0:17:12 | |
and senior positions in the country. | 0:17:12 | 0:17:15 | |
If they want to go and live in Russia, a communist country, | 0:17:15 | 0:17:18 | |
let them bloody well go and live there. | 0:17:18 | 0:17:20 | |
If you just decided to work a little more, | 0:17:22 | 0:17:25 | |
just decided to have a little more discipline, | 0:17:25 | 0:17:27 | |
you could become the strongest country in Europe. | 0:17:27 | 0:17:30 | |
MUSIC: A Glass Of Champagne by Sailor | 0:17:32 | 0:17:34 | |
# I've got the music, I've got the lights | 0:17:34 | 0:17:37 | |
# You've got a figure full of delights | 0:17:37 | 0:17:41 | |
# Let's get together, the two of us, over a glass of champagne. # | 0:17:41 | 0:17:44 | |
A situation has been created whereby | 0:17:46 | 0:17:48 | |
boredom has set in amongst young kids | 0:17:48 | 0:17:50 | |
without having, really, a musical expression of their own. | 0:17:50 | 0:17:53 | |
If those kids have to watch Top of the Pops | 0:17:53 | 0:17:56 | |
and see some old fart doing it, then what the hell is it to do with them? | 0:17:56 | 0:18:01 | |
MUSIC: A Little Bit More by Doctor Hook | 0:18:01 | 0:18:04 | |
# Look into my eyes and give me that smile | 0:18:04 | 0:18:06 | |
# The one that always turns me on. # | 0:18:06 | 0:18:11 | |
The explosion that's been caused in London has probably arisen | 0:18:11 | 0:18:15 | |
out of seeing one band, | 0:18:15 | 0:18:19 | |
I think the Sex Pistols, doing it. | 0:18:19 | 0:18:23 | |
And, all of a sudden, | 0:18:23 | 0:18:26 | |
it's like a little spark just sets everything alight | 0:18:26 | 0:18:29 | |
and it set things alight. | 0:18:29 | 0:18:31 | |
It gave people fantastic inspiration, young kids, | 0:18:31 | 0:18:33 | |
and they all felt, well, yeah, if a young guy can get up there | 0:18:33 | 0:18:36 | |
and play four-five chords, and make it meaningful | 0:18:36 | 0:18:39 | |
because there's a guy up there saying something with it, | 0:18:39 | 0:18:43 | |
then what the fuck, man? | 0:18:43 | 0:18:45 | |
If we identify with that, | 0:18:45 | 0:18:46 | |
then we can also find the same spirit to do likewise. | 0:18:46 | 0:18:50 | |
'Punk rock is the most immediate art form. | 0:18:56 | 0:19:00 | |
'I can get whatever I've got to say across as quick as possible.' | 0:19:00 | 0:19:04 | |
'You get this whole explosion of, like, new groups | 0:19:09 | 0:19:12 | |
'and media saying, "Yeah, they're kicking out the rock establishment. | 0:19:12 | 0:19:15 | |
'"Let's call it New Wave. Let's call it punk rock."' | 0:19:15 | 0:19:19 | |
MUSIC: New Rose by the Damned | 0:19:19 | 0:19:23 | |
# I got a feeling inside of me | 0:19:23 | 0:19:25 | |
# It's kind of strange, like a stormy sea | 0:19:25 | 0:19:28 | |
# I dunno why, I dunno why... # | 0:19:28 | 0:19:30 | |
The whole idea of getting on a stage and asserting yourself | 0:19:30 | 0:19:35 | |
and announcing something is the criteria. | 0:19:35 | 0:19:38 | |
It was inevitable that it should happen. | 0:19:38 | 0:19:41 | |
Can you just hold it in between? | 0:19:43 | 0:19:46 | |
Yeah, like that. | 0:19:46 | 0:19:48 | |
You've got this rehearsal place here, right? | 0:19:48 | 0:19:50 | |
Subway Sect use it. Sid Vicious and his new group use it. | 0:19:50 | 0:19:53 | |
Keith Levene, who used to be our guitarist, he's going to use it. | 0:19:53 | 0:19:59 | |
The Slits are using it. | 0:19:59 | 0:20:01 | |
I'm used to, like, groups like The Kinks and that. | 0:20:13 | 0:20:17 | |
I like Mott The Hoople. | 0:20:19 | 0:20:21 | |
When we first saw The Who on Ready Steady Go | 0:20:23 | 0:20:26 | |
when we was, like, babies, right, I mean, like, it looked great. | 0:20:26 | 0:20:31 | |
We could dig it, you know. | 0:20:31 | 0:20:33 | |
But now, I mean... I couldn't understand even what Tommy was about. | 0:20:33 | 0:20:36 | |
Tommy went over my head, you know. | 0:20:36 | 0:20:39 | |
We want to make records. We want to be number one. | 0:20:39 | 0:20:41 | |
I mean, I think we're the greatest. | 0:20:41 | 0:20:43 | |
Obviously we want to be at number one. | 0:20:43 | 0:20:45 | |
So you want to blow out all those old bands, | 0:20:45 | 0:20:47 | |
but how radical a change do you want in the system itself? | 0:20:47 | 0:20:49 | |
As much change as we can get. | 0:20:49 | 0:20:51 | |
Total change. We think government is an old fashioned idea. | 0:20:51 | 0:20:55 | |
The whole of Britain was, like, a load of shit. | 0:20:55 | 0:20:58 | |
There was nothing interesting going on, right, | 0:20:58 | 0:21:00 | |
so we created our own interesting things, right? | 0:21:00 | 0:21:04 | |
Thank you. This is where we fit in. | 0:21:04 | 0:21:07 | |
We're out to encourage people to be creative and make people aware. | 0:21:07 | 0:21:10 | |
If that means we stuff it down their throat, | 0:21:10 | 0:21:13 | |
we will stuff it down their throat till they know. | 0:21:13 | 0:21:16 | |
Here from the magnificent Severn-Severn Bridge | 0:21:19 | 0:21:21 | |
spanning, as it does, a very cold River Severn-Severn, | 0:21:21 | 0:21:24 | |
we in the West region wish you a very, very happy new year | 0:21:24 | 0:21:27 | |
and we do it in the traditional way, as we should, with scrumpy. | 0:21:27 | 0:21:31 | |
Happy new year. | 0:21:31 | 0:21:32 | |
MUSIC: Save Your Kisses For Me by Brotherhood Of Man | 0:21:32 | 0:21:34 | |
# Save your kisses for me | 0:21:34 | 0:21:36 | |
# Save all your kisses for me | 0:21:36 | 0:21:40 | |
# Bye bye, baby, bye bye | 0:21:40 | 0:21:43 | |
# Don't cry, honey, don't cry. # | 0:21:45 | 0:21:48 | |
Dr Dennis Smith. | 0:21:50 | 0:21:51 | |
Politicians fundamentally are responsible for running the country. | 0:21:51 | 0:21:55 | |
Perhaps we get the politicians that we deserve, but unfortunately, | 0:21:55 | 0:21:58 | |
politicians don't seem to be very good on either side at doing | 0:21:58 | 0:22:01 | |
the job they're elected to do at the moment. | 0:22:01 | 0:22:04 | |
Oh, shut up! What a load of old rubbish! | 0:22:04 | 0:22:07 | |
-Happy new year. -Happy new year. | 0:22:07 | 0:22:10 | |
I went to see my father the other day and he bought a copy of the | 0:22:10 | 0:22:12 | |
Melody Maker and he said, "What's all this punk rock then, son?" | 0:22:12 | 0:22:17 | |
The media provide you with cliches to fall back on | 0:22:17 | 0:22:20 | |
if you haven't got an idea in your head. | 0:22:20 | 0:22:22 | |
I was down the dole Friday morning. What a state this country's in. | 0:22:22 | 0:22:25 | |
These are the things that intelligent people know. | 0:22:25 | 0:22:29 | |
If you can't think your way out of a paper bag, read a paper, right? | 0:22:29 | 0:22:34 | |
"Baby Drama Of Knife Maniac." | 0:22:34 | 0:22:36 | |
Then you go, "Oh, yeah, he's a knife maniac!" | 0:22:36 | 0:22:39 | |
And he's, like, the knife maniac. | 0:22:39 | 0:22:42 | |
The dole queue rock, know what I mean? | 0:22:42 | 0:22:44 | |
Have you seen the News of the World? | 0:22:52 | 0:22:54 | |
The punk goddesses, punkesses, | 0:22:54 | 0:22:55 | |
and they make the Sex Pistols look like choirboys. | 0:22:55 | 0:22:59 | |
They saw the Pistols on TV and that was a bit scandalous | 0:22:59 | 0:23:01 | |
because they said fuck. | 0:23:01 | 0:23:03 | |
Everyone says fuck. | 0:23:03 | 0:23:04 | |
You know, so one man kicks at his TV | 0:23:04 | 0:23:06 | |
and the whole thing has been completely blown apart. | 0:23:06 | 0:23:10 | |
They showed us all up to look really stupid. | 0:23:12 | 0:23:16 | |
We looked like we were all really mindless | 0:23:16 | 0:23:18 | |
and we went around saying fucking hell | 0:23:18 | 0:23:20 | |
and we had safety pins in our ears and through our jaws and things. | 0:23:20 | 0:23:23 | |
It didn't make us look like a force to be reckoned with. | 0:23:23 | 0:23:26 | |
It just made us look like a load of stupid kids. | 0:23:26 | 0:23:29 | |
We're kids but, you know, we're not stupid. | 0:23:29 | 0:23:31 | |
There's a lot of kids from out of town | 0:23:31 | 0:23:33 | |
coming in with their safety pins and all the business. | 0:23:33 | 0:23:36 | |
The media pick up on the really weird things in the scene, | 0:23:36 | 0:23:39 | |
safety pins, plastic trousers, spitting, | 0:23:39 | 0:23:42 | |
but that's just a fashion thing, you know? | 0:23:42 | 0:23:45 | |
