Posts Tagged ‘Sham 69’

Dispersible manifesto of situationist skinheads: part 1

Monday, September 14th, 2009

1. A situationist skinhead is a skinhead who engages in the construction of situations. This means the construction of concrete momentary ambiances of life and their transformation into a passionate and superior quality based on the principle of a permanent revolution of every day existence, from which, several of the principles below evoke a number of observations linked to the study of the situationist skinhead in his/her natural environment. If s/he realizes it by reading this, all skinheads can become situationists. All situationists can become skinheads for the same reasons, but not from one day to the next. As we know, even if all roads lead out of Babylon, the situationist hacienda will not be built in a single day but will in fact be a project of ongoing transformation. An intense cultural curiosity is necessary and must be accompanied by the sensation of a quasi-orgasmic osmosis, an effect well appreciated by situationist skinheads due to their enjoyment of skinhead reggae. Let’s state with candour that an authentic situationist skinhead, regardless of the way s/he first became involved in beating down Babylon, will recognize him/herself in what follows. In fact, a true situationist skinhead won’t care much for this manifesto because it is something they will want to move on from. A dyed-in-the-wool situationist skinhead is suspicious of manifestos, of anythings fixed, and thus this text is is 100% dispersible but nonetheless necessary. This manifesto does not prescribe; it dissects the situationist skinhead so that s/he might renew his/her attack on the Babylon, and finally destroy the false idols of capitalism.

2. The situationist skinhead is above all else working class by filiation or affiliation. Whether s/he is employed, working or not, whether his/her work is artistic, salaried, illegal or not, the situationist skinhead identifies with all attempts of his/her class to create a new, emancipatory and revolutionary situation. The situationist skinhead loves strikes and knows of nothing better than a good factory occupation.

3. The situationist skinhead absolutely rejects all isms –and for that reason all definitions of so-called “situationism” or “skinheadism”- which are nothing more than revisionist and reductive transformations of his/her culture into sterile stereotypes, and thus another reactionary set of doctrines. Therefore, s/he escapes all reifications and refuses to become invisible in the manner profit and bureaucracy demand. The situationist skinhead rejects authoritarian so-called “communism”, since all Bolshevik and Maoist regimes were in reality capitalist states. Isms are the instruments by which the dominant society transforms the proletariat’s endless reforging of the passage between theory and practice into doctrines. Thus certain “thinkers” define “anarchism” and thereby reduce its possibilities to the reproduction of individualist and western consumerist patterns of behaviour and thought. The situationist skinhead does not wish to replace one reductive system with another. S/he will destroy false representations or will be destroyed by them.

4 . The situationist skinhead has no leaders (not even Joe Hawkins); he is not a Marxist – indeed, Marx himself was the first person to deny he was a Marxist. The situationist skinhead is not a Leninist, Trotskyst, Guevarist or Buddhist either; and most emphatically not a Castrist or Maoist. S/he does not raise statues, temples or churches and does not put corpses in mausoleums. S/he says let the dead bury their dead while we blaze a trail to new modes of being. In brief, s/he does not idolize, does not pray, does not implore and does not even ask but takes what is his/hers as a member of the class that will abolish all classes.

5. The situationist skinhead stresses that the fundamental characteristic of this society is its division into classes. Therefore s/he is skeptical of the perfidious attempts of the ruling class (the bourgeoisie) to recuperate her uncontrolled rebellion. The situationist skinhead rejects the trajectory of petty bourgeois mods, or worse, that of those former revolutionaries who landed jobs in academies, whose writings are now studied by postgraduate students and recuperated by his/her enemy the bobo (aka “bohemian bourgeois”). For the contemporary situationist skinhead, this rank breed of socialite recyclers is far worse enemy than its ancestor, the baba cool (hippie). The bobo recuperation of elements of skinhead culture (shaved head and Dr. Martens), an attempt to “hipsterfy” a sterile vision of the world, has a far more deleterious effect than the baba who merely took drugs and attempted to withdraw from the material realities of capitalist exploitation.

