Poison Girls – Persons Unknown / Statement Orchestral – All The Madmen Records – 2015




It was during the summer of 2014 that I found myself on the phone with Lance d’Boyle. An international call between England and Spain, in fact. We were catching up on each other since Vi’s final return to the UK the previous autumn. Lance was telling me that he had heard from someone in England that was interested in printing a set of Persons Unknown badges, and had asked for permission to reproduce the designs and inquired as to whether we might have any of the original artwork available.

The person in question was Nick Hydra, who, it turned out, had been an avid collector of punk ephemera for many years and was keen to own a full set of the famous Persons Unknown badges after searching high and low for them without success. Unfortunately, it transpired that most of Lance’s original badge artwork had been demolished by the Spanish termites, which meant that Nick was going to have a difficult job on his hands to recreate the designs.

Lance wanted to know what I thought about the idea – and if Nick was going to all that effort, couldn’t we maybe offer the badge set for sale and see what happened? I told him I would give it some thought and share my opinion the next time we spoke… as I put down the phone, straight away it occurred to me that if the Persons Unknown badge set was going to be produced again, it might be an obvious idea to reissue the single to go with it. After all, it was getting on for thirty-five years since the original record had been released, and there had already been some discussion about what might be the next Poison Girls reissue …

By sheer coincidence I had been introduced to Des Hoskins from All The Madmen Records at the Mob gig in Brighton a few weeks earlier. I had known about All The Madmen since I first met The Mob back in 1981. They had always been a good crowd and the label had released a lot of important stuff.

I told Lance that I would ask Des whether All The Madmen Records might be interested in putting the single out, and perhaps carrying the badges too, as an option for people who might want to buy them together. As it happened, the label seemed quite chuffed to be offered the chance to release a Poison Girls record and told me they’d be very interested.

Encouraged, I alerted former Poisons Vi and Richard to my plan and awaited their responses. Initially, I was greeted with a kind of bemused indifference, which gradually became a sort of tacit approval after I explained in more detail what I was thinking about.

For what seemed like an eternity, ideas flowed back and forth and questions were raised – what form would the release take? Was a combined package too ambitious? Who would coordinate such a task? What should the B-side be? Would anyone even be interested after all this time??

Since there was no actual, working band anymore and the former members were geographically dispersed, I was asked if I would co-ordinate the discussions, so I agreed to act as liaison between the ex-band members and the label. Ideas flowed back and forth, but one thing was already decided in my mind. I suggested that, since one of the most striking things about Persons Unknown was its inordinately long running time of seven-and-a quarter minutes, if we could find a suitable companion piece for the B-side it could be issued as a 12″ pressing, which would give us a lot more scope with the artwork.

Everyone agreed that this seemed like a good idea, so we proceeded to contact graphic designer, default Xntrix cover-art provider and original Persons Unknown bassist Bernhardt Rebours, to see what he might suggest for a sleeve design and / or insert sheets …

Well… more ideas flowed back and forth for what seemed like an eternity. Bernhardt would be delighted to do the artwork, but we had a committee now and many things to be agreed.

Gradually, with input from everyone, decisions were reached. The sleeve artwork would resemble that of the original (Xntrix) Hex, with the shop dummy heads that signify an anonymous multitude.

There would be a fold-out poster with all fifty of the badge designs newly recreated by Nick Hydra, and a printed insert with a piece about the infamous Persons Unknown conspiracy trial, the mission behind the original release (with Crass’s Bloody Revolutions) and the founding of the Autonomy Centre, together with the lyrics to the songs and the credits.

Eventually – after very much discussion – we settled on a B-side, and I arranged for Richard to deliver the original analogue tape masters of both of the tracks we had chosen to my studio, for restoration and transfer. Richard would provide the text for the piece about the trial, the original release and the Autonomy Centre. Bern would press on with the artwork designs while I set about restoring the tapes, and preparing them for transfer to disc at the best possible resolution.

The chosen B-side, Orchestral Statement (recorded originally for the Wargasm compilation) is, in its way, every bit as representative of the collaborative nature of the Poison Girls ethos as Persons Unknown.

We needed something that would carry equal weight to the A-side, both sonically and in terms of lyrical stature. Drawing on the combined talents of classical conductor Jason Osborn and composer and arranger Barney Unwin, together with members of The National Youth Orchestra, this 1982 re-recording of the track that had originally appeared as a flexi-disc with Chappaquiddick Bridge a year earlier, imbues the piece with a far greater depth and emotional reach than had been achievable with the four-piece band alone. It was unanimously decided that Orchestral Statement would back Persons Unknown for the 12″ release.

Well… fast forward a year now and, finally, it has arrived. Many emails have been exchanged. Bernhardt has delivered stunning artwork; the disc has been cut to an exacting standard; Nick has somehow managed to get all of the badge designs in the bag and Des has arranged manufacturing for both the single – on heavyweight vinyl, no less – and the badges, courtesy of Marta at Active Distribution.

In true collaborative spirit, everybody has graciously contributed their time and energy to give this project all the love and care it so richly deserves.

In summing up, I hope everyone who buys this record will appreciate what they have found – a presentation of perhaps two of the finest protest songs ever written, both of which express a similar message but in strikingly different ways: a committed and passionate statement of our continued intention to stand up and be counted in the name of peace and freedom.

You can probably tell how proud I am to have been a part of this project. But then I am incredibly proud of everyone that took part in all of the planning and the creative work with Poison Girls through the years. All the people, past and present, that have helped to bring about this wonderful music. You all know who you are. But most of all, for writing the words and making it all possible in the first place, I’m proud of my dear old mum.

Pete Fender – December 2015

My epic struggle with two blocks of text and a circle

As the Poison Girls ‘Persons Unknown’ thirty five year anniversary edition has now been announced by All The Madmen, I can finally reveal the years of lonely toil that went into recreating the original set of badges. A process with a long gestation period, carried out via trial and error (with the emphasis very firmly on ‘error’).

The story begins in the mist of prehistory known to modern scholars as ‘September 2012’. Gripped by one of my occasional bouts of insomnia, I was wandering the streets of Deptford in the early hours of the morning, when I came across a display attached to the wall directly outside Deptford train station as part of the Deptford X art festival.

I wouldn’t normally have turned that corner, but I was looking for a place to have a crafty piss, so perhaps the gods of chance were smiling on me that day, although considering the heartache and despair that followed perhaps “smiling” isn’t quite the word I want…

Essentially a photo of a badge collection mounted under Perspex by Rachael House, it contained many nice old punk badges, not least several of the original Persons Unknown set.

I took some photos and posted them on Facebook, all the while thinking about the simplicity of the design and how easy it would be to recreate the set. “All I need is a circle and a typewriter” I thought to myself, like the stupid bastard I am.

I punted the possibility of doing a set in one of my comments on the photos, to be met with encouraging comments from Chris Low (Apostles/ Oi Polloi / Part 1). So me being me, I did fuck all about it for two years.

The idea nagged away at me until February 2014, when I finally decided to do something about it. I realised that I didn’t know how many badges had been designed, or what text had been on them, so I turned to Google Images for help. “I’ll easily be able to find a picture of the complete set on the internet” I thought to myself, like the stupid bastard I am.

Obviously I was failed miserably by Google, and all the other search engines I tried. I finally gave up when, in a scene eerily reminiscent of Robinson Crusoe coming across his own footprint in the sand; I got ridiculously exited to finally find an image of one of the designs only to follow the link back to my own Facebook post.

Realising that what I needed was to find other people as weird and obsessive as myself, I started to post appeals for help on various Facebook groups, such as Kill Your Pet Puppy, The Old Punk Rock Badge Fanatics, Pay No More Than Nowt, and obviously enough, Poison Girl Friends.

Through various people replying to my increasingly desperate pleas for help, I established that there were forty eight original designs, and many people generously sent me photos of the badges they had, but I still couldn’t amass a complete set, so I was still stymied in terms of the text.

Then, in March Lance d’Boyle (who admins the Poison Girl Friends page and designed the original set of badges in 1980) contacted me, to tell me that he wasn’t sure he was happy for me to carry on with the project, presumably because he thought I was intending to sell the badges for commercial gain.

Having established that was most certainly not the case, and having shown him some Poison Girls badges I had designed previously, he was happy for me to continue, and we came to an arrangement that I would design the badges, and Poison Girls would sell them (initially to raise money for a mooted re-release of ‘Persons Unknown’), so it was suddenly a bit more serious than me running off a few sets for my mates, and getting it right became even more important.*

He was even able to find and scan some of the original artwork for the badges. Sadly this had been badly damaged by termites and was incomplete, so I still didn’t have the complete text, but together with the other images I had collected, I had something to go on, and more importantly I had good quality, flat, scanned images to use as a template.