I think a lot of people realise it's not a fashion anymore. | 0:23:45 | 0:23:48 | |
I think it's too serious musically. | 0:23:48 | 0:23:51 | |
Well, you know, some people drink to get high. | 0:23:52 | 0:23:55 | |
I've come up high to our side of the Severn Bridge to have a drink | 0:23:55 | 0:23:58 | |
and to wish all of you a very happy new year from us in Wales. | 0:23:58 | 0:24:01 | |
Blwyddyn newydd dda I chi I gyd. | 0:24:01 | 0:24:05 | |
SINGING IN WELSH | 0:24:07 | 0:24:11 | |
We are worried because I wouldn't like to see the bread going up. | 0:24:21 | 0:24:25 | |
-Oh, no. -No. | 0:24:25 | 0:24:27 | |
-The meat, oh, that's terrible, isn't it? -I don't get much meat. | 0:24:27 | 0:24:30 | |
I haven't seen beef for a very long, long time. | 0:24:30 | 0:24:33 | |
It was never spoken. | 0:24:37 | 0:24:39 | |
It was never like, we're going to consciously attempt to smash | 0:24:39 | 0:24:42 | |
the musical establishment, but, like, that's what it is. | 0:24:42 | 0:24:47 | |
We said, "Let's get a band together that's better than them bands." | 0:24:49 | 0:24:52 | |
Otherwise, what we do is we maybe go and shoot them. | 0:24:52 | 0:24:55 | |
Plot an assassination. | 0:24:55 | 0:24:57 | |
You've got to have destruction before you can start anything new. | 0:24:58 | 0:25:03 | |
I think the Pistols are destroying everything really fine, | 0:25:03 | 0:25:06 | |
in a really good way. | 0:25:06 | 0:25:07 | |
After that, you've got to have something coming up. | 0:25:07 | 0:25:10 | |
The Sex Pistols are an idea. | 0:25:11 | 0:25:14 | |
The idea is to threaten, the idea is to not allow conformity | 0:25:14 | 0:25:19 | |
and to not allow boredom to take place within your act. | 0:25:19 | 0:25:22 | |
The idea is to say something that will change kids' | 0:25:22 | 0:25:25 | |
actual outlook on their lives. | 0:25:25 | 0:25:28 | |
The Sex Pistols Anarchy tour. | 0:25:28 | 0:25:29 | |
I mean, fucking hell, talk about overreaction, you know? | 0:25:30 | 0:25:35 | |
If it was 30 dates, 26 of them got cancelled. | 0:25:35 | 0:25:38 | |
Anything new, they don't understand. | 0:25:39 | 0:25:42 | |
It threatens their whole existence, doesn't it? | 0:25:42 | 0:25:45 | |
As soon as the Sex Pistols don't become threatening, | 0:25:45 | 0:25:48 | |
they ain't no longer the Sex Pistols. | 0:25:48 | 0:25:49 | |
Fuck off! | 0:25:49 | 0:25:51 | |
They must threaten the culture and change it, make it something else. | 0:25:51 | 0:25:56 | |
Then we have a whole new scene on our hands. | 0:25:56 | 0:26:00 | |
The Pistols decided not to play to the old stiffs. | 0:26:00 | 0:26:04 | |
I thought it was quite good, like, why the fuck should they? | 0:26:04 | 0:26:08 | |
Yeah, you don't do that sort of thing. | 0:26:08 | 0:26:10 | |
Right, then they'd want it all over the country, wouldn't they? | 0:26:10 | 0:26:13 | |
'So we had to go out and find places to play. | 0:26:16 | 0:26:18 | |
'We were really trying to get new places to go | 0:26:18 | 0:26:20 | |
'and there's some guy opening up | 0:26:20 | 0:26:22 | |
'a new club down in Deal Street in Covent Garden, Roxy Club.' | 0:26:22 | 0:26:24 | |
-Neal Street. -In Covent Garden. | 0:26:24 | 0:26:27 | |
OPERATIC SINGING | 0:26:27 | 0:26:29 | |
MUSIC: Primavera from Vivaldi's Four Seasons | 0:26:29 | 0:26:35 | |
Covent Garden. Epicentre of Cockney London. | 0:26:55 | 0:26:58 | |
The first neighbourhood to succumb to the dread | 0:27:01 | 0:27:04 | |
tentacles of gentrification. | 0:27:04 | 0:27:05 | |
Home to the infamous Roxy Club, heart of libertine London, | 0:27:12 | 0:27:16 | |
where high and low culture have always famously collided, | 0:27:16 | 0:27:20 | |
cavorted and clashed. | 0:27:20 | 0:27:22 | |
-Morning, Patsy. How are you? -All right. What do you want? | 0:27:25 | 0:27:29 | |
-Got any good sprouts? -Yeah, just in the shop, there. | 0:27:29 | 0:27:33 | |
-Hello, Vicky, what are you doing here? -What are you? | 0:27:33 | 0:27:35 | |
Having lunch with Boris Lermontov, the fellow who runs the ballet. | 0:27:35 | 0:27:38 | |
Here, for centuries, opera, | 0:27:42 | 0:27:44 | |
theatre and ballet cohabited with the fruit and veg market next door. | 0:27:44 | 0:27:50 | |
Ballerinas and baritones... | 0:27:50 | 0:27:52 | |
# I love you... # | 0:27:52 | 0:27:54 | |
Divas, primadonnas and matinee idols, all rubbing elbows with the | 0:27:54 | 0:28:00 | |
Cockney costermongers and porters in the Garden's boozers and caffs. | 0:28:00 | 0:28:04 | |
-How much? -Fiver. -Five quid? -Five. -Leave it out! | 0:28:08 | 0:28:13 | |
How much is this, Tom? | 0:28:13 | 0:28:15 | |
A royal pleasure ground, where princes, | 0:28:26 | 0:28:28 | |
punks and wicked earls shared beds with the whores of Harris's List | 0:28:28 | 0:28:33 | |
and Mother Creswell's brothel. | 0:28:33 | 0:28:35 | |
-She's in the King's arms already! -Pouring the beer! | 0:28:35 | 0:28:38 | |
Here Charles met Nell, Sid met Nancy and Eliza Doolittle | 0:28:40 | 0:28:46 | |
and Henry Higgins first misconstrued each other beneath the great | 0:28:46 | 0:28:49 | |
portico of the Actor's Church, as depicted in My Fair Lady. | 0:28:49 | 0:28:54 | |
# Oh, wouldn't it be lovely? # | 0:28:54 | 0:28:56 | |
-Want a few melons? -Could do, what you got? | 0:28:56 | 0:28:59 | |
These are what I had the other day, good melons, as it happens. | 0:28:59 | 0:29:02 | |
MUSIC: Monkey Man by the Rolling Stones | 0:29:05 | 0:29:09 | |
"What a coil do I make for the loss of my punk | 0:29:12 | 0:29:15 | |
"I storm and I roar and I fall in a rage | 0:29:15 | 0:29:18 | |
"And missing my whore I bugger my page." | 0:29:18 | 0:29:21 | |
-What's your favourite food? -A pint of bitter! | 0:29:24 | 0:29:27 | |
-Then what keeps you going? -Beer. | 0:29:29 | 0:29:31 | |
Birthplace of Punch and Judy, Turner | 0:29:36 | 0:29:38 | |
and the muffin man who lived on Drury Lane. | 0:29:38 | 0:29:42 | |
Filching pitch of Fagin and the Artful Dodger, host to the | 0:29:44 | 0:29:48 | |
infamous trials of Oscar Wilde, Dr Crippen and the brothers Kray. | 0:29:48 | 0:29:54 | |
A topsy-turvy place where rhubarbs and turnips were traded in the dead | 0:29:54 | 0:29:58 | |
of night and the market pubs opened their doors at four in the morning. | 0:29:58 | 0:30:03 | |
Film-star type people, they like to come here and slum, | 0:30:05 | 0:30:08 | |
you might say, and see the boys, you know. | 0:30:08 | 0:30:11 | |
Three rum and coffees. | 0:30:11 | 0:30:12 | |
I remember a time once when Elizabeth Taylor | 0:30:12 | 0:30:15 | |
and Michael Wilding was in this very pub, dancing and singing, | 0:30:15 | 0:30:19 | |
really enjoying themselves with the boys. | 0:30:19 | 0:30:21 | |
This is streets where anybody could come. Wonderful atmosphere. | 0:30:21 | 0:30:25 | |
For over 300 years, Covent Garden had all this and more | 0:30:25 | 0:30:31 | |
until the over-congested market was finally closed down in 1974. | 0:30:31 | 0:30:37 | |
Right up until New Year's Eve, The Clash frantically auditioned | 0:30:47 | 0:30:50 | |
drummers in their Rehearsals Rehearsals redoubt in Camden Town. | 0:30:50 | 0:30:54 | |
Their regular drummer Terry Chimes, or Tory Crimes as Joe fondly | 0:30:56 | 0:31:00 | |
nicknamed him, had had enough of Bernie's Clash course re-education | 0:31:00 | 0:31:04 | |
programme and was refusing to commit to play the Roxy gig. | 0:31:04 | 0:31:09 | |
Everything we do, we try and be honest, right? | 0:31:10 | 0:31:13 | |
Sometimes we don't make it, sometimes we do. | 0:31:13 | 0:31:15 | |
-How hard do you work at what you're doing? -Very hard. | 0:31:15 | 0:31:18 | |
I don't think about anything else. I don't have time to. | 0:31:18 | 0:31:22 | |
They went through 20 drummers, including Jon Moss, | 0:31:33 | 0:31:36 | |
who went on to drum for Culture Club, still half hoping that Terry | 0:31:36 | 0:31:40 | |
would change his mind before settling on a temporary replacement | 0:31:40 | 0:31:44 | |
in Rob Harper, who was reportedly scarred for life by the experience. | 0:31:44 | 0:31:49 | |
Let's do that again, just rhythm, no singing, right? | 0:31:49 | 0:31:53 | |
The drums are a bit clumsy, or something. | 0:31:53 | 0:31:57 | |
One, two, three, four! | 0:31:57 | 0:31:58 | |
BAND STARTS PLAYING "Cheat" | 0:31:58 | 0:32:02 | |