6. The situationist skinhead rejects cults such as the “spirit of 69″ because, aside from rejecting all nostalgia, s/he knows that the skinhead movement, as a youth rebellion against the ruling order, is demographically much older today than during those years (but then we follow Isidore Isou in seeing youth as essentially a function of social position rather than age). Nevertheless, the situationist skinhead still refers to “the spirit of 69″ since it expresses the triolectical nature of his/her movement. To that effect, and leaving aside the delights of this egalitarian sexual position, the number 69 expresses the contradictions and semantic inversions that characterise the situationist skinhead. Let’s note that Sham 69 are and remain one of the seminal bands of situationist skinheads, since they helped purge punk rock of its socialite hangers-on. Furthermore, 1969 was marked by some of the most enthralling rhythms of skinhead reggae, including the mighty Liquidator. Likewise, in 69 the last issue of the Internationale Situationsite review appeared.

Communiqué of the International Situationist Skinhead, Combative Cell Yul Brynner In Sta-Prest

As far as I can tell this first appeared as a printed text around 2002 and can now also be found as a comment to a post on the L’En Dehors blog (scroll down to find it). Translated and adapted into English, there were a couple of points I wasn’t in complete agreement with in this section, so I modified them (I still don’t agree with everything here). This represents roughly 25% of the French language manifesto, I may or may not run more of it on future blogs. You can always go read the whole thing in French! I’m not in complete agreement with everything in the rest of this either, but it is amusing and curious, so I thought it more than worth running an adapted part of it here.

And while you’re at it don’t forget to check – www.stewarthomesociety.org – you know it makes (no) sense!

1970s nightmares part 2: forgotten bands, hopeless causes & the search for the missing chord

Tuesday, July 28th, 2009

Despite the recently fashionable status of the Bethnal Green area in east London, this has to date failed to lead to a revival of interest in the 1970s band who named themselves after the hood. Bethnal were formed in Bethnal Green in 1972, and sounded like a cut-price Who minus the vocal skill of Roger Daltrey and the songwriting talent of Pete Townshend. I saw Bethnal at The Marquee in Wardour Street on Thursday 24 August 1978 and had a  good night out. Bethnal had plenty of energy but beyond their deployment of a violin, there was nothing very memorable about them. They simply weren’t as good as the other bands I saw at The Marquee that month: The Vibrators on Monday 14  August 1978 and Ultravox! (when John Foxx was still the vocalist) on Tuesday 22 August 1978. I caught plenty of other bands that August too, at venues all around London…  Bethnal were simply another night out on the town.

At some point after that Marquee gig, I pulled Bethnal’s first album Dangerous Times out of a bargain bin. It’s bog standard seventies Brit rock. The opener Out In The Street (not the tune of the same name from the first Who album) sounds like a second-rate Pete Townshend song covered by a boogie band, but it’s still enjoyable. The best tracks are covers of We’ve Gotta Get Out Of This Place and Barba O’Reilly, but while acceptable they’re not as good as the originals… And other tracks like Who We Gonna Blame are seriously let down by the vocals. Bethnal’s second and final album Crash Landing was not at all to my taste, since it veers much more in the direction of stadium rock and prog, so even when I came across bargain bin copies of this swansong recording, I left them lying where I found them.

One reason for mentioning Bethnal is because I’ve been enjoying John Eden’s series of blogs at Uncarved about uncool gigs he attended as a teenager. The ninth and most recent in the series is about him going to see The Mission in 1987. Eden appears to have ticket stubs and other memorabilia to jog his memory, whereas I’m relying on internet research to date the gigs I went to 30 and more years ago. I’m a bit older than Eden and I seem to have been more hardcore about my gig going from an earlier age. I liked a lot of seventies new wave and punk acts and among my early live experiences can list The Stranglers, The Damned and The Clash. I hate to admit it but the first band I ever saw was The Jam, and that was sometime before they had a record contract. For me, more interesting than these ‘name’ acts are those who never made it. One of the best bands in this latter category is Burlesque, a jazz rock combo with new wave trimmings, who like Bethnal managed to release a brace of albums that have yet to be reissued on CD.