He was also able to supply me with original artwork for the 1979 ‘Crow’ and ‘Yin-Yang/ Foetus’ designs, and it was decided that we would add these to the original set of forty eight to make it an even fifty. “Plain sailing from here”, I thought to myself like the stupid bastard I am.

In the interests of authenticity, I decided to use an old manual typewriter to physically type the text, rather than use a font in Photoshop, so I started asking around friends for such a machine. Having drawn a blank, I then tried the various local markets. “I’ll be able to pick one up for a fiver, as it’s a dead technology”, I thought to myself like the stupid bastard I am.

Not so, for as with all things retro and vintage, manual typewriters have been fetishized by hipsters and are now hard to find and expensive.

I eventually discovered a stall on Greenwich Market that sold typewriters, and armed with an image of the text for comparison, I proceeded to type the phrase ‘Persons Unknown’ on every machine I could find. Eventually settling on a decent likeness I paid the £25.00 price tag and dragged the thing home on the bus.

And discovered that the ribbon (apart from the inch currently under the keys) was completely fucked.

“Never mind, I’ll easily be able to buy a new one on the internet” I thought to myself, like the stupid bastard I am.

You know where this is going, so I won’t bore you. Suffice to say I ended up using a font in Photoshop, and authenticity be damned.

By now I was in a three way email conversation with Lance, Bernard and Vi from the band as to what text had been on the badges, and eventually we came up with a definitive list based on actual images I had been able to find, plus a list of ‘best guesses’ based on the memories of various band members and associates.

This was made more complicated by the fact that some of the text on the badges I had found didn’t match the lyrics as they appeared in the song, so there was no way to tell if the text of the ‘best guesses’ was 100% accurate even if a design had in fact featured that particular line.

As we were unable to find a full set, it was decided that we should move forward on the basis of these lists and if any more original designs came to light, I would use them to replace designs from the ‘best guesses’ list.

At this point someone contacted me on Facebook claiming to have the entire set of forty eight in his loft, but no amount of cajoling or bribery resulted in them actually turning up.

Realising that things were moving on apace, I decided to grasp the bull by the horns and start actually designing the badges. Using the damaged original artwork as template, I laid out forty eight designs in Photoshop using ‘Mom’s Typewriter’ as the font, and guessing at the layout of the text based on the few original designs I had access to.

As the ‘Persons Unknown’ text was the same on all the designs, I left this the same and just re typed the other text each time, saving each design and over typing it as I went.

I then needed to lay them out on the template used by the badge making company (Big Wow), and email them over to get a test run of the entire set. As soon as I did the 1st one I knew I had a problem; due to the two files being at a different DPI, the designs were nearly four times bigger than the template. This meant I’d have to resize the badge designs to fit onto the template, which wouldn’t be that difficult, but as I was doing it by eye, there was no way to get each one exactly the same size as the other ones.

Now, if I was doing one design, this wouldn’t matter but if I was doing a set of very similar designs (with a circle, yet), any fluctuation in size would be glaringly obvious. So all I had to show at the end of a process lasting several months were forty eight meticulously laid out designs that were completely bloody useless. So I did what every dedicated craftsman does when presented with a design problem of this magnitude; I threw a massive strop and gave up.

Fortunately (or unfortunately, depending on your point of view), other people were relying on me to deliver on my promise, so after a dark teatime of the soul drunkenly weeping into my pillow, I went back to the proverbial drawing board. It was at this point that I realised I’d somehow managed to get a greengrocer’s apostrophe in all the designs so they said PERSON’S rather than PERSONS… It was at this point that I lost it for a while.

During the days and nights of madness that followed, ever-after spoken of by the villagers (with many a muttered prayer and gestures of protection against the evil eye) as ‘The Dark Times’,  fearsome howls were heard to emanate from my darkened tower rooms, and slaughtered livestock was found horribly mutilated. The local veterinarian, on examining the remains in detail tore his eyes from their sockets and died some weeks later, screaming wordlessly in his padded cell.

When sanity returned to my fevered brain, I found myself forlornly staring at the computer screen, flicking between the two different templates like a hungry man repeatedly opening an empty fridge, getting exactly nowhere.

Then it struck me, what I needed was to create a third template based on the Big Wow version, but with a good photo of one of the original badges sized to fit it, then lay a scan of the original artwork onto this, resize it so the words PERSONS UNKOWN lined up, delete the photo of the badge, go back to the Photoshop template, re-type each of the forty eight versions of the text, ‘hide’ everything but the text, ‘merge visible’, copy and paste this onto the new template, re-size it so that it lined up, ‘hide’ the scan of the original artwork and save it as a jpeg.

“Fuck me, I’ve cracked it.” I thought to myself, like the stupid bastard I am, and got a test run of one design made.

So what could possibly be the problem now, you ask (probably with some irritation, running as we are to one thousand seven hundred words at this point).

The problem now was that the circle was wrong. It just looked too small. No amount of mucking about with it would make it look right. It’s only a circle, and you’d think that the fact that I had used the original artwork as a guide would ensure that it came out right, but you’d be wrong.

The basic problem was that I couldn’t tell what it would look like on an actual badge by looking at the computer screen. I mucked about with it off and on for another week and in the end I did eight different variations and ordered another test run.

By comparing all eight versions with the pictures of actual badges that I had (not that easy as none of the pictures I had showed badges where the circle was completely central), I eventually decided on one thickness of circle, which was slightly thicker than the original, but looked ‘better’ to me and got a full set of fifty badges printed.

Finally happy with the results, I posted them off to Bernard for approval / scanning.

And that was that as far as I was concerned;  at some point the band decided that rather than sell them to fund the re-release of ‘Persons Unknown’ the intention was to include the badges as part of the single, and then this changed to selling them separately.

I was peripherally involved in these discussions as well as how many sets to print up, who would print them, and how they would be sold (just as a set, individually, or in batches), but I won’t bore you with the details.

It was eventually decided to get the badges done by a small D.I.Y outfit, rather than the web-based firm I had been using, which meant the designs had to be re-sized AGAIN, as they worked to a slightly different template. Luckily the person printing the badges (Hi Marta) was able to resolve the problem without my involvement.

So this brings us to November 2015; the 18th of November to be exact. The posters and the covers have been printed, the records  are being pressed, the new badge set is advertised, and then and only then, an almost complete set of forty five badges turned up on Facebook via Kevin Pedersen.

Looking at the photos, I could tell there were some of my designs that were just plain wrong; and some where the text was right but the layout was wrong.

I could have re-done the ones that were wrong, but I was assuming that it was too late to change the ‘new’ set by then, and even if it wasn’t, we still didn’t have a 100% complete set, so there may still have been mistakes on the ones I couldn’t check against an original.

After a brief consultation, it was decided to not to change them as they wouldn’t match the designs on the poster that had just been packed into a thousand records and people had already been ordering specific sets of ten badges from All The Madmen.

I know I’ll go back over the designs and ‘correct’ them as best I can, just for my own personal satisfaction, but I still have three designs to track down.**

Can anyone help a poor badge designer down on his luck…?

*I had assumed that there had always been an intention to re-issue ‘Persons Unknown’, and the idea of including the badges had grown from that, but reading between the lines it appears that the discussions about the badges might in fact have provoked the decision to re-issue the record.

** A list of all the authenticated designs is included below.


Nick Hydra – December 2015




The book by Lee Gibson, ex Brougham Road resident, writer / editor of Anathema fanzine and contributor / editor to many others.

Lee moved in the same circles as The Poison Girls and the Kill Your Pet Puppy Collective for some years. Here in black and white print throughout this immense 214 page A4 book are memories of Lee’s early years from 1976 all through to around 1986.

Lee takes the reader though countless Crass and Poison Girls gigs, some pretty rough nights along with various visits to both Crass and Poison Girls HQ’s. There seems to be dozens of pages relating to The Mob, Brougham Road and various houses that the Puppy Collective would be just about surviving in. Lots of squat horror stories, Stop The City runabouts, drug abuse, The Apostles, Crowley magick and plenty more.

As an added bonus some of Lees original interviews from his fanzines are carefully reprinted half way through this book, massive texts of the thoughts and feelings of The Fall, Crass, Poison Girls and Andy T from the very early 1980’s.

This book seems to be the real deal for anyone who may be interested in reading one persons account of the early anarcho punk culture which was an important, and sometimes scary, time for many of the young people involved.

Absolutely insanely cheap at £10.50 – but having the quality of a £20 book.

A must for anyone interested in this era of the anarcho punk scene.

You may purchase Lee Gibson’s book HERE

The Laila Mythology – Beltane Festival

I remember visits to Penguin Towers from Laila along with her father Vince several years ago. She was a beautiful and bright toddler in those days. Fast forward several years and adding a lot of effort, time and imagination, Vince and Laila’s mother Donna, along with Laila herself are on the brink of releasing a film full of fantasy, wonder and hopefully a happy ending!