Newcomers to Norfolk have been | 0:32:11 | 0:32:13 | |
perplexed on New Year's Eve to find their new-found neighbours | 0:32:13 | 0:32:16 | |
hurling chunks of coal at their front doors. | 0:32:16 | 0:32:19 | |
But it's not East Anglian vandalism, it's just our way of saying | 0:32:21 | 0:32:25 | |
happiness and good luck for the coming year. | 0:32:25 | 0:32:27 | |
This country has been sitting on its laurels a bit too long. | 0:32:27 | 0:32:30 | |
It wants a jolt to pull the people together. | 0:32:30 | 0:32:33 | |
Nobody thinks about anybody else today, | 0:32:33 | 0:32:35 | |
everybody thinks just of themselves, | 0:32:35 | 0:32:37 | |
the I'm-all-right-Jack attitude which is all wrong. | 0:32:37 | 0:32:41 | |
Leonard Smith, what's the cause of the crisis? | 0:32:41 | 0:32:44 | |
I think, small things that happen at school, perhaps. | 0:32:44 | 0:32:48 | |
A child will perhaps cheek his teacher | 0:32:48 | 0:32:50 | |
and then it goes up from that. | 0:32:50 | 0:32:52 | |
A man then becomes insulting to his boss, his boss sacks him | 0:32:52 | 0:32:57 | |
and then he's got problems there. | 0:32:57 | 0:32:58 | |
Tom, how many pubs will you get through in a night? | 0:33:01 | 0:33:03 | |
Four pubs and about 18 pints, I suppose. | 0:33:03 | 0:33:05 | |
PHONE RINGS | 0:33:12 | 0:33:15 | |
Yeah? | 0:33:18 | 0:33:20 | |
Yeah, we are. | 0:33:24 | 0:33:26 | |
Left? No. | 0:33:26 | 0:33:27 | |
There's me and there's Mick and there's Paul. | 0:33:31 | 0:33:33 | |
And there's a guy with a camera and a guy with a pair of earphones. | 0:33:36 | 0:33:39 | |
Sorry, what? Because we're filming. | 0:33:41 | 0:33:46 | |
Yeah, of course he is. What about, er, the guy in Hackney? | 0:33:48 | 0:33:54 | |
Oh, yeah. Have you? | 0:33:58 | 0:34:01 | |
Good news, boys. | 0:34:01 | 0:34:02 | |
But you won't tell it to me. | 0:34:07 | 0:34:08 | |
Tell him, tell him! Come on, it's really important. | 0:34:08 | 0:34:11 | |
OK, yeah. We'll go down there and then come back, all right? | 0:34:17 | 0:34:21 | |
That's what I mean, we'll go down and do it and then come back. | 0:34:21 | 0:34:24 | |
Right. | 0:34:27 | 0:34:28 | |
When the punk rock business was starting up and groups | 0:34:31 | 0:34:35 | |
wanted to play, they were rejected by everybody and everywhere. | 0:34:35 | 0:34:38 | |
So the obvious thing was to try and find a place yourself. | 0:34:38 | 0:34:43 | |
This I did by finding a club called the Roxy Club. | 0:34:44 | 0:34:47 | |
Bernie Rhodes and The Clash came down and I said, "How about playing?" | 0:34:47 | 0:34:51 | |
So we booked them in for January 1st '77. | 0:34:51 | 0:34:54 | |
At the time that we took it on, it was called Shaggarama's. | 0:34:56 | 0:34:59 | |
And the name says everything about the gayness of it. | 0:34:59 | 0:35:03 | |
It was a pretty hardcore cruising place. | 0:35:03 | 0:35:06 | |
You know who used to go to Shaggarama? Sid used to go there. | 0:35:06 | 0:35:09 | |
He was John Beverley, then. | 0:35:09 | 0:35:11 | |
MUSIC: You Make Me Feel (Mighty Real) By Sylvester | 0:35:11 | 0:35:14 | |
They really couldn't care less who they rented it to, | 0:35:17 | 0:35:21 | |
especially a bunch of noisy young people. | 0:35:21 | 0:35:23 | |
They just said, "We'll rent to you for a year and see what happens." | 0:35:23 | 0:35:26 | |
They were planning to knock it down. | 0:35:26 | 0:35:28 | |
Covent Garden was shut down and it was derelict. | 0:35:42 | 0:35:45 | |
It hadn't been used for two or three years. | 0:35:45 | 0:35:48 | |
It had become a kind of wasteland, an inner-city wasteland, | 0:35:53 | 0:35:56 | |
where all these subterranean characters would emerge. | 0:35:56 | 0:35:59 | |
We're talking about gangsters and hookers and drug dealers | 0:35:59 | 0:36:02 | |
and things like that. | 0:36:02 | 0:36:03 | |
So it was a pretty scary place in the late '70s. | 0:36:03 | 0:36:06 | |
There is no domestic atmosphere around here now. | 0:36:06 | 0:36:09 | |
All the residents have been gradually hived off | 0:36:09 | 0:36:12 | |
and drifted away. | 0:36:12 | 0:36:14 | |
At one time, you used to see many more people about. | 0:36:14 | 0:36:16 | |
We're the first area on the block. | 0:36:18 | 0:36:20 | |
This is going to happen in Shoreditch, in Lewisham, | 0:36:20 | 0:36:23 | |
in other parts of Camden. They've got no interest in us. | 0:36:23 | 0:36:26 | |
The almighty dollar, let's call it the pound, is going | 0:36:26 | 0:36:29 | |
to just throw us off, we're going to be nothing, brushed aside. | 0:36:29 | 0:36:33 | |
When the Roxy opened on January 1st, 1977, | 0:36:33 | 0:36:36 | |
for 100 days, it really was the centre of the punk rock universe. | 0:36:36 | 0:36:41 | |
I could go to the Roxy on the Piccadilly line, which is | 0:36:41 | 0:36:43 | |
quite a way out, so it took me nearly an hour. | 0:36:43 | 0:36:46 | |
I'd just get off at Covent Garden or Leicester Square | 0:36:46 | 0:36:48 | |
if I was meeting my boys there. | 0:36:48 | 0:36:50 | |
Covent Garden at the time was quite gloomy, Dickensian, | 0:36:50 | 0:36:53 | |
there were lots of lonely cobbled side streets and things, | 0:36:53 | 0:36:56 | |
so I actually found it a bit spooky. | 0:36:56 | 0:36:58 | |
I actually found it quite scary to walk around on your own or | 0:36:58 | 0:37:00 | |
if there was just two of you. | 0:37:00 | 0:37:02 | |
It was a much more seedy, dirty place than it is now. | 0:37:02 | 0:37:07 | |
Possibly we can eat, when we get back there, | 0:37:20 | 0:37:23 | |
we can send out for stuff, right? | 0:37:23 | 0:37:25 | |
-We can get some food sent over. -Well, if you like. | 0:37:25 | 0:37:29 | |
When the Roxy opened, it was a dingy basement, low ceilings, | 0:37:30 | 0:37:33 | |
bench seats around the outside. | 0:37:33 | 0:37:35 | |
To be honest, it was pretty much a shit hole. | 0:37:35 | 0:37:37 | |
One, two. Can I hear myself? Course I can. | 0:37:37 | 0:37:40 | |
Why do I get the dodgy stand? | 0:37:43 | 0:37:45 | |
They had a mirror at the Roxy, at the back. | 0:37:45 | 0:37:48 | |
I didn't notice, I wish I had! I was watching a girl in front of it! | 0:37:48 | 0:37:54 | |
-Are these supposed to fall down all the time? -Mick, see these boxes? | 0:37:54 | 0:38:00 | |
-What are they? -They're the monitors, you stupid cunt! | 0:38:00 | 0:38:04 | |
Can't we stuff them somewhere else? | 0:38:04 | 0:38:07 | |
BAND STARTS PLAYING "Remote Control" | 0:38:07 | 0:38:10 | |
When the Clash finally got to the Roxy, | 0:38:11 | 0:38:14 | |
they found the PA they had hired was up the spout, | 0:38:14 | 0:38:17 | |
but it was New Year's Day and it was too late to find a replacement. | 0:38:17 | 0:38:22 | |
The show had to go on. | 0:38:22 | 0:38:24 | |
-How much money do you make from your gigs? -We don't really get any. | 0:38:25 | 0:38:29 | |
Most of it goes on PA. Work it out for yourself. | 0:38:29 | 0:38:33 | |
60 quid for a booking, right? | 0:38:33 | 0:38:36 | |
PA hire, good PA, we are a loud group, we need a good PA - 55 quid. | 0:38:36 | 0:38:40 | |
So you've got five quid left. | 0:38:40 | 0:38:43 | |
I use a set of strings a night, cos I'm a vicious guitar player. | 0:38:43 | 0:38:46 | |
You want a drink, something to eat, there you are, | 0:38:46 | 0:38:49 | |
you're in the red. | 0:38:49 | 0:38:50 | |
-We're making a loss. -Where does the rest come from? | 0:38:50 | 0:38:52 | |
Well, it's being provided by our generous manager. | 0:38:52 | 0:38:56 | |
Every time we do a gig, he has to reach in his pocket. | 0:38:56 | 0:38:59 | |
If we were in Devon, | 0:39:01 | 0:39:02 | |
like most other places in Britain, we would wish you a very happy New Year. | 0:39:02 | 0:39:07 | |
But here in Cornwall, we'd say bledhen Nowyth Da. | 0:39:09 | 0:39:13 | |
Roy Smith from Bodmin. | 0:39:13 | 0:39:15 | |
They say down in Cornwall, | 0:39:15 | 0:39:16 | |
the average wage is far below the standard of people | 0:39:16 | 0:39:20 | |
here in London and if you become unemployed you get more through | 0:39:20 | 0:39:24 | |
being unemployed than what you do | 0:39:24 | 0:39:26 | |
if you're actually earning your living. | 0:39:26 | 0:39:28 | |
So where's the incentive to work? | 0:39:28 | 0:39:30 | |
-Any resolutions? -Do less work. | 0:39:30 | 0:39:32 | |
Anybody who was around at that time was there. You had everybody there. | 0:39:37 | 0:39:41 | |