According to the Billy Jenkins Webzine Burlesque were: “Selected as the ‘Band Most Likely To Succeed’ in both the tabloid Sun and Melody Maker at the end of ’76, it took a flying visit from America by music business legend Clive Davis to sign the band to Arista Records.” I don’t like the construction of that sentence, but I presume an article hosted on a former Burlesque band member’s website will be factually accurate. All I can say is he and his band-mates in Burlesque cracked me up with songs like Steel Appeal (about being sexually turned on by people in wheelchairs). Better yet, Burlesque saxophonist Ian Trimmer wore a tatty army jacket with ‘Bird Lives’ sprayed punk-style across the back; even at the age of 15 I knew that ‘Bird’ was jazz legend Charlie Parker. Making things even more surreal, the one time I saw Burlesque Paul Weller of The Jam was in the sparse audience. That said, Weller was obviously present to check out support act The Pleasers, who were Merseybeat revivalists replete with collarless Beatles’ jackets. The Pleasers even had their own one band musical movement – Thamesbeat!

I caught Burlesque and The Pleasers at some college (can’t recall which one) at some point in 1977, and it is curious to recall some of the acts I saw in the late-seventies that no one I know talks about any more. For instance, I subjected myself to Nina Hagen at The Lyceum, but I’m not sure if this was in 1978 or a bit later. I guess people still rave about Hagen in Germany, but she hasn’t been of much interest to UK based hipsters for the past 30 years. She made her initial international impact with a German language cover of the new wavish Tubes’ song White Punks On Dope, done with re-written lyrics as TV-Glotzer. In the early/mid-eighties Hagen made tunes like New York with disco legend Giorgio Moroder acting as producer, and for me that collaboration is the most notable thing about her.

I don’t like Hagen’s voice, so I’ve no idea why I went to see her circa 1978 – I can only assume there was some other act on the bill that I wanted to catch. I can’t remember where I saw Hagen’s one-time boyfriend, the Dutch rocker Herman Brood, but it may have been on a multi-act bill with his consort of that era. Brood is Holland’s most famous rock ‘n’ roll junkie, but I haven’t heard mention of him in London  for years, despite his 2001 jump from the roof of the Amsterdam Hilton Hotel leading to saturation media coverage of his suicide and subsequent funeral in The Netherlands.

Back in the late-seventies I used to  see a lot of bands and my tastes were very varied. I would catch Sham 69 one night and Wire the next; groove to The Vapors on Saturday then freak-out with Gloria Mundi or The Virgin Prunes on Sunday… I even saw Motorhead, but I much preferred The Pirates! Having started out as Johnny Kidd’s backing band, The Pirates had been around since the late-fifties. On record they weren’t bad, although I didn’t really bother with their vinyl, I just liked them live… and in 1978 you’d have been just as likely to find me at a Pirates or Wilko Johnson gig as at a punky-reggae party. I was also going to see British reggae bands like Steel Pulse, Aswad, Misty In Roots and Matumbi. Since I much preferred small clubs to concert halls, I didn’t bother with visiting Jamaican acts although I liked their sounds. The Lyceum Ballroom in The Strand was the biggest place I went to with any regularity. I only ever went to The Hammersmith Odeon once, to see Lou Reed in 1979, and I considered the experience shitty.

Out of the stew of music I caught live 30 and more years ago, it is curious to see what’s disappeared. Amazingly, bands like The Pleasers made it onto CD in the late-nineties, whereas as far as I know the output of Burlesque and Bethnal has never been reissued on that format…

And while you’re at it don’t forget to check – www.stewarthomesociety.org – you know it makes (no) sense!