Vince has also called on his old friend Penny Rimbaud from Crass, a band that Vince shared stages with up and down the country dozens of times with D.I.R.T throughout the early 1980’s, to feature in this film.

The wonderful setting of Dial House and surrounding countryside were used as part of the films numerous locations. Sid from Rubella Ballet has had a hand in the soundtrack of this film.

I am looking forward to seeing the results on a big screen at some point in the future.

The photographs from Dial House are from the collection of Mickey ‘Penguin’ and the text on Beltane lovingly poached from thewhitegoddess website.

The film stills are from the Facebook page dedicated to ‘The Laila Mythology’ which may be found HERE

The Laila Mythology

It is written in Celtic folklore that the roots of the hawthorn tree transcend the two worlds. A factualism that was soon to be realised by a young girl named Laila.

Whilst out on a spring saunter in Epping woods, Laila is inexplicably set upon and despoiled of her treasured necklace by an insane opportunistic magpie. Subsequently she finds herself on a search for its recovery, but soon discovers more than she had bargained for, when the magpie who stole it turns out to be none other than a nefarious shaman named Ibora, who appears to have mistaken her pendant for that of a mythical jewel known as the Brisingamen.

Luring her down through the roots of a gigantic hawthorn tree into the underworld, Laila is inadvertently transported into a magical land where Ogres and Wyvern frequent and where the sanctity of nature is no longer revered by humanity.

Befriended by Jack, a huge Green man who has the ability to converse with trees and with the help of a wise old wizard named Yan Overton, Laila desperately tries to get back to her world, with or without her necklace, but in order to do so she must first find the legendary Omega tree, the last of the ancient hawthorns or ‘world trees’.

But with all ancient world trees condemned by order of Queen Lhanna, a tyrannous sorceress whose lust for power impels her to kill her own sister Isla in order to gain complete total control of the world, Laila’s quest seems almost futile.

But soon she discovers the secret whereabouts of the Omega tree, far away in the Goblin lands and the reasoning behind Lhanna’s condemnation of ancient trees.

It is prophesised in the underworld that Geborga, a gigantic dragon created by the evil Queens sister to protect the forests before she perished would return once more in to the underworld through the portal of a world tree and bring peace into the world and the subsequent demise of her sister Lhanna. With such a foreboding prospect for the Queen, all portals in and out of the underworld are to be indiscriminately felled.

But with her only means of escape under threat, Laila finds herself in a race against time.

Making her way surreptitiously across the treacherous Goblin lands to the Omega tree in the company of the Green man and a Changeling named Lon Attilia, Laila can almost smell the sweet scent of home, but before reaching the town of Puo Landum in the heart of the Grayweald where the mythical tree is said to grow, she is unexpectedly betrayed by her Changeling cohort who turns out to be a servant of the Queen, and had masqueraded himself as her ally in order to discover the location of the tree.

Laila then unwittingly becomes the catalyst to a war between the despotic Queen and the race of Goblins, as Lhanna’s armies invade the Grayweald with the intent of destroying the Omega tree as well as their Goblin adversaries.

A great battle then ensues throughout the forests of the underworld as the Goblin hordes fight for their survival against an unremitting force. But with such overwhelming opposition it is only a matter of time before the last of the world trees is finally raised to the ground and the Goblins are forced to retreat into exile, leaving Laila trapped in the underworld forever.

But Jack, her trusty companion has not lost hope and believes the answer may lie in the place of their first meeting. So immediately they make their way with haste back towards the old wood but are ambushed en route by Queen Lhanna and her forces.

A brief skirmish breaks out as Jack fights desperately to protect Laila but is sadly slain by the powerful sorceress. Overwrought by the devastating loss of the green man, Laila’s sorrow appears to create a huge storm in the skies overhead and the world is cast into darkness. The earth then begins to shake as Geborga the dragon is awoken by his master’s voice and rises up from out of the mountain lake.

Realising that Laila is the reincarnation of her murdered sister Isla; Lhanna attempts to kill her but is beheaded by Ibora, her shamanic servant in an act of retribution for Isla’s fratricide.

In the aftermath of the storm, after the dust had settled, Laila finds herself inexplicably back home in Epping Forest with her pendant in her hand and Yan Overton the old wizard, walking over to greet her. He explains that her journey into the otherworld was predetermined and her purpose for going there, as well as what became of Jack, the green man.

As Laila makes her way home she wonders how on earth she can relate her amazing adventures to her family, but understands that she will never be the same person ever again.

The Fire Festival of Beltane

This festival is also known as Beltane, the Celtic May Day. It officially begins at moonrise on May Day Eve, and marks the beginning of the third quarter or second half of the ancient Celtic year.

It is celebrated as an early pastoral festival accompanying the first turning of the herds out to wild pasture. The rituals were held to promote fertility. The cattle were driven between the Belfires to protect them from ills.

Contact with the fire was interpreted as symbolic contact with the sun. In early Celtic times, the druids kindled the Beltane fires with specific incantations.

Later the Christian church took over the Beltane observances, a service was held in the church, followed by a procession to the fields or hills, where the priest kindled the fire. The rowan branch is hung over the house fire on May Day to preserve the fire itself from bewitchment (the house fire being symbolic of the luck of the house).

This is a holiday of Union–both between the Goddess and the God and between man and woman. Handfastings (Pagan marriages) are traditional at this time. It is a time of fertility and harvest, the time for reaping the wealth from the seeds that we have sown.

Celebrations include braiding of one’s hair (to honour the union of man and woman and Goddess and God), circling the Maypole for fertility and jumping the Beltane fire for luck. Beltane is one of the Major Sabbats of the Wiccan religion. We celebrate sexuality (something we see as holy and intrinsic to us as holy beings), we celebrate life and the unity which fosters it.

The myths of Beltane state that the young God has blossomed into manhood, and the Goddess takes him on as her lover. Together, they learn the secrets of the sexual and the sensual, and through their union, all life begins.

Beltane is the season of maturing life and deep found love. This is the time of vows, handfastings and commitment. The Lord and his Lady, having reached maturity, come together in Perfect Love and Perfect Trust to celebrate the joy of their union.

This is a time to celebrate the coming together of the masculine and feminine creative energies. Beltane marks the emergence of the young God into manhood. Stirred by the energies at work in nature, he desired the Goddess. They fall in love, lie among the grasses and blossoms and unite.

The flowers and greenery symbolise the Goddess and the Maypole represents the God. Beltane marks the return of vitality and passion of summer. Another common focal point of the Beltane rituals is the cauldron, which represents the Goddess. The Welsh goddess Creiddylad is connected with Beltane, often called the May Queen, she was a Goddess of summer flowers and love.

May Day

May Day has long been marked with feasts and rituals. May poles, supremely phallic symbols, were the focal point of old English village rituals. Many people arose at dawn to gather flowers and green branches from the fields and gardens, using them to decorate the village Maypoles.

The May Queen (and often King) is chosen from among the young people, and they go singing from door to door throughout the town carrying flowers or the May tree, soliciting donations for merrymaking in return for the “blessing of May”.

This is symbolic of bestowing and sharing of the new creative power that is stirring in the world. As the kids go from door to door, the May Bride often sings to the effect that those who give will get of nature’s bounty through the year.

In parts of France, some jilted youth will lie in a field on May Day and pretend to sleep. If any village girl is willing to marry him, she goes and wakes him with a kiss; the pair then goes to the village inn together and lead the dance which announces their engagement. The boy is called “the betrothed of May.”

Crass – Not always clad in black

Before Crass got themselves looking and sounding in the way we now ‘view’ or ‘hear’ them in our ‘minds eye’ the band played a few sporadic gigs in London. This is a snippet of one of the gigs filmed by Mike Duffield at Action Space Drill Hall in November 1977. Interestingly Crass are not all dressed in black.

Below is a list of other gigs that Crass played from the bands formation until the end of 1978, around the time when the band decided to get decked out in grey / black military type clothing. There is also some information about the early period of Crass from that Wikipeedear!

The 1977 Action Space Drill Hall flyer (with guests Dead Fingers Talk and The Nipple Erectors!) from Tony D’s collection the other flyers are from Toby Mott’s collection.