The only person who never came down was Malcolm, because I think | 0:39:41 | 0:39:44 | |
he sometimes felt that he had some sort of right to this punk thing. | 0:39:44 | 0:39:48 | |
I was the DJ from the minute The Roxy opened to the minute it closed. | 0:39:50 | 0:39:53 | |
I'd do my dub heavy reggae sets | 0:39:53 | 0:39:55 | |
in between the fast and furious punk sets. | 0:39:55 | 0:39:58 | |
There was no real punk records around. | 0:39:58 | 0:40:01 | |
It was Don diving into his collection and magically, it worked. | 0:40:01 | 0:40:05 | |
I'm playing hardcore dub reggae, | 0:40:05 | 0:40:07 | |
which seemed to strike a chord with the white youth. | 0:40:07 | 0:40:11 | |
Oh, some decent fucking music at last! | 0:40:11 | 0:40:14 | |
Oh, Richie! | 0:40:14 | 0:40:16 | |
Most punks couldn't roll their own spliffs, | 0:40:16 | 0:40:18 | |
so my dread bredren came up with the spliff factory | 0:40:18 | 0:40:22 | |
and they'd sell ready-rolled spliffs from behind the Roxy bar. | 0:40:22 | 0:40:25 | |
I'm a raging queen, really. Don't tell anyone though. | 0:40:34 | 0:40:37 | |
We're doing something that we want to do. | 0:40:37 | 0:40:41 | |
By playing, I'm doing everything I want to do. | 0:40:41 | 0:40:43 | |
That's why I started playing. | 0:40:43 | 0:40:45 | |
One day, I didn't play and the next day, I did play. | 0:40:45 | 0:40:47 | |
When I'm playing in a group and things are going on, | 0:40:47 | 0:40:50 | |
I feel as if I'm doing something good, you know? | 0:40:50 | 0:40:53 | |
I mean, it goes up and down, but so does everything. | 0:40:53 | 0:40:56 | |
Hey, Steve! | 0:40:57 | 0:40:59 | |
Hey, Steve, the guitars, chuck them in. | 0:41:03 | 0:41:06 | |
If your life is like a group, you play with the guys you dig, | 0:41:06 | 0:41:10 | |
and you forget about the blokes who are arseholes. | 0:41:10 | 0:41:13 | |
If you're a bozo and an arsehole, | 0:41:13 | 0:41:14 | |
you're an arsehole, know what I mean? | 0:41:14 | 0:41:16 | |
You come on like an arsehole. | 0:41:16 | 0:41:17 | |
You say hello, and they don't say hello, they say I'm an arsehole. | 0:41:17 | 0:41:21 | |
I just happen to be meeting more of them at the moment. | 0:41:21 | 0:41:24 | |
Please! I try so hard to be nice. | 0:41:24 | 0:41:28 | |
A lot of the punks didn't walk the streets like that | 0:41:35 | 0:41:38 | |
because they actually had to go to work. | 0:41:38 | 0:41:40 | |
If you're finishing work at five or six or whatever, | 0:41:42 | 0:41:45 | |
get a bag full of clothes, queueing up at seven o'clock to get in, | 0:41:45 | 0:41:49 | |
straight into the toilets, and the whole of the toilets just | 0:41:49 | 0:41:52 | |
changed into this massive girls' changing room. | 0:41:52 | 0:41:55 | |
So they're in there for like an hour or two, making up, gossiping | 0:41:55 | 0:41:58 | |
and just generally having a laugh. | 0:41:58 | 0:42:01 | |
Invariably, the walls would be dripping with sweat, | 0:42:01 | 0:42:04 | |
the place would be stinking with ganja fumes. | 0:42:04 | 0:42:08 | |
I always remember the old punks were always jacking speed. | 0:42:08 | 0:42:10 | |
-Do you have any resolutions? -Simply to stop spending money. | 0:42:24 | 0:42:27 | |
Mrs Christine Smith. | 0:42:31 | 0:42:33 | |
I think we're capable of the economic miracle, certainly we are. | 0:42:37 | 0:42:41 | |
We must believe that. | 0:42:41 | 0:42:42 | |
Duncan Smith from Knightsbridge. How bad is it? | 0:42:42 | 0:42:45 | |
There is, at this moment, I would say, blind panic. | 0:42:45 | 0:42:48 | |
Everybody is trying to get every spare ha'penny they can | 0:42:48 | 0:42:50 | |
out of the country by one method or another. | 0:42:50 | 0:42:53 | |
-Is this happening on a big scale? -A massive scale. Absolutely enormous. | 0:42:53 | 0:42:58 | |
And Nigel Smith from Surbiton. | 0:42:58 | 0:43:00 | |
Have you ever been tempted to change your sterling into some other currency? | 0:43:00 | 0:43:04 | |
Very much so. | 0:43:04 | 0:43:06 | |
Anyone who's in the position to do so, | 0:43:06 | 0:43:08 | |
they're very foolish not to be able to do so. | 0:43:08 | 0:43:11 | |
Lionel Smith from Finchley. | 0:43:11 | 0:43:12 | |
How do you feel about people who move their money | 0:43:12 | 0:43:15 | |
abroad against the regulations of exchange control? | 0:43:15 | 0:43:17 | |
Criminal. | 0:43:17 | 0:43:19 | |
Despite their PA being on the blink, The Clash had committed to | 0:43:36 | 0:43:40 | |
playing two sets that night as the New Year was ushered in. | 0:43:40 | 0:43:43 | |
On one big fiery flying roll, | 0:43:45 | 0:43:46 | |
The Clash roared through all the key songs that would | 0:43:46 | 0:43:49 | |
feature on their breakthrough first album a few months later. | 0:43:49 | 0:43:53 | |
As the clock ticked down to midnight, they tossed them out | 0:43:53 | 0:43:56 | |
like firecrackers into the crowd, kick-starting the year of The Clash. | 0:43:56 | 0:44:01 | |
Hey, Mickey, the Ampeg don't work. | 0:44:01 | 0:44:04 | |
What do you feel like when you go onstage? | 0:44:04 | 0:44:09 | |
A pair of tits. | 0:44:09 | 0:44:11 | |
No, I feel good, you know? That's what we're supposed to do, you know. | 0:44:11 | 0:44:17 | |
I mean, that's when we like it best. You can't get bored onstage, really. | 0:44:17 | 0:44:23 | |
We're The Clash! | 0:44:25 | 0:44:26 | |
# London's burning! | 0:44:26 | 0:44:29 | |
# London's burning! | 0:44:29 | 0:44:31 | |
# London's burning, dial 99999 | 0:44:33 | 0:44:36 | |
# London's burning, dial 99999 | 0:44:36 | 0:44:40 | |
# London's burning, dial 99999 | 0:44:40 | 0:44:43 | |
# London's burning, dial 99999 | 0:44:43 | 0:44:46 | |
# I'm up and down the Westway in and out the lights | 0:44:46 | 0:44:49 | |
# Great traffic system it's so bright | 0:44:49 | 0:44:53 | |
# Can't think of a better way to spend the night | 0:44:53 | 0:44:56 | |
# Than speeding around underneath the yellow lights | 0:44:56 | 0:45:00 | |
# London's burning with boredom now | 0:45:00 | 0:45:03 | |
# London's burning, oi, oi, oi! | 0:45:03 | 0:45:07 | |
# London's burning, dial 99999 | 0:45:07 | 0:45:10 | |
# London's burning, oi, oi, oi! # | 0:45:10 | 0:45:14 | |
I wrote it in an old, sort of disused house near the Westway | 0:45:14 | 0:45:19 | |
and then I went up to see Mick Jones in the block | 0:45:19 | 0:45:22 | |
and we kind of whipped it into shape up in his flat. | 0:45:22 | 0:45:26 | |
It was kind of like a quick one, you know? | 0:45:28 | 0:45:31 | |
You think of it, write it, finish it. It was all over quick. | 0:45:31 | 0:45:34 | |
It's just like, not having anything to do, | 0:45:36 | 0:45:38 | |
like, not having no place to go. | 0:45:38 | 0:45:41 | |
And you just think of a desert. | 0:45:43 | 0:45:44 | |
The only activity I could see was the moving lights going up and down | 0:45:44 | 0:45:47 | |
the motorway and like, going down the subways and looking at the writing. | 0:45:47 | 0:45:51 | |
And it's like Wednesday night | 0:45:51 | 0:45:53 | |
is the same as Thursday night or Friday night. | 0:45:53 | 0:45:56 | |
I just felt the whole place was bored as hell, driving about | 0:45:56 | 0:45:59 | |
and watching TV and stuff, | 0:45:59 | 0:46:00 | |
so it was like London was burning with boredom. | 0:46:00 | 0:46:03 | |
I wrote it to get rid of that feeling. | 0:46:05 | 0:46:06 | |
# I run through the empty stone | 0:46:06 | 0:46:08 | |
# Cos I'm all alone | 0:46:08 | 0:46:10 | |
# London's burning, dial 99999 | 0:46:10 | 0:46:13 | |
# London's burning, dial 99999 | 0:46:13 | 0:46:17 | |
# London's burning, dial 99999 | 0:46:17 | 0:46:20 | |
# London's burning with boredom now... # | 0:46:20 | 0:46:24 | |
-Do you think it could be any different? -Of course it could. | 0:46:24 | 0:46:27 | |
It could get better, it could get worse. | 0:46:27 | 0:46:30 | |
What's going to make it get better? | 0:46:30 | 0:46:32 | |
More lunatic personalities actually doing things. | 0:46:32 | 0:46:36 | |
More people doing honest things | 0:46:36 | 0:46:38 | |
and not, like, trying to pose or ponce about. | 0:46:38 | 0:46:42 | |
What do you mean by honest? | 0:46:42 | 0:46:44 | |
Just to do with something, mean something, | 0:46:44 | 0:46:47 | |
to feel so bad about something that you do something about it. | 0:46:47 | 0:46:50 | |
# Dial 99999 | 0:46:50 | 0:46:52 | |
# London's burning, dial 99999 | 0:46:52 | 0:46:55 | |
# London's burning, dial 99999 | 0:46:58 | 0:47:02 | |
-# London's burning, dial 99999 -Oi! # | 0:47:02 | 0:47:06 | |
The group writes the songs. Joe is better at lyrics and he is great. | 0:47:06 | 0:47:10 | |
Fantastic turn of phrase. He's always taking notes. | 0:47:10 | 0:47:15 | |
When it comes down to the tunes, I nick 'em. | 0:47:15 | 0:47:17 | |
# London's burning! # | 0:47:33 | 0:47:34 | |
How about the audience? | 0:47:49 | 0:47:51 | |
What effect do you want to have on them emotionally? | 0:47:51 | 0:47:54 | |
We want to make them, like, vomit, or something. | 0:47:54 | 0:47:56 | |
-Move them in some way, so that they can, like... -Get a reaction. | 0:47:58 | 0:48:01 | |
Yeah, so that they can perhaps move themselves. | 0:48:03 | 0:48:08 | |
I think it hits them the next morning. | 0:48:09 | 0:48:12 | |
They get their moment to think about it. | 0:48:12 | 0:48:14 | |
It will last them till at least lunchtime that day, I should think. | 0:48:14 | 0:48:19 | |
I've got to say, the PA don't sound so hot, you know? | 0:48:19 | 0:48:21 | |
We got to test these things out, you know? | 0:48:21 | 0:48:23 | |
-We can't just stand and look at it. -Use your imagination. | 0:48:23 | 0:48:26 | |
We've got to bring it to some gig and try it out. | 0:48:26 | 0:48:30 | |
If it don't work, what the fuck can you do but get on with it? | 0:48:30 | 0:48:33 | |
MUSIC: I'm So Bored With The USA | 0:48:35 | 0:48:38 | |
# You think I care where you buy your shirt? | 0:48:50 | 0:48:55 | |
# I don't wanna use American dirt | 0:48:55 | 0:48:59 | |
# Oh yeah, you look so cool | 0:48:59 | 0:49:03 | |
# In your cowboy boots | 0:49:03 | 0:49:05 | |
# Seen 'em on James Dean | 0:49:05 | 0:49:08 | |
# They looked so cute | 0:49:08 | 0:49:10 | |
# I'm so bored with the U...S...A | 0:49:10 | 0:49:15 | |
# I'm so bored with the USA | 0:49:15 | 0:49:20 | |
# But what can I do...? # | 0:49:20 | 0:49:22 | |
It's like how London belongs to Arabs and Yanks, you know what I mean? | 0:49:24 | 0:49:28 | |
Hamburgers and whatever Arabs do, I don't know. | 0:49:28 | 0:49:30 | |
The things that go on in American politics, | 0:49:30 | 0:49:32 | |
like everyone buying everybody else up. The Watergate tapes just keep on happening. | 0:49:32 | 0:49:35 | |
-I'm not a crook. -Exposing more and more and more. | 0:49:35 | 0:49:39 | |
The further you dig down in America, the more poxy it gets. | 0:49:39 | 0:49:43 | |
I'm dead sure it's a veneer on top of the whole thing. | 0:49:43 | 0:49:46 | |
The whole thing, there's like filthy things going on down there. | 0:49:46 | 0:49:50 | |
Just disgusting. | 0:49:50 | 0:49:51 | |
# I'm so bored with the | 0:49:51 | 0:49:54 | |
# CIA | 0:49:54 | 0:49:56 | |
# What can I do? # | 0:49:56 | 0:49:57 | |
Who wants to wait an hour for King Kong to appear? | 0:50:02 | 0:50:05 | |
They should have called it King Turkey. | 0:50:05 | 0:50:07 | |
Texas Chainsaw Massacre. | 0:50:08 | 0:50:10 | |
# You think I care about your latest record? | 0:50:12 | 0:50:17 | |
# Must be by the Grateful Dead - I don't want 'em...! # | 0:50:17 | 0:50:22 | |
I used to listen, when I first started playing the guitar, | 0:50:22 | 0:50:24 | |
to American music, blues music and Chuck Berry music | 0:50:24 | 0:50:30 | |
and Bo Diddley music and then you listen to people from the '60s, | 0:50:30 | 0:50:34 | |
copying their accent, | 0:50:34 | 0:50:35 | |
dead centre, like Mick Jagger sounds just like Bo Diddley. | 0:50:35 | 0:50:39 | |
What a cornball thing it is to do, to go on about my automobile, | 0:50:40 | 0:50:45 | |
doing 95, bump-de-bump, side to side... And all that shit. | 0:50:45 | 0:50:50 | |
You just think how corny it is. It don't get you anywhere. | 0:50:50 | 0:50:53 | |
You just think it's stupid, so you get bored with it. | 0:50:53 | 0:50:55 | |
# ...CIA, what can I do? | 0:50:55 | 0:50:58 | |
# I'm bored with the USA | 0:51:08 | 0:51:12 | |
# I'm bored with the USA But what can I do? # | 0:51:12 | 0:51:18 | |
With that song, I've been coming up with loads and loads of new verses for it. | 0:51:20 | 0:51:25 | |
I can only take four verses, but I keep coming up with loads | 0:51:25 | 0:51:28 | |
and loads of new verses. I just get closer every time. | 0:51:28 | 0:51:32 | |
Sooner or later, it will stop, and that will be dead centre. | 0:51:32 | 0:51:35 | |
And then you leave it. | 0:51:35 | 0:51:37 | |
When they're written down, they don't have any life. | 0:51:37 | 0:51:39 | |
That's a replica of what it is, right? | 0:51:39 | 0:51:42 | |
What it is is when you hear it. That's the it. | 0:51:42 | 0:51:45 | |
It ain't a poem or anything. I want to hear them in the air. | 0:51:45 | 0:51:48 | |
On the dole since leaving school, | 0:51:51 | 0:51:53 | |
Carol Donnelly had nothing to do but go blackberrying with her boyfriend. | 0:51:53 | 0:51:57 | |
It just seems a waste of time, | 0:51:57 | 0:51:59 | |
to have spent four years in this place, | 0:51:59 | 0:52:01 | |
for the government to have pumped in so many | 0:52:01 | 0:52:04 | |
thousands of pounds in actually training me | 0:52:04 | 0:52:07 | |
to supposedly be somebody who can go out and do a specific | 0:52:07 | 0:52:10 | |
sort of job, it seems a waste of money at the end of it just | 0:52:10 | 0:52:13 | |
to put me on the dole queue. | 0:52:13 | 0:52:15 | |
Teaching, local government, hospital administration, | 0:52:15 | 0:52:19 | |
public services and industry have all had to cut their intakes | 0:52:19 | 0:52:23 | |
and I know how much harder it is to get your first job. | 0:52:23 | 0:52:27 | |
How much extra unemployment will your additional and immediate | 0:52:30 | 0:52:34 | |
cuts in public expenditure add to the already rising total of unemployed? | 0:52:34 | 0:52:38 | |
Very, very little indeed. Very small indeed. | 0:52:38 | 0:52:43 | |
What do you call a very little unemployment? | 0:52:43 | 0:52:46 | |
Are we talking about another 100,000? | 0:52:46 | 0:52:48 | |
Oh, no, less than that, less than that. | 0:52:48 | 0:52:50 | |
One, two, three, four! | 0:52:58 | 0:52:59 | |
MUSIC: Career Opportunities | 0:52:59 | 0:53:02 | |
# Offered me the office Offered me the shop | 0:53:04 | 0:53:07 | |
# They said I'd better take anything they'd got | 0:53:09 | 0:53:12 | |
# Do you wanna make tea at the BBC? | 0:53:14 | 0:53:17 | |
# Do you wanna be, do you really wanna be a cop? | 0:53:17 | 0:53:20 | |
# Career opportunities, the ones that never knock | 0:53:22 | 0:53:25 | |
# Every job they offer is to keep you out the dock | 0:53:25 | 0:53:28 | |
# Career opportunities, the ones that never knock | 0:53:28 | 0:53:32 | |
# I hate the army and I hate the RAF | 0:53:33 | 0:53:36 | |
# I don't wanna go fighting in the tropical heat | 0:53:38 | 0:53:41 | |
# I hate civil service rules | 0:53:43 | 0:53:46 | |
# I won't open letter bombs for you | 0:53:46 | 0:53:49 | |
# Career opportunities, the ones that never knock | 0:53:51 | 0:53:53 | |
# Every job they offer you is to keep you out the dock | 0:53:53 | 0:53:56 | |
# Career opportunities, the ones that never knock... # | 0:53:56 | 0:54:01 | |
I think it's a comedy number. | 0:54:03 | 0:54:05 | |
"Career opportunities, the one that never knocks". It's a great line. | 0:54:05 | 0:54:09 | |
Get a job, you know? We thought it was a great subject, | 0:54:09 | 0:54:12 | |
just cos of all the time we spend in them offices, | 0:54:12 | 0:54:14 | |
going in and out of those boards, plastered with jobs | 0:54:14 | 0:54:18 | |
like evening work, tailors' work, toilet work, shift work, part work. | 0:54:18 | 0:54:23 | |
A poster at the end saying, "Come and join us." | 0:54:23 | 0:54:27 | |
Traffic warden, or something. | 0:54:27 | 0:54:28 | |
"Come and join us, be a man with the police." | 0:54:28 | 0:54:30 | |
It kind of has an effect on you, you know what I mean? | 0:54:32 | 0:54:35 | |
You just realise that if people are working and have got | 0:54:35 | 0:54:37 | |
their nose in the factory for 40 hours of the week, | 0:54:37 | 0:54:40 | |
they're going to be less harmless than someone who doesn't | 0:54:40 | 0:54:43 | |
have his nose in the factory 40 hours a week, right? | 0:54:43 | 0:54:45 | |