??/??/77 Huntley Street, London

27+??/08/77 Roxy Club, London (the photograph above shows The Roxy club at that point long shut down in the summer of 1978 but still a place for Crass graffiti and posters to be shown)

16/11/77 Action Space Drill Hall, London

25/04/78 White Lion, Puntey Bridge, London

07/05/78 Rock against Racism, Action Space, London

Summer 78 New York

Summer 78 Small Theatre, New York

Summer 78 Quando’s, New York

Summer 78 Gee’s friends loft, New York

13/09/78 The Film Co-Op, Prince of Wales Crescent, London

29/09/78 Acklam Hall, London

25/10/78 Moonlight Club, London

22/11/78 Paradiso, Amsterdam, Holland

The band was based around Dial House, an open-house community near Epping, Essex, and formed when Dial House founder Penny Rimbaud began jamming with Steve Ignorant (who lived in the house at the time). Ignorant was inspired to form a band after seeing The Clash perform at Colston Hall in Bristol, whilst Rimbaud was working on his book Reality Asylum. They produced “So What?” and “Do They Owe Us A Living?” as a drum-and-vocal duo. They briefly called themselves Stormtrooper before choosing Crass in reference to a line “The kids was just crass” in the David Bowie song “Ziggy Stardust”.

Other friends and household members joined (including Gee Vaucher, Pete Wright, N. A. Palmer and Steve Herman), and Crass played their first live gig at a squatted street festival in Huntley Street, North London. They planned to play five songs, but a neighbour “pulled the plug” after three. Guitarist Steve Herman left the band soon afterwards, and was replaced by Phil Free. Joy De Vivre and Eve Libertine also joined around this time.

Crass played two gigs at the Roxy Club in Covent Garden, London. According to Rimbaud, the band arrived drunk at the second show and were ejected from the stage; this inspired their song, “Banned from the Roxy”, and Rimbaud’s essay for Crass’ self-published magazine International Anthem, “Crass at the Roxy”.

Other early Crass performances included a four-date tour of New York City, a festival gig in Covent Garden and regular appearances with the U.K. Subs at the White Lion in Putney and Action Space in central London. The latter performances were often poorly-attended: “The audience consisted mostly of us when the Subs played and the Subs when we played”.

During this period the band took themselves more seriously, avoiding alcohol and cannabis before shows and wearing black, military surplus-style clothing on and offstage.

They introduced their stage backdrop, a logo designed by Rimbaud’s friend Dave King. This gave the band a militaristic image, which led to accusations of fascism. Crass countered that their uniform appearance was intended to be a statement against the “cult of personality”, so (in contrast to many rock bands) no member would be identified as the “leader”.

Conceived and intended as cover artwork for a self-published pamphlet version of Rimbaud’s Christ’s Reality Asylum, the Crass logo was an amalgam of several “icons of authority” including the Christian cross, the swastika, the Union Jack and a two-headed Ouroboros (symbolising the idea that power will eventually destroy itself). Using such deliberately-mixed messages was part of Crass’ strategy of presenting themselves as a “barrage of contradictions”, challenging audiences to (in Rimbaud’s words) “make your own fucking minds up”. This included using loud, aggressive music to promote a pacifist message, a reference to their Dadaist, performance-art backgrounds and situationist ideas.

The band eschewed elaborate stage lighting during live sets, preferring to play under 40-watt household light bulbs; the technical difficulties of filming under such lighting conditions partly explains why there is little live footage of Crass. They pioneered multimedia presentation, using video technology (back-projected films and video collages by Mick Duffield and Gee Vaucher) to enhance their performances, and also distributed Samizdat style literature such as leaflets and hand outs explaining anarchist ideas to their audiences.

Andy ‘B A Nana’ Palmer of Crass and Tony Puppy of this realm meet up again recently, after thirty years of being estranged, at Andy’s garage sale in North London. Of course after Andy had left Dial House he was part of the Islington based Black Sheep housing co-operative along with a host of other notables. Myself, other Kill Your Pet Puppies and gentle Mob folk included.

Interestingly similarly to the footage of Crass from 1977, neither of us are dressed in black in 2013.

Mickey ‘Penguin’ kindly took a photograph or two of myself alongside Penny Rimbaud and Eve Libertine at the Vortex in Dalston. Although the photographs are in black and white, both were not dressed in black either! I had a wonderful chat with both of them, again similar to Andy ‘B A Nana’, for the first time in thirty years!

Vomitoria – Reminisces of Mark F from Part 1


Late Spring nineteen eighty two:  Aside from the mock-serious business of the cruel, monastic preparations of self-denial, rigorous psycho-gymnastics that members of the ‘popular’, ‘anarcho-punk’ combo known as ‘PART 1’ were undertaking, in lieu of their forthcoming recording for the legendary vinyl E.P. ‘Funeral Parade’, it seemed  also that more ‘off-message’ musical/art projects were quietly gestating in a new, twisted flowering…

Robert Leith, a ‘skin and stools man’, had recently undertaken the recording of a ‘solo’ cassette album, ‘Mongo Chutney’;  Mark F, not to be out done in the ‘creative genius’ stakes, had set his jaw likewise, producing a C90 ill-adventure called ‘Dog City’.  Naïve in extremis, this ‘lost classic’ conveyed a mordant low-fi strum-slum, somewhere betwixt Bowies’ ‘Diamond Studded Canines’ and the ‘UK Decay/Pneumania’ split single.  Yes, quite an oddity
but even greater oddities of audio were set to follow!

‘ONKER THE DWARF’,  a deftly experimental, self-proclaimed ‘killer concept cassette album’, beginning protean life on the C90 ‘Memorex’ label, was an audio collaboration between Mark F and Robert Leith, seeing  limited ‘day release’ on the long bygone imprint ‘Semen Tapes’, irksome cassette sibling to the then growing, dark vinyl empire of ‘Paraworm Records’.

Truth be told, ‘ONKER’, with its moody abstractions of  deranged baby cries, looping flanged echoes and bashing piano chords (some stretching past the fifteen minute mark) presented rather a ‘listening challenge’ to the dullard auricles of the punkoid mass.  Already beset by some vast collective of irritated cochlea, wax-thick, irrevocably damaged, nay CLOSED but to the most formulaic, obvious ‘shout-ie shout-ie shout-ie’, it was an audience guaranteed none too receptive, nor enthusiastic, to such ‘subtle influence’
 making it fair to say its reception was

The recording of ‘ONKER THE DWARF’ had followed close on the kicking heels of my then recent brush with the Queens’ authorities at  Royal Mail.  This hysterical episode, over an ‘obscene’ drawing of Jesus Christ in receipt of fellatio by a giant centipede, had featured on an envelope I’d mailed through the post, this being subsequently confiscated and destroyed.  Yes, tawdry stuff, and in truth, little more than a public schoolboy’s approximation of Felicien Rops, scrawled in biro on the back of a lavatory door.  But the threat of prosecution had been enough.  Enough to convince me to render such meanderings INSIDE the envelope

‘VOMITORIA’ arrived on paper rather like a skin eruption!  Please note: often, with the application of various ‘sensible’ creams and ‘serious’ unguents, any ‘rash’ will settle down, often deceptively, ultimately seeming to calm itself.  But in this instance, restive in the flesh, ‘VOMITORIA’ would ALWAYS return, more florid and deranged than the time previous, bravely expressing itself, unbridled at that barely visible, mysterious juncture between pen and paper, writing anew.

Irreverent, possibly even irrelevant, ‘VOMITORIA’, the self-proclaimed ‘magazine that dares to treat YOU differently’, grew in some semi-conscious part as mocking reaction to the moribund, photocopied sloth that often found its way through my mail slot: fanzines demanding free demo cassettes, interviews, artworks, all for inclusion in their supposed ‘next issue’.  This mortifying stream, typified by cruddy ‘eh-fore-eh-wot?’ sheets, littered with an endless, stencil gram  parade of predictable, second-hand slogans and yawn some reviews, had come to form the lazy totality of a ‘zine scene’.  Infact, all the crap I myself had been guilty of excreting months earlier in the thankfully short lived drab, ‘Hateful Solitude’!

Like some ill-gained basterd child, cross-born out of some bone-deep admiration for the classic D.C. comics title ‘Plop’, the ‘Skywald’ horror magazines of the early ‘seventies and, of course, ‘Mad’ magazine, ‘VOMITORIA’ trod a queasy path, gladly avoiding all the yawn some pratfalls that littered the all-too-predictable pages of the ‘anarcho zine’.

True, it was the work of one hand.  But that hand tried to convey, gathering from the corridors and shadowy annals of an eighteen year old brain,  an impression that its brief, intimate pages of A6 were the caustic scribble of a number of ‘artistes’.  A gathering of ‘talents’, an irksome ‘stable of vomiteurs’ if you like, each of a differing graphic style.

Poor deluded fool
eighteen year old fool
just who the fuck were you anyway?

Of its contents, benchmarks were set from the off.  Bemusing, troubling, but always carrying some vestige of sardonic charm, we see a self-portrait of the artist as a spikey-haired, discombobulated head, a pool of dark inky blood gathering from the neck stump, out toward a hopelessly grasping severed arm; then a comic vision of male genitalia, sprouting some mutant, sentient appendage, an independent growth finally able to vocalise, “Oi mate, have you got ten pence?”,an utterance, implicit with violent threat, long familiar as barked by many a skinhead in ones’ direction;  and  naturally, graphic variants of a quasi-horror-tragi-romantic musing on the supposed ‘necrophilia question’.