So that's what jobs is for. | 0:54:45 | 0:54:47 | |
# We won't shut up | 0:54:58 | 0:55:01 | |
# Do you wanna make tea at the BBC? | 0:55:08 | 0:55:11 | |
# Do you wanna be a cop? | 0:55:11 | 0:55:15 | |
# Career opportunities, the ones that never knock | 0:55:16 | 0:55:19 | |
# Every job they offer is to keep you out the dock | 0:55:19 | 0:55:21 | |
# Career opportunities never gonna knock | 0:55:21 | 0:55:24 | |
# Careers | 0:55:26 | 0:55:28 | |
# Careers | 0:55:28 | 0:55:31 | |
# Careers | 0:55:31 | 0:55:34 | |
# Ain't never gonna knock. # | 0:55:34 | 0:55:36 | |
I was on the dole. I hadn't been on there long, say six months. | 0:55:38 | 0:55:41 | |
I'm quite happy, really getting something going with this group, | 0:55:41 | 0:55:45 | |
really writing a load of stuff and playing the guitar. | 0:55:45 | 0:55:49 | |
I'm quite happy and they called me in there and said, | 0:55:49 | 0:55:51 | |
"You haven't got a job," and I said, "No," | 0:55:51 | 0:55:53 | |
and they said, "Are you looking?" And I said, "Yeah, sure, | 0:55:53 | 0:55:55 | |
"I look in all the papers." So I've just got to sit there and he's got to say, | 0:55:55 | 0:55:59 | |
"Well, in four weeks, we'll send you to the rehabilitation centre." | 0:55:59 | 0:56:02 | |
I said, "The what?" He said, "Here you are, here's a pamphlet." | 0:56:02 | 0:56:05 | |
It says you get up at seven in the morning, make your bed, shave, | 0:56:05 | 0:56:08 | |
you've got your own cubicle, you go out | 0:56:08 | 0:56:10 | |
and you have first work period and then you have a lunch period | 0:56:10 | 0:56:13 | |
when you play snooker and darts and then you have a second work period | 0:56:13 | 0:56:16 | |
and then you and then you can watch TV. | 0:56:16 | 0:56:17 | |
And it's to get you back to the working routine. | 0:56:17 | 0:56:20 | |
It's not teaching you a trade. | 0:56:20 | 0:56:22 | |
I said, "I don't want to go." He said, "You haven't got any choice." | 0:56:22 | 0:56:24 | |
I just thought, this is like robot school, you know what I mean? | 0:56:24 | 0:56:28 | |
Like programming. So I had to cut out. | 0:56:28 | 0:56:30 | |
You go round the job centre, | 0:56:30 | 0:56:32 | |
they take out a job and you go down there, see three, four, five, | 0:56:32 | 0:56:35 | |
six people in front of you and they come round and say, | 0:56:35 | 0:56:38 | |
"Sorry, son, there's no vacancy." It's depressing. | 0:56:38 | 0:56:41 | |
Something's got to happen, you know what I mean? | 0:56:41 | 0:56:43 | |
Otherwise you're liable to do something which you'll regret. | 0:56:43 | 0:56:47 | |
We all know why it's called rock music! | 0:56:48 | 0:56:52 | |
Cos you're supposed to rock to it! | 0:56:52 | 0:56:55 | |
To me, it's about breaking old rules. | 0:56:58 | 0:57:01 | |
All this "you should" - you should do this, you should go to work. | 0:57:01 | 0:57:04 | |
It's about finally saying, no, we shouldn't do this, | 0:57:04 | 0:57:07 | |
because Britain is fucked up, it's going down the drain, | 0:57:07 | 0:57:10 | |
yet still people are saying you should have a good job. | 0:57:10 | 0:57:13 | |
If Britain is going down the drain, I don't care. | 0:57:13 | 0:57:16 | |
These people make me sick. | 0:57:16 | 0:57:18 | |
You know what I'm talking about? Sounds, you know? | 0:57:18 | 0:57:22 | |
SHOUTING What? | 0:57:22 | 0:57:24 | |
# He's in love with rock'n'roll whoa | 0:57:33 | 0:57:35 | |
# He's in love with gettin' stoned whoa | 0:57:35 | 0:57:38 | |
# He's in love with Janie Jones | 0:57:38 | 0:57:40 | |
# But he don't like his boring job, no | 0:57:40 | 0:57:42 | |
# He's in love with rock'n'roll whoa | 0:57:42 | 0:57:45 | |
# He's in love with gettin' stoned whoa | 0:57:45 | 0:57:47 | |
# He's in love with Janie Jones | 0:57:47 | 0:57:49 | |
# But he don't like his boring job, no | 0:57:49 | 0:57:52 | |
# And he knows what he's got to do | 0:57:52 | 0:57:54 | |
# So he knows he's gonna have fun with you | 0:57:54 | 0:57:58 | |
# But he's just like everyone | 0:58:01 | 0:58:03 | |
# He's got a Ford Cortina That just won't run without fuel... # | 0:58:03 | 0:58:07 | |
It's like a pop tune, cos it's got good rhythm. | 0:58:10 | 0:58:13 | |
It's just five minutes on a Wednesday night in the mind of some | 0:58:13 | 0:58:16 | |
skull-brained idiot working in the City. | 0:58:16 | 0:58:19 | |
A quick flash in his dopey bucket head, with stuff like cars | 0:58:20 | 0:58:25 | |
and girlfriends and Janie Jones and payola and their jobs | 0:58:25 | 0:58:29 | |
and their boss and what he feels, | 0:58:29 | 0:58:32 | |
but he daren't say it, you know what I mean? | 0:58:32 | 0:58:35 | |
He feels he's got a grudge, but he daren't say it. | 0:58:35 | 0:58:38 | |
# He's in love with rock'n'roll whoa | 0:58:38 | 0:58:40 | |
# He's in love with gettin' stoned whoa | 0:58:40 | 0:58:42 | |
# He's in love with Janie Jones whoa | 0:58:42 | 0:58:44 | |
# But he don't like his boring job, no | 0:58:44 | 0:58:47 | |
# And in the in-tray lots of work | 0:58:47 | 0:58:49 | |
# But the boss at the firm always thinks he shirks | 0:58:49 | 0:58:53 | |
# But he's just like everyone he's got a Ford Cortina | 0:58:56 | 0:58:59 | |
# That just won't run without fuel Oh, no, it won't... # | 0:58:59 | 0:59:04 | |
I look at everybody. I see everybody. | 0:59:06 | 0:59:09 | |
What else is there to look at? | 0:59:09 | 0:59:10 | |
It's really great, looking at the audience, | 0:59:10 | 0:59:13 | |
looking at their faces and that. | 0:59:13 | 0:59:14 | |
And they sort of look at you and you think, great, we are all, like, one. | 0:59:14 | 0:59:20 | |
# But he's just like everyone | 0:59:24 | 0:59:26 | |
# He's got a Ford Cortina | 0:59:26 | 0:59:28 | |
# That just won't run without fuel... # | 0:59:28 | 0:59:30 | |
You don't look at your instrument that much, do you? | 0:59:30 | 0:59:33 | |
That's the trick, | 0:59:33 | 0:59:34 | |
you've got to learn to play it without looking at it, cos nothing | 0:59:34 | 0:59:37 | |
looks worse than some bunch of wankers and everybody's going... | 0:59:37 | 0:59:40 | |
-You know what I mean? -Standing there, going... -It's terrible. | 0:59:42 | 0:59:45 | |
You cunt, that's me! | 0:59:45 | 0:59:47 | |
No, you can do it pretty good, I have to look every 10 seconds | 0:59:47 | 0:59:51 | |
or so, quick look to see that you're on target. | 0:59:51 | 0:59:55 | |
# He's in love with rock'n'roll, whoa | 0:59:55 | 0:59:57 | |
# He's in love with getting stoned, whoa | 0:59:57 | 1:00:00 | |
# He's in love with Janie Jones, whoa | 1:00:00 | 1:00:02 | |
# He don't like his boring job, no | 1:00:02 | 1:00:06 | |
# No | 1:00:06 | 1:00:08 | |
# No | 1:00:08 | 1:00:10 | |
# Let them know | 1:00:10 | 1:00:13 | |
# Let them know. # | 1:00:13 | 1:00:15 | |
CHEERING | 1:00:18 | 1:00:20 | |
-AUDIENCE: -More! More! | 1:00:20 | 1:00:23 | |
Suddenly you were getting an awful lot of energy that you might get | 1:00:25 | 1:00:28 | |
from a Led Zeppelin or from a heavy metal band | 1:00:28 | 1:00:30 | |
that was coming across the footlights from this little stage, | 1:00:30 | 1:00:33 | |
tucked away in The Roxy. | 1:00:33 | 1:00:35 | |
The money merchants are here, | 1:00:35 | 1:00:37 | |
the guys who are flashing the green backs are here | 1:00:37 | 1:00:39 | |
and they want a piece of the action which is the only reason why | 1:00:39 | 1:00:43 | |
I seem to be meeting BLEEP BLEEP, the guys who, like, know nothing. | 1:00:43 | 1:00:47 | |
I think the rock'n'roll world is a fucking waste of time, | 1:00:47 | 1:00:50 | |
I have no interest in it, right? I think it's over. | 1:00:50 | 1:00:54 | |
# I started going places where the youngsters shouldn't go | 1:00:54 | 1:01:00 | |
# I got to know the kind of girl that's better not to know... # | 1:01:00 | 1:01:04 | |
I think the industry took over a long time ago. | 1:01:04 | 1:01:09 | |
I don't know who they're speaking for. | 1:01:09 | 1:01:12 | |
Certainly don't think they're speaking for the kids in the street. | 1:01:12 | 1:01:15 | |
Every rebel always says he doesn't want to become | 1:01:15 | 1:01:17 | |
part of the establishment and this is nothing new. | 1:01:17 | 1:01:20 | |
On the other hand, there are bands that recognise that what | 1:01:20 | 1:01:23 | |
they're in the business for is the music that they're making | 1:01:23 | 1:01:27 | |
and the place for them to get the widest audience | 1:01:27 | 1:01:31 | |
is with a record company that can merchandise, market | 1:01:31 | 1:01:33 | |
expose them to the widest public. | 1:01:33 | 1:01:35 | |
All of a sudden all the groups are sunshine breakfasts. | 1:01:35 | 1:01:38 | |
Their main objective is to sell cornflakes, ours is to move forward. | 1:01:38 | 1:01:44 | |
We have nothing in common. | 1:01:44 | 1:01:46 | |
No question, we had to rethink whether we were capable as people | 1:01:46 | 1:01:50 | |
to judge what our audience who buy our records wanted. | 1:01:50 | 1:01:54 | |
Isn't it possible that just by signing, | 1:01:54 | 1:01:56 | |
you get incorporated into the system? | 1:01:56 | 1:01:58 | |
You watch what you're saying. | 1:01:58 | 1:02:00 | |
Obviously got to do it on our own terms, like, | 1:02:00 | 1:02:02 | |
I wouldn't sign a record contract | 1:02:02 | 1:02:03 | |
that said that you've got to sing old hits by Jonathan King. | 1:02:03 | 1:02:07 | |
And appear on the Lulu show in white wellington boots. | 1:02:07 | 1:02:09 | |
Yeah, I mean, we just wouldn't do it. | 1:02:09 | 1:02:11 | |
Selling out, it's just what the record companies want. | 1:02:11 | 1:02:14 | |
That's all it is, there's still revolution | 1:02:14 | 1:02:17 | |
and that's what I'm all about. | 1:02:17 | 1:02:18 | |
There's still trouble in this country, | 1:02:18 | 1:02:20 | |
there's still fucking a lot to shout about. | 1:02:20 | 1:02:23 | |
How do you see your future in this society? | 1:02:23 | 1:02:26 | |
Not a bright and shining future, not as I am | 1:02:26 | 1:02:30 | |
because I am black to the point of being offensive. | 1:02:30 | 1:02:33 | |
It's as simple as that. | 1:02:33 | 1:02:34 | |
Times were tough on the street. I mean, they were tough for me | 1:02:34 | 1:02:37 | |
because I was black but it was also tough for my white mates. | 1:02:37 | 1:02:40 | |
There was this feeling that something had to change | 1:02:43 | 1:02:45 | |
and I think one of the first signposts | 1:02:45 | 1:02:47 | |
were the riots of 1976 in Notting Hill Carnival | 1:02:47 | 1:02:50 | |
where the black people said, "OK, you know, we've had enough." | 1:02:50 | 1:02:53 | |
It was a wrong and right thing | 1:02:53 | 1:02:54 | |
and it was black kids and white kids against the cops. | 1:02:54 | 1:02:57 | |
Me and Bernie and Paul went down the carnival, | 1:03:05 | 1:03:07 | |
right in the middle of it. | 1:03:07 | 1:03:10 | |
Suddenly, this conga line of policemen moved right in front of us | 1:03:16 | 1:03:20 | |
and then someone slung a Coke can out of them | 1:03:20 | 1:03:22 | |
and then the whole thing flared up right in front of our noses. | 1:03:22 | 1:03:25 | |
The side we were on really was anti status quo, | 1:03:25 | 1:03:27 | |
-we were on the black guys' side. -Gate-crashing their riot. | 1:03:27 | 1:03:31 | |
One, two, three, four! | 1:03:31 | 1:03:32 | |
MUSIC: White Riot | 1:03:32 | 1:03:34 | |
# White riot, I wanna riot | 1:03:51 | 1:03:53 | |
# White riot, a riot of my own | 1:03:53 | 1:03:56 | |
# White riot, I wanna riot | 1:03:56 | 1:03:58 | |
# White riot, a riot of my own | 1:03:58 | 1:04:01 | |
# Black people gotta lot of problems | 1:04:01 | 1:04:03 | |
# They don't mind throwing a brick | 1:04:03 | 1:04:05 | |
# White people go to school | 1:04:05 | 1:04:07 | |
# Where they teach you how to be thick | 1:04:07 | 1:04:10 | |
# Everybody's doing just what they're told to | 1:04:10 | 1:04:15 | |
# Nobody wants to go to jail | 1:04:15 | 1:04:19 | |
# White riot, I wanna riot | 1:04:19 | 1:04:22 | |
# White riot, a riot of my own... # | 1:04:22 | 1:04:24 | |
Coke cans started coming over until it was, like, rain, you know, | 1:04:24 | 1:04:27 | |
and, like, Bernie got clumped round the head | 1:04:27 | 1:04:30 | |
by some sort of nasty policeman and lost his glasses | 1:04:30 | 1:04:33 | |
and it was getting really heavy. | 1:04:33 | 1:04:37 | |
Night fell and there wasn't hardly any white people left, | 1:04:37 | 1:04:39 | |
just the ring of troops round the edge of the Grove | 1:04:39 | 1:04:42 | |
and all these blacks in the middle. | 1:04:42 | 1:04:44 | |
Guy came up to me and I had a transistor radio in my pocket | 1:04:45 | 1:04:49 | |
and he slapped it, "What you got there, man?" Right? | 1:04:49 | 1:04:52 | |
And then suddenly there was a ring of about 20 of them round me | 1:04:52 | 1:04:55 | |
and Paul and I told them to leave it out. | 1:04:55 | 1:04:56 | |
The police were getting ready to charge down the other | 1:04:56 | 1:04:59 | |
end of the street and I had a bottle in my other pocket | 1:04:59 | 1:05:01 | |
so I brought it out and I said, "You should be picking these up | 1:05:01 | 1:05:04 | |
"and not bothering about what I've got in my pocket." | 1:05:04 | 1:05:06 | |
# While we walk the street | 1:05:10 | 1:05:13 | |
# Too chicken to even try it | 1:05:13 | 1:05:15 | |
# Everybody's doing just what they're told to | 1:05:15 | 1:05:19 | |
# Nobody wants to go to jail | 1:05:19 | 1:05:24 | |
# Poor little white boy | 1:05:29 | 1:05:31 | |
# Poor little white boy | 1:05:31 | 1:05:34 | |
# White riot, I wanna riot | 1:05:34 | 1:05:36 | |
# White riot, a riot of my own | 1:05:36 | 1:05:39 | |
# White riot, I wanna riot | 1:05:39 | 1:05:41 | |
# White riot, a riot of my own | 1:05:41 | 1:05:43 | |
# Hey what's the matter? | 1:05:43 | 1:05:45 | |
# Got no money | 1:05:45 | 1:05:47 | |
# Hey what's the matter? | 1:05:47 | 1:05:49 | |
# White riot... | 1:05:52 | 1:05:55 | |
# White riot | 1:05:56 | 1:05:59 | |
# White riot. # | 1:05:59 | 1:06:01 | |
SIRENS WAIL | 1:06:01 | 1:06:04 | |
Me and Paul kind of after that, we trudged home, like, dejected. | 1:06:11 | 1:06:15 | |
Like, we got home and we had a cup of tea | 1:06:15 | 1:06:17 | |
and we weren't saying anything, right, and it kind of felt bad | 1:06:17 | 1:06:19 | |
somehow to get done by both sides of a riot, you know what I mean? | 1:06:19 | 1:06:23 | |
Like, I just realised that that was other man's business | 1:06:23 | 1:06:27 | |
so I sort of wrote about a riot because I feel that bad really | 1:06:27 | 1:06:31 | |
but, like, no-one feels bad enough to have a white type of riot | 1:06:31 | 1:06:35 | |
about what we've got to beef about. | 1:06:35 | 1:06:38 | |
It's kind of like a dig at white people cos everyone's like got | 1:06:38 | 1:06:41 | |
a nice paycheck or got enough dope, you know what I mean? | 1:06:41 | 1:06:44 | |
Like, everyone's just piddling about, really. | 1:06:44 | 1:06:46 | |
White Riot, yeah. | 1:06:46 | 1:06:47 | |
The lyrics were definitely misinterpreted by those | 1:06:47 | 1:06:50 | |
that were keen to misinterpret it. | 1:06:50 | 1:06:52 | |
It was almost stolen by the National Front | 1:06:52 | 1:06:54 | |
but in truth what Joe's saying, | 1:06:54 | 1:06:55 | |
"Look, black people have got a lot of problems but they deal with it, | 1:06:55 | 1:06:58 | |
"you know, they'll pick up a brick and get involved | 1:06:58 | 1:07:01 | |
"and it's about time we get involved as well." | 1:07:01 | 1:07:03 | |
That's what he was on about. | 1:07:03 | 1:07:04 | |
Everyone thinks we're a fascist group, right, | 1:07:04 | 1:07:06 | |
and we're supposed to be anti-fascism, right, | 1:07:06 | 1:07:09 | |
and even the fucking National Front are going to turn out to support us, | 1:07:09 | 1:07:12 | |
right, so I don't care to fucking sign anti-fascist things | 1:07:12 | 1:07:15 | |
as long as it clarifies the issue. | 1:07:15 | 1:07:17 | |
I think there's a lot of confusion, people that wear Nazi armbands | 1:07:17 | 1:07:20 | |
and that, they don't know what it means. | 1:07:20 | 1:07:23 | |
It don't mean anything to the kids who wear it | 1:07:23 | 1:07:26 | |
but I think there's a danger there that National Front | 1:07:26 | 1:07:29 | |
could move in there and have all them kids, like, "Vote for us," | 1:07:29 | 1:07:32 | |
you know? Just sort of an ignorant situation. | 1:07:32 | 1:07:34 | |
So how do you define yourselves politically? | 1:07:34 | 1:07:37 | |
'Anti-fascist.' | 1:07:37 | 1:07:39 | |
Now listen, I want you to go out there | 1:07:39 | 1:07:41 | |
and give this fella some stick. | 1:07:41 | 1:07:44 | |