One can only wildly guess at the heinous literary import of the ‘Laurel and Hardy Murders’, being grateful perhaps that such a perverse narrative of ill-comfort did not stretch beyond its spare, solitary episode of what appears to be some unwholesome act of weird mummification and a gallows hanging.

There were those who did champion its ‘cause’ and were admirers.  Amongst this modest number were Sir Nickolas de Penile, who used to masticate it regularly between his redoubtable, discriminating jaws; Dan ‘Anti-Christ’ Mac Intyre, another prolific ‘stool and skins’ man, then of The Apostles punk group, ultimately having the unique honour of seeing his own artistic rip-roar, ‘The Adventures of Rodney ‘The Laff’ Cazzolini’ published in ‘VOMITORIA VOLUME THREE’, and of course, Mr. Richard Crow, a resident of North London, who became both ‘VOMITORIA’ neophyte and publishing house groupie.

These pages often ranged from buttock-clenching ‘Death to the Family’ graphic rants of  quasi-porno-juvenilia, to more dreamy, relaxed, hippy-sphincter, ‘pastoral’ moments of withered skeletal trees, cemeteries, lonely hill tops squat with the odd, seated, pensive silhouette, stole in part from a lengthy, guilty, and very secret admiration for the meditative ‘seventies art of Roger Dean.  Surely a hanging offence in anybody’s’  book ?

Format wise, ‘VOMITORIA’ was melded from two sides of A4 zexored sheet, glued and folded, often slipped in to the packages of the lucky few as an uncalled for ‘freebie’ item, there amongst some mailed cassette order.  To compliment this, a modest number found their way to the Autonomy Centre and West London’s’ Moonlight Club, all thanks to Mr. Richard Crow.  Always a reputable and supportive figure, possessed of a discriminating and adventurous palate, Richard had seemingly taken the role of admirer, advocate and ‘head of distribution’, though its doubtful he knew it at the time
as I probably never mentioned it. For my part, I simply had the desire to literally just ‘throw it’ at people, to have them physically struck by ‘VOMITORIA’, to stumble, recover their senses, fall over again, then look at the blasted thing.  Of course, these were halcyon days, long before the enamelled jackboots and stultifying heels of current health and safety legislation, so I suppose anything then may have been possible
if at all.

Noticed amongst a final panel of ‘acknowledgements’, a regular feature on the back page of ‘VOMITORIA’,  comes what purports to be ‘a word from our sponsors’.  Infact, it is nothing less than genuine text, clipped from that most dreaded of black-letter of those past times, being the brusque, no-nonsense call into the offices of the local DHSS to explain, ‘under-pain-of-death’, ones’ long sojourn on public funded unemployment benefit.

Being of the ‘long term’ and having never held a ‘job’, its fair to say that, after three years, I had no-doubt come to represent rather a ‘challenge’ to the local job finding team, these unwelcome missives appearing with alarming, monotonous regularity through the mail slot.

There was little to compare, by virtue of sheer fright power, with its implicit ability to oppress, or gravely darken the day, than the arrival of  this small, sinister manila envelope with the murky grey tracery of its paper window.  Never good news, real consternation was sure to follow as, yet again, some pen-pushing, busy-body arsehole had decided that it was their sole mission, their soul-calling, to find and threaten you with that most terrifying of prospect:  EMPLOYMENT.

Indeed, many the time I recall swapping a tearful ‘tea and sympathy’ conference call between myself and Sir Nickolas de Penile, shivering light-weights both, traumatised and depressed by the prospect of further DHSS thumbscrews and E.C.T.  The puzzle was how to, yet and yet again, explain these lengthy, unwarranted periods of ‘unemployment’.  Eventually, the death squads were called off as they realised each case was utterly hopeless
until the next time at least.  In truth, it was the only mail of concern and interest that the ‘offices’ of ‘VOMITORIA’ ever received!

After four utterly fun packed and fruitful issues, ‘VOMITORIA’ decided to go big, massive infact, stretching its single, slightly atrophied muscle to A4 dimensions.  In truth
a complete sell out!  But, thankfully,  there was little to fear in terms of some imaginary loss of integrity.  Simply this: because the publication flipped over onto the twist of a recalcitrant, warped spine and promptly DIED.  YES.  DIED.

In true rock ‘n’ roll style this paper-trace gurgled, chucked and choked on its own febrile vomit. But, before pennies-on-the-eyes, a single paste-up of ‘VOMITORIA VOLUME FIVE’ was miraculously produced.  A cover, presenting a beaming facial disfiguration, derived in part from a magazine clipped portrait of none other than Diana Ross, beleaguered beneath by some obscure textural quote from Dame David Bowie, his most royal-male-self no less.  Yes, ‘VOMITORIA’ had sold out, perhaps
soul-led out

From po-faced, to poe-faced toward poo-faced, ‘VOMITORIA’ dared to carry a new kind of questioning, faecal flow into the spike-haired mind-lavatories of the day.  Yes, it may have dared, it may have trod a path none had thought a great deal of before, or even cared to, but was it taken any notice of ?  ANY ?  The short answer is ‘no’.  The slightly longer answer would be ‘absolutely not’.  But who gives a fuck?  NOW THAT’S PUNK ROCK.

Ferelli – August 2013

Kill Your Pet Puppy are indebted to Mark F for sharing this material, for writing the essay and for letting Kill Your Pet Puppy have this ‘exclusive’ on the blog!

The images of the issues of Vomitoria may also be viewed in the Kill Your Pet Puppy photo archive folder ‘Vomitoria Mark F’ HERE

Part 1 will be performing at Rebellion Festival in Blackpool on the Bizarre Bazaar stage at the PAVILION on Saturday 10th August alongside Andy T, The Astronauts, Hagar The Womb, Zounds, The Mob, Decadent Few, A Headz, Lost Cherries and Citizen Fish. Stage times and ticketing details HERE

On the 29th August Part 1 will be performing at The Buffalo Bar, 259 Upper Street, Highbury Corner, London N1 (flyer above and heading this post)

For further information on anything to do with Part 1 the official Facebook page can be found HERE

The Mob – All The Madmen Records

It has been around thirty years since the last record was released by The Mob.

The audio of two new tracks were sent down the wire to Penguin Towers last night and have now been mulled over in enough depth, after repeated plays, for me to confirm that this single, soon to be released on All The Madmen records, is going to be a stonewall classic. My preferred track is ‘Nothing You’ve Got I Want’. A gentle song of innocence and hope that rolls along like a river until the epic crescendo. ‘Rise Up’ is a track that has been performed live by The Mob for several months now. Studio wise it is a hard hitting bass driven track with some nifty drum / percussion work from Graham Fallows.

The Mob in 2013 still have the integrity that shone through like a blinding light during the early 1980’s. These two new tracks show this integrity in abundance. To get the new single by The Mob and the other releases on All The Madmen records please browse the All The Madmen website. Join the singles club HERE to get all the records in gorgeous coloured vinyl!

Please remember All The Madmen records is a co-operative and all monies gained goes straight back into funding new projects.

P.S: ‘Nothing You’ve Got I Want’ has a very special person performing on the track. This person was there at the very start… A beautiful track indeed.

Kill Your Pet Puppy issue 2 – February / March 1980

Just realized that the second issue of KYPP came out about this time, checked it out and indeed it was – thirty three years ago. Here’s a few memories from me of that time.

After awhile of KYPP1 being released/published/onsale/whatever people started to ask about the next one. The reply given was that the next one would come when there was something relevant to say. I wanted to avoid the production-line conveyor-belt problem of producing issues at regular intervals because it was expected. I’d been through all that with Ripped & Torn. When the time was right it would happen, that was the Puppy party line.

Except there was a constant personal worry that I wouldn’t be able to match the first one, and this procrastination wasn’t helping the paranoia. Then a few things happened at once; Leigh and myself went to see Crass at Dial House to discuss our views about their pacifist stance, which was printed in the first issue (pro-Crass-tination). A few days later we received a letter from Penny Rimbaud, a long review of their philosophy. This has to go into the next ssue I thought, which meant creating a new issue and not faffing about.

Then there was the Sid Vicious memorial march; which brought together a lot of people and strands of thought: and also brought a lot of things to a head. I wrote about those things, and then I wrote about why I thought those things – and the two pieces became the mainstay of KYPP2: appearing as the pieces ‘Apocalypse Now, Part 1’ and ‘Pet Puppies In Theory and Practice, Part 2’.

AL Puppy then wrote one of his best and most sustained pieces of work, a six-page essay. This was also too important to not put in, and another sign that an issue had to be put out.