Ooh, you do smell lovely. | 1:07:44 | 1:07:46 | |
-IN GERMAN ACCENT: -You will tell me where you get the smelly stuff from. | 1:07:49 | 1:07:53 | |
It's the '70s, you know, everything is so bad in the '70s. | 1:07:54 | 1:07:58 | |
It is ironic, really. | 1:07:58 | 1:07:59 | |
The music's here because of that sort of crap what's going on. | 1:07:59 | 1:08:03 | |
It's so sick, Britain now, anywhere. It's all business. | 1:08:03 | 1:08:07 | |
It's all tied up, just like the EMI thing, | 1:08:07 | 1:08:09 | |
just like the media thing on punk. It's just ridiculous. | 1:08:09 | 1:08:13 | |
There's no honesty anywhere, you can't trust anyone, you know, | 1:08:13 | 1:08:16 | |
and that's why, to me, the music is happening. | 1:08:16 | 1:08:19 | |
It's the attitude of saying, "Look, we're going to forget everything | 1:08:19 | 1:08:22 | |
"because we want to get back to honesty." | 1:08:22 | 1:08:24 | |
# Help me make it through the night... # | 1:08:24 | 1:08:30 | |
Big businesses and, like, | 1:08:32 | 1:08:34 | |
the government are, like, stacked against anyone. | 1:08:34 | 1:08:36 | |
Every time you'd go into a cafe, the prices would up a bit | 1:08:36 | 1:08:40 | |
so it just gets tighter and tighter. I kind of repress those things. | 1:08:40 | 1:08:44 | |
And you know in the next couple of months, this country's going | 1:08:44 | 1:08:48 | |
to have it really hard, the next couple of years maybe. | 1:08:48 | 1:08:50 | |
But I do believe that if you do it in your own way, | 1:08:50 | 1:08:53 | |
you have two years of hardship and I really mean hardship, | 1:08:53 | 1:08:56 | |
you might get out of it. | 1:08:56 | 1:08:57 | |
We ain't started yet, right? | 1:08:57 | 1:08:59 | |
One, two, three, four. | 1:08:59 | 1:09:01 | |
# In 1977 | 1:09:01 | 1:09:04 | |
# I hope I go to heaven | 1:09:04 | 1:09:06 | |
# Cos I've been too long on the dole | 1:09:06 | 1:09:09 | |
# I don't want to work at all | 1:09:09 | 1:09:12 | |
# Danger stranger | 1:09:12 | 1:09:16 | |
# You better paint your face | 1:09:16 | 1:09:18 | |
# No Elvis, Beatles or the Rolling Stones | 1:09:18 | 1:09:21 | |
# In 1977 | 1:09:21 | 1:09:24 | |
# Knives in West 11 | 1:09:24 | 1:09:27 | |
# Ain't so lucky to be rich | 1:09:27 | 1:09:30 | |
# Sten guns in Knightsbridge... # | 1:09:30 | 1:09:34 | |
Well, 1977, we wrote it in the middle of last year, | 1:09:34 | 1:09:37 | |
it was kind of like, we just went on about the next year. | 1:09:37 | 1:09:40 | |
You know, like, "In 1977, there's knives in West 11." | 1:09:40 | 1:09:44 | |
Like, people trying to rip you off, right, like, "Lend me £2, man." | 1:09:44 | 1:09:48 | |
And then they was like, "But it ain't so lucky to be rich cos | 1:09:48 | 1:09:51 | |
"there's sten guns in Knightsbridge." You know, like... | 1:09:51 | 1:09:54 | |
-Excuse me. -We've got a right to film on these streets. | 1:09:54 | 1:09:58 | |
If I was going to Knightsbridge to rip off someone, | 1:09:58 | 1:10:00 | |
I'd take a sten gun. Whereas I could probably rip someone off | 1:10:00 | 1:10:03 | |
in Notting Hill Gate with a knife. | 1:10:03 | 1:10:06 | |
# In 1977 | 1:10:20 | 1:10:22 | |
# You're on the never-never | 1:10:22 | 1:10:25 | |
# You think it can't go forever | 1:10:25 | 1:10:28 | |
# The papers say it's better | 1:10:28 | 1:10:32 | |
# I don't care | 1:10:32 | 1:10:34 | |
# Cos I'm not all there | 1:10:34 | 1:10:38 | |
# No Elvis, Beatles or the Rolling Stones | 1:10:38 | 1:10:41 | |
# 1977 | 1:10:41 | 1:10:44 | |
# 1978 | 1:10:44 | 1:10:48 | |
# 1979 | 1:10:48 | 1:10:50 | |
# 1980 | 1:10:50 | 1:10:53 | |
# 1981 | 1:10:53 | 1:10:56 | |
# 1982 | 1:10:56 | 1:10:59 | |
# 1983 | 1:10:59 | 1:11:02 | |
# 1984. # | 1:11:02 | 1:11:04 | |
APPLAUSE | 1:11:08 | 1:11:10 | |
-AUDIENCE: -More! More! | 1:11:10 | 1:11:13 | |
APPLAUSE DROWNS SPEECH | 1:11:13 | 1:11:15 | |
More! More! | 1:11:19 | 1:11:22 | |
-Joe, we've got to play another set... -I can't sing any more! | 1:11:23 | 1:11:27 | |
'A lot of the kids who come to see us, | 1:11:27 | 1:11:30 | |
'right, they all get the suburban blues, don't they? | 1:11:30 | 1:11:33 | |
'You talk to them after a gig, | 1:11:33 | 1:11:34 | |
'they've got to go back to Crawley New Town.' | 1:11:34 | 1:11:37 | |
-'Basildon.' -'Basildon, yeah. | 1:11:37 | 1:11:39 | |
'And crawl in a bathroom window or something like that. | 1:11:39 | 1:11:42 | |
'The whole purpose of communication is to, like, | 1:11:42 | 1:11:45 | |
'move other people into action. | 1:11:45 | 1:11:48 | |
'I mean, if I've moved one person then that's enough.' | 1:11:48 | 1:11:53 | |
Suppose we make albums and we sell them, | 1:11:53 | 1:11:56 | |
right, we get loads of money, that's just going to fuck us up completely. | 1:11:56 | 1:12:00 | |
You've got to know when it's time to give up. | 1:12:00 | 1:12:02 | |
'Only time will tell, you just can't tell if bands will withstand. | 1:12:05 | 1:12:09 | |
'If still in four years' time, The Clash are playing gigs | 1:12:09 | 1:12:12 | |
'that wipe you out, they're writing songs that are really honest, | 1:12:12 | 1:12:16 | |
'if they can do that then the music will stay fresh.' | 1:12:16 | 1:12:20 | |
From now on, right, watch our development | 1:12:20 | 1:12:23 | |
and you'll be able to see who owns what | 1:12:23 | 1:12:26 | |
and what happens to a group of people when they provoke. | 1:12:26 | 1:12:28 | |
You can either get bought by the Americans, | 1:12:28 | 1:12:31 | |
taken by the English back to the 19th century | 1:12:31 | 1:12:34 | |
or left in oblivion as an anecdote. | 1:12:34 | 1:12:37 | |
And that's what people are going to learn from what we do next. | 1:12:41 | 1:12:44 | |
That's 1977 for me. | 1:12:44 | 1:12:46 | |
Covent Garden in the rain. | 1:12:46 | 1:12:48 | |
The garden lies in a strange limbo nowadays, | 1:12:48 | 1:12:52 | |
half astride its past, half stepping into its future. | 1:12:52 | 1:12:56 | |
But it's not all that it seems. | 1:12:56 | 1:12:58 | |
A whole new exotic community is moving into the Garden, | 1:12:58 | 1:13:02 | |
generating its own very special climate. | 1:13:02 | 1:13:05 | |
Instant Tropicana in a banana warehouse. | 1:13:07 | 1:13:10 | |
It's a sanctuary because no man is allowed in here. | 1:13:11 | 1:13:15 | |
-PARROT WHISTLES -Hello! | 1:13:15 | 1:13:18 | |
We're walking an economic high wire and if somebody jerks the rope | 1:13:18 | 1:13:21 | |
then it makes it that much more difficult | 1:13:21 | 1:13:23 | |
but you're still going to get to the other side of the chasm. | 1:13:23 | 1:13:26 | |
What happens if we fall off that rope? | 1:13:26 | 1:13:27 | |
Well, if we fall off then we're in trouble. | 1:13:27 | 1:13:29 | |
Just a final word of reassurance, | 1:13:29 | 1:13:31 | |
when we do leave here we're going to be revitalised, | 1:13:31 | 1:13:34 | |
our batteries recharged and really we'll be ready for anything. | 1:13:34 | 1:13:38 | |
# And when they were about to take him out... | 1:13:41 | 1:13:45 | |
Got a whole array of young men finding rock'n'roll meaningful | 1:13:45 | 1:13:50 | |
now in this country either by being in a band | 1:13:50 | 1:13:53 | |
or by participating in a club | 1:13:53 | 1:13:57 | |
and really feeling that they actually are part of something | 1:13:57 | 1:14:00 | |
that they hope will transcend the music scene | 1:14:00 | 1:14:02 | |
and give the power back to the kids. | 1:14:02 | 1:14:05 | |
-Does someone want to cut the cake? -I'll cut it. | 1:14:06 | 1:14:09 | |
You cut it and I'll eat it. | 1:14:09 | 1:14:11 | |
# Yankee | 1:14:17 | 1:14:19 | |
# Ya... | 1:14:23 | 1:14:25 | |
# Yankee detectives are always on the TV | 1:14:26 | 1:14:31 | |
# Five seconds there's a murder | 1:14:31 | 1:14:34 | |
# About every ten seconds | 1:14:34 | 1:14:36 | |
# And you think I care about your poxy baseball shirt | 1:14:36 | 1:14:40 | |
# I'd rather wear nothing than look like I'm ready to bat | 1:14:40 | 1:14:45 | |
# I'm so bored with U... # USA | 1:14:45 | 1:14:50 | |
# I'm so bored with U... | 1:14:50 | 1:14:53 | |
# USA | 1:14:53 | 1:14:55 | |
# What can I do? | 1:14:55 | 1:14:57 | |
-# Wah... -# | 1:14:57 | 1:14:59 | |
Ah! No, no! | 1:15:01 | 1:15:04 | |
Oi, do you want us to just carry on? | 1:15:04 | 1:15:07 | |
-I'm bored with this, are we finished? -That's it. | 1:15:07 | 1:15:09 |