So all of those things went into the pot. When I went to Joly of Better Badges with this idea, assuming the same deal would be on as for the last issue and he would front the money for it’s publication, he was not impressed. To cap it all I went mad on the idea of printing coloured images then overprinting them with black text, which meant basically, as every page was being printed twice the costs would be of printing two fanzines for the price of one.

Even worse, commercially, was not having ‘a band’ on the cover: the picture incidentally is a photobooth photograph of Val Puppy and Brett Puppy.

Luckily Joly went with the flow. The issue was written, laid out and finished between the 4th and 7th of February 1980: and by the next week it was in the shops.

My lasting regret with KYPP2 is that I didn’t get a new typewriter ribbon for the final drafts of my writings. Without getting too technical this is why the pages (reproduced in our photo gallery) are hard to read. Don’t blame Joly – I gave him poor image quality pages to work from.

Another regret is not charging Virgin Records an arm and a leg for their advert promoting the Pistols’ ‘Flogging A Dead Horse’ album. They paid the same as Vinyl Solution and the Last Words. I was a fool.

Interestingly the back page is an oblique review of Bauhaus, who we’d seen play at the Rock Garden. Brett Puppy was the one who dragged us all there; and seeing Pete Murphy do his mime act stuff with the bright light in the box with the churning riffs of the band driving it on – it was like seeing the Ants at the Man In The Moon all over again. And just as good: ‘Bela Lugosi’s Dead’ was, to me, their ‘Plastic Surgery’ moment.

So there we were, Anarcho-punk’s fragile community under threat from the far-right and a new band dawning with all the flash and dangerous excitement of the Ants.

At the end of the last page there is the line ‘WHERE DO WE GO FROM HERE?’  We meant that, man.

Visuals of Bauhaus a couple of years later doing the light in the box thing.

And here is some audio of them performing ‘Bela Lugosi’s Dead’ live in 1980 HERE

And the released single version can be heard on this KYPP post HERE

There’s also a great live version at the beginning of the film ‘The Hunger’  which can be found on youtube and many other outlets.

Memories of the producing Kill Your Pet Puppy issue 1 can be read HERE

All The Madmen records re-launch gig next Friday – 30/11/12

The long awaited All The Madmen records launch gig promises performances by The Mob, Hagar The Womb, The Astronauts, Andy T and Kill Pretty at the Boston Arms, Tufnell Park, London on Friday 30th November starting at 7 pm.

Entry free of charge to All The Madmen records co op members. Possibly a co op members get together in the venue or nearby pre the gig opening to the public. This meeting is to be confirmed. Ticket details to general public can be purchased HERE .

Please help to support the bands and artists that have been released so far on this co operative run record label; Andy T’s debut CD release, a beautifully packaged work ‘At Tethers End’ has been on sale for several weeks now and the Kill Pretty single is very soon to follow. For those All The Madmen co operative members and also to the casual supporter who may still have a record player, please feel free to join the All The Madmen records Singles Club ensuring you get the limited edition coloured vinyl first pressings of all the 7″ singles that the label will be releasing. Singles Club members will receive the product several weeks before any other High Street shops and online stores getting any copies. Joining the Singles Club also works out cheaper than eventually buying all the singles separately!

Check out all the latest news and so forth at the website HERE.

Please come along to this All The Madmen records showcase. I am looking forward to it. The last time I witnessed The Mob was in Bristol earlier on this year in February. Since then the band have returned from gigs in Bradford and Hebdon Bridge, a tour of the east coast of America, a Prague date, a tour of the west coast of America and a date in Berlin with UK Decay! I missed them all…

I personally will not be recording the performances in Tufnell Park next Friday.

I have been organising audio recordings of The Mob and the support acts to place up on KYPP posts for free downloads since the debut comeback gig at Bristol in April 2011. That performance plus the other shows in 2011, Hoxton, Yeovil, Brixton and the second Bristol gig in February 2012 have all been recorded and archived on KYPP.

This special All The Madmen re-launch gig I intend to enjoy myself and pay closer attention to the bands rather than worrying about recordings. I might change my mind on the day though… But probably not as I am also taking the Bobbler along for her first Mob (and support acts) experience!

All the text below are old essays written by myself and Alistair many years ago. I thought I would place them all on this post for any one that maybe interested in reading them.


All The Madmen started off as a fanzine from Yeovil in Somerset, England, in early 1978. The name ‘All The Madmen’ was taken from one of the tracks off David Bowie’s album from 1972, ‘The Man Who Sold The World’. The fanzine was run initially by Geoff in collaboration with Mark, from one of the local bands at the time called The Mob. The fanzine also involved various local friends including Max, Wilf, Christine and Debs.

Towards the end of 1979 after returning from a tour of the UK and Holland supporting Here And Now, The Mob recorded their first studio tracks. Geoff decided to start up the label for the release of ‘Crying Again’ and ‘Youth’. Grant Showbiz, who had been behind the mixing desk during the tour, handled the production on these recordings at the Crypt in Stevenage. This would be the start of a relationship between Grant Showbiz and the various bands on the All The Madmen label which would continue for many years.

MOB01 – The ‘Crying Again / Youth’ 7″ was released in 1980 with the financial help of Max, and was the first record on the All The Madmen label. The local record shop in Yeovil called Acorn agreed to distribute it locally. Other sales went through mail order via the fanzine and at local gigs performed by the band. The address for all correspondence for the fanzine and the new label was Larkhill Road, Yeovil, which was where Geoff was living at the time. The sleeve was done by Wilf, a friend of Marks and Geoff, who would work quite closely with the label from then on. All The Mob’s releases on the label featured Wilf’s artwork. He also worked on product for other record labels including the artwork for The Mob’s ‘No Doves Fly Here’ 7″ released on Crass Records in 1981.

REV01 – 1980 continued with another release on the label by a Clevedon mod band, The Review – ‘England’s Glory / Greatest Show’ 7″. The Review was a band that was like the other mod revival bands of the day, but a cheaply recorded one, although the band were still very punchy. This record actually has ALL THE MADMEN printed labels on the disc, as opposed to the plain white labels of the previous All The Madmen release. On the sleeve it name checks The Mob, Wilf, Christine and Debs (Goodge) from Bikini Mutants (Debs was to become a founding member of My Bloody Valentine in the mid 1980’s). If anyone gets to hear this record, listen carefully to the intro of ..Greatest Show.. on the B-side, sounds very much like the first few bars of ‘Londons Callin’ by The Clash! Bear in mind that there is NO MAD01 catalogue numbers…MOB01 for The Mob and REV01 for The Review.

MAD02 – Later in 1980 the label released the explosive ‘Witchhunt / Shuffling Souls’ 7″ which really got The Mob’s name pushed out from their local tight knit community, and into the wider circle of punk bands and fanzine writers in the south of England. On the first pressing, the sleeve has the Larkhill Road, Yeovil address on. On the second pressing, the sleeve has the Seend, Wiltshire address…which takes us nicely to Andy Stratton (later of Null And Void) who shared this address in Seend with The Mob, at the time.

MAD03 – The single by Andy Stratton ‘I Don’t Know / Evil Minds’ 7″ came out in 1980. The drummer on this single was Graham, who was still a member of The Mob at the time. The single is an excellent punk pop affair, with the sound and feel of the Pete Fender and The Four Formulas 7″ called ‘Promises’ which was released on Poison Girl’s label Xntrix around the same time. Very Buzzcocks influenced. Pete Fender went on to record Andy Stratton’s band Null And Void later on in 1982. Mark and Curtis of The Mob decided to move to London late on in 1980, Graham opting to stay in Yeovil, the band tried out various drummers to work with them including Adie from Null And Void. Max and Geoff had also decided to stay West Country bound, so Mark was looking after the record label, loosely, at this time. All went a little quiet for the All The Madmen label for a short while, but the Mob released, in cassette form only, a recording done on a tape recorder in Brougham Road, Hackney with the new drummer Josef Porter from The Entire Cosmos and Zounds, entitled ‘Ching’ which was basic, but good enough to sell at gigs and through mailorder. Then ‘No Doves Fly Here’ 7″ was released on the Crass label in 1981, to huge acclaim.

MAD04 – This was the most adventurous project to date and was released in 1983. The album ‘Let The Tribe Increase’ by The Mob which originally came out in an reddish orange cover, with a poster, and displayed ‘borrowed’ artwork from Alternative TV’s second album on the front cover! The Mob had been based in London for a couple of years by now, so the address they were using was c/o Freedom Press bookshop in east London. All the members were living in squats and co-op housing in west and north London, so needed an address they could rely on, in case they were evicted from their homes. The album is absolutely essential listening, and had wonderful reviews from the music biz hacks, and more importantly from the followers and fanzine writers of the day. This album got to number 3 in the indie charts and was featured in all the weekly music papers. Josef played drums on this album, which was recorded at Spaceward studios in Cambridge.

MAD05 – The Astronauts second album (first for All The Madmen) ‘All Done By Mirrors’ was released in 1983. Their first album on Jon Barnett’s Bugle label was already an important product at the time. Jon Barnett was a free spirit who was hanging around with the band Here And Now, and squatting in west London. The Astronauts had played on the ‘Weird Tales’ tours in 1980, which also had bands like Zounds / The Mob / 012 / Androids Of Mu etc performing. The first Astronauts album ‘Peter Pan Hits The Suburbs’ was very good with astonishing artwork, but when All The Madmen released ‘All Done By Mirrors’, the resulting album was much tighter musically and is still probably the pinnacle of their long and varied experiences in the studios.

MAD06 – The Mob ‘The Mirror Breaks / Stay’ 7″ was released mid 1983, and is one of the prettier songs, musically, released by the band. After a European tour in late 1983, The Mob split up and Curtis and Josef immediately carried on playing with their new band Blyth Power, which included Neil from Faction on guitar. Josef had already been playing (a soon to be Blyth Power song) ‘Hurling Time’ live with The Mob towards the last few shows. Mark was disillusioned with London, and felt no need to continue writing and recording songs for The Mob. He went quietly into the countryside with the peace convoy and in the process started to raise a family.

MAD07 – This was the ‘Freaks Run Wild In The Disco’ 12″ by Flowers In The Dustbin, which was released in 1984 by Alistair, a contributing writer for ‘Kill Your Pet Puppy’ fanzine, who was now in charge of the label after Mark had left London. FITD were a very colourful band that shared some similarities with The Mob. The structure of some of the songs, well written personal and conscientious lyrics, and some of the time, a complete shambles live, but in a very colourful and positive way. This five track 12″ was a good debut for the band.

MAD08 – Later on in 1984 Alistair was involved in releasing the ‘Rape / Thank You’ 7″ by Zos Kia, a band run by John Gosling who was also with Psychic TV at the time. He had first recorded with Psychic TV on the single ‘Roman P’ earlier in 1984 which was released on the French Sordide Sentimental label. John stayed with Psychic TV for a couple more years, recording and playing on the sporadic live performances. John was living in the same street as Genesis P-Orridge in Beck Road, Hackney at the time. The All The Madmen label was now based in Brougham Road, Hackney, which was just around the corner to Beck Road. Brougham Road was a street with one side colourful co-op housing, colourful trucks and coaches. The other side of the road was a large housing estate. The tenants on the ‘colourful’ side had agreed with Hackney Council to live in these broken up houses while paying very little rent. Short term housing that was looked after and improved in time by the tenants, but for a better description just a row of ‘legal’ squats. Min who voices the Genesis P-Orridge / Alex Ferguson produced track ‘Rape’ was also involved in the ‘Kill Your Pet Puppy’ collective at this time. The words for ‘Rape’ half whispered, half screamed and very stark, was a chilling account of what she experienced being abused in Australia, when she was younger. Min went off to join the peace convoy and was not involved in any further recordings with the band. John Gosling continued with Psychic TV and Zos Kia for a while longer, and Zos Kia had some releases on Psychic TV’s own label Temple Records. The single for All The Madmen got decent reviews, and remains to this day, a very emotional track to listen to. It has a completely different sound and feel to the rest of the label’s output. Alistair at this point turned over the general running of the company to Rob Challice, a Brougham Road tenant, who used to play bass in the band Faction, and who also contributed to the ‘Enigma’ fanzine. Rob was generously assisted by Andy Morgan, and a little later on Sean ‘Gummidge’ Forbes, and a little later on still Mickey ‘Penguin’, who was upgraded to the official All The Madmen Records slave, which was previously Sean’s position!

MAD09 – Rob’s first release came out in 1985, the 12″ by Blyth Power entitled ‘Chevy Chase’, which was a success for the band and the label. As a three piece outfit the band had previously released ‘A Little Touch Of Harry In The Night’ a cassette on Rob’s own 96 Tapes label. The tracks on this cassette were recorded in the basement of 96 Brougham Road where All The Madmen had their small office. The 12″ though was recorded at Street Level studios with Grant Showbiz engineering. The band had expanded to a five piece a few months before the time of this recording; both new members were backing singers, Andy (the same Andy who was helping Rob at All The Madmen) and Sarah. These singers improved the band’s sound immensely, Blyth Power would continue in this line up until the end of 1986. The three piece version of the band was decent enough, but the five piece line up really were very popular at the time, and did very well. The band even got onto Radio One’s afternoon drive time show with the single ‘Ixion’, with an interview on the show with Josef (although by the time the interview was aired and the single released in 1987 the band that actually recorded the track did not exist). Blyth Power gigs at this time were always enthusiastic and sweaty. It seemed that the band was always performing somewhere live every night.

MAD10 – This product released in 1985 by the label, was Clair Obscure’s album ‘Pilgrims Progress’. The band was a French Gothic experimental / performance art band. If you could imagine Chrome partying with The Virgin Prunes while UK Decay mixed the drinks, then that would be a fair description! Not a bad live recording and quite different to the other albums on the label, but sold slowly in the UK, quite a lot of copies went out on export though, mainly to the U.S.A!

MAD11 – This was the third Astronauts album (second for All The Madmen) entitled ‘Soon’ which came out in 1986. This album was popular. One side there were new tracks (not quite as strong as the previous album’s, but still reasonable) and the second side were tracks taken from the early 7″ singles previously released on Jon Barnett’s Bugle label (The ‘Astronauts’ and ‘Pranksters In Revolt’) – These tracks were well out of print by 1986 so there was a fair amount of interest generated on this release, just on the reputation of these tracks on the B-side.

MAD12 – 1986 continued and All The Madmen were back on track with Blyth Power’s ‘Junction Signal / Bind Their Kings’ 7″ & 12″, another Grant Showbiz production. Both formats sold very well and the band continued to tour all over the place in the UK and Europe. A thousand numbered limited edition 7″ were produced along with the four track 12″.

MAD13 – Later on in 1986 the 12″ reissue of The Mob’s first single ‘Crying Again’ was released. The original and long deleted 7″ was still being requested in a lot of the letters being sent to the All The Madmen office, and also by interested gig goers at Blyth Power performances around the country. Because of the success of Blyth Power, and the fact that the Mob’s available back catalogue, ‘Witchhunt’ 7″ (in a non foldout cardboard sleeve on these later repress copies), ‘Let The Tribe Increase’ album (in a blue cover now) and ‘Mirror Breaks’ 7″ were all still shifting units even up to 1986, it was suggested by Rob that this was the right time to re-release these old track’s and add some decent live recordings for good measure. The plan was discussed, master tapes found, and Wilf contacted. Wilf completed his last piece of artwork for a Mob release. This release sold out quickly as expected.

MAD14 – The last release of 1986 was a band with the strange name of Thatcher On Acid and the product was the ‘Moondance’ 12″. A decent band hailing from Somerset who were squatting in South London, had a three piece line up, the guitarist with dreadlocks was the singer, more than a couple of Mob comparisons. The band stood up to the Mob ‘rip off’ tag, and became a very good outfit, which continued until the early 1990’s. The 12″ that was released was considered a bit flat and dated by the band at the time, but that is probably because the recordings were already about two years old by the time of the released 12″. Most of the public thought it was a good release at the time and it sold well. The release also had some great artwork by Wilf and Graeme Coles. The band played all over the place, a lot of shared gigs with Blyth Power and The Astronauts. In April 1987 the band even supported Conflict at Brixton Academy in front of 5000 screaming punkers who went on the rampage in the streets after the main performance by Conflict had finished. All The Madmen had a stall in the venue on that night, got to sell quite a lot of records and shirts. Thatcher On Acid went back to playing to 200 people in pubs and squatted venues after this gig!

The label left Brougham Road late on in 1986 and went to 97 Caledonian Road in Kings Cross, N1. Known as crucial corner, it was graffitied as such; All The Madmen’s office was above Better Badges and below Fuck Off records. Over the road was Rough Trade Distribution, which was quite handy, as their distribution network had been carrying and distributing All The Madmen stock since The Mob’s ‘Let The Tribe Increase’ album. Around the same time as the label moved to a new area, Josef from Blyth Power had told Neil and Curtis that their services would not be needed, come the New Year. Andy one of the vocalist’s was also leaving on his own accord. Therefore a new line up was found to tread the boards night after night from 1987 onwards. The new line up had Protag from The Instant Automations, and one of the organisers (with Grant Showbiz) of the bi-annual Meanwhile Gardens gigs in Westbourne Park, on bass (and more importantly, van!), old Mob and All The Madmen ally, Steve Corr from Yeovil on guitar, and Sian from The Lost Cherees as duel vocalist with Sarah, who remained from the original five piece line up. An album recorded with the original five piece line up was released after the split, got good reviews and sold well. The final original five piece Blyth Power gig was held at the Sir George Robey in Finsbury Park, London in December 1986 to a very large and emotionally friendly audience.

Brougham Road was eventually evicted from 1987 onwards to make way for ‘decent’ families as part of Hackney Council’s regeneration program. Some tenants just got in their trucks and moved away with the peace convoy, or ended up in Spain. Some others continued squatting in other areas, or found new co-op housing schemes to add there names to.

All The Madmen went on for about a year and a half until the spring of 1988, releasing the following titles: Blyth Power ‘Wicked Keepers’ album and ‘Ixion’ 7″ and 12″ / We are Going To Eat You ‘I Wish I Knew’ 12″ / The Astronauts ‘Seedy Side Of’ album / Dan ‘An Attitude Hits’ album / Thatcher On Acid ‘Curdled’ album / Hysteria Ward ‘From Breakfast To Madness’ cassette. Also released were a Mob and a Blyth Power pack with printed record envelopes, which held within; one 12″ record and two 7″ records for the Mob package. Then one 12″ record, one 7″ record, a t-shirt and badge in the Blyth Power package. These packages were mainly sold to customers abroad, who did not already have the available Mob and Blyth Power catalogue. Blyth Power with the new line up had several albums and 12″ records released on the Midnight Music label from late 1987 to 1991. I have only put in information from 1980 until the end of the Brougham Road stay in late 1986…All The Madmen at Caledonian Road would take a lot more time, so just going up to the last release on All The Madmen at the Brougham Road address.

Mickey ‘Penguin’ x


What do you think was so important about The Mob?

The Mob were important for us because they were like a musical version of KYPP. In terms of wider importance it is difficult to say. The Mob were part of the scene and offered a creative alternative to the restrictions imposed by the identification of Crass with ‘anarcho-punk’.

Were there other bands as close to the collective as The Mob?

Probably not, but variously Blood And Roses, Hagar The Womb, Brigandage, The Turdburglars, The Barracudas, Zos Kia, Flowers In The Dustbin, Charge, The Associates, Rubella Ballet… it was a shifting mix of relationships between members of the collective and individual members of bands rather than between ‘the collective’ and ‘the groups’.

At the time, did you relate to much of the other anarcho bands?

Thinking about it, and with reference to 10. above, the question misunderstands the situation at the time (1979/ 85). What there was a punk version of the UK/ London late sixties / early seventies counter-culture where there were several thousand self-confessed punks, with a concentration in London. Within the counter-culture there was no clear boundary between ‘audience’ and ‘performers’, between fanzine writers and fanzine readers. I remember this most clearly from gigs when one group stopped playing they would get off the stage and return to the audience whilst the next group to play would step out of the audience and onto the stage (sometimes there wasn’t even a stage). The Kill Your Pet Puppy ‘collective’ were indistinguishable from the ‘punk collective’.

How would you describe the Centro Iberico to someone today?

The Centro Iberico was a place where the Do It Yourself ethic of punk prevailed, where anarchist theory was everyday practice. Where there was no boundary between audience and performers. This was challenging – there was no-one in charge so for something to happen (e.g. to build a stage and wire it up) those with enthusiasm to make it happen, had to enthuse enough others to get the job done. There was no ‘product of alienated labour’, no ‘spectacle’ to be ‘passively consumed’. The biggest challenge was how change attitudes – how to persuade alienated youth not to trash place and get them to realise they ‘owned’ it. It was a problem punks with a squatting background had faced many times before… The Centro Iberico was about what happens after the revolution. How do we find ways to move from destruction of the old world to the creation of a new one? I remember the experience as exhilarating and liberating – the closest equivalent being the atmosphere on Claremont Road in 1993/4 during the M11 Road Protest Campaign. See http://www.geocities.com/londondestruction/claremont.html for a bit of historic background

How did you get involved with All The Madmen?

My involvement began in the kitchen of Puppy Mansions, Westbere Road, West Hampstead, London in early 1983. Mark Wilson of the Mob was there and he mentioned the idea of the Mob making an album. At the time I was being trained as a ‘Project Engineer’ by the London Rubber Company (makers of Durex condoms) so I applied a bit of the theory I was learning to the problem – break down a project into small do-able units and cost/ time them. So Mark began scribbling down the costs etc. of making an album on a scrap of paper – cost of studio time, cost of mastering disc, cost of art work, printing costs, pressing costs – which he knew from The Mob producing their own records like Witch Hunt.

Mark then managed to get Rough Trade (who distributed The Mob’s singles and knew that their ‘No Doves Fly Here’ single on Crass’ label had been a best seller) interested. Rough Trade told Mark that if he could finance the recording costs, they would cover the other costs in return for a distribution deal.

Mark then got myself and others (Mick Lugworm for example) to contribute to the recording costs and The Mob went into the studio and made the record – Let the Tribe Increase. With the help of Tony D, Mick Mercer and other fanzine writers who were now writing for music papers (NME, Sounds, Melody Maker) and magazines like Zig Zag and Punk Lives, the album got rave reviews and sold well beyond expectations. This meant that by the end of 1983, The Mob had several thousands pounds held in credit by Rough Trade. Mark had the idea of using this money to put out records by other groups on their All The Madmen label and asked me to help manage the project. This I did, though it meant going from being paid ÂŁ90 a week at London rubber to getting ÂŁ15 a week 

Unfortunately, after releasing The Mirror Breaks as a single, The Mob then split up. None of the other groups (The Astronauts, Flowers In The Dustbin and Zos Kia) on the label were able to sell more than the 1000 copies of their records to break even
 so the money slowly began to run out. See following questions for next part of this story.

Who were Clair Obscur and how did they wind up on the label?

What was the story with their live LP?

I can’t answer these questions, I had parted company with All The Madmen by the time they were on the label.

Who were Zos Kia and how did you know them?

Zos Kia were a Psychic TV spin off group and in their early days crossed over with Coil. Psychic TV (1981) in turn came out of Throbbing Gristle who were contemporary (1976) with punk. Genesis P Orridge of TG / PTV lived in Beck Road in Hackney and there was a strange cross-over between Brougham Road (a squatted street where Mark of the Mob and many others including briefly former Bader-Meinhof gang member Astrid Proll lived and with a link to the original hippy-traveller Ukrainian Mountain Troupe group) and TG / PTV

Min was the direct link, she was ‘sort of’ a KYPP collective member, I first met her at a Mob gig at Parliament Hill Fields / Hampstead Heath in summer 1981- which was also our first encounter with The Mob themselves. Another link was through Mouse, who was briefly a member of PTV and a friend of Coil.

Anyhow, through the various overlaps and connections, Zos Kia put out their single Rape on All The Madmen.

What was the Rape 7″ about? I remember it being extremely shocking at the time.

The words of Rape were a graphic description by Min of when she was raped in the Australian outback whilst on a family holiday there. I am not sure how old she was at the time, about 14 I think. It was a traumatic experience. I cannot forget her describing it to me a couple of years before the record came out. She later told me she only listened to the record once. It was a personal exorcism. It is still intense and powerful, far more so than the ‘distanced’ explorations of extreme realities of other PTV or TG songs. After touring with Zos Kia, Min became a traveller and was at the Beanfield (Stonehenge Peace Convoy) police riot in 1985.

What were your main duties running the label?

I was the only employee / manager so had to do everything.. I did the marketing and promotion, kept the accounts and paid VAT, hung out at recording sessions, replied to fan letters, organised printing and pressing, liaised with Rough Trade / the Cartel ( co-operative distribution network). Boring stuff.

Did you enjoy running the label?

Yes I did. Way back in 1972, long before punk, I became a fan of Hawkwind (after hearing their single Silver Machine and In Search Of Space album). Hawkwind and the Pink Fairies were part of the late sixties/ early seventies UK counter-culture and I wanted to be part of that
 but by 76/7 punk was the scene and I wanted to be part of that as well. Running All The Madmen in 1984 and being part of the Puppy Collective seemed to me to be the fulfilment of my teenage dreams
 The Mob were like Hawkwind / Pink Fairies (or the Sex Pistols and Clash) and KYPP was like International Times and OZ or Sniffing Glue.

But then the reality was also a necessary disenchantment / disillusionment. Like the Gertrude Stein said about Los Angeles – ‘when you get there, there is no there there’. In theory I was ‘there’ at the heart of anarcho-punk, of the early eighties ‘post’ punk counter-culture 
 but it seemed strangely empty .

How did Rob Challice wind up running ATM? Why did you quit?

I did not quit, I was asked to leave by Joseph (with the support of Curtis) of The Mob who got annoyed when he asked Rough Trade for some Mob money and was told that I was the only person who had access to the funds. Which is fair enough, since no formal agreement about how money earned by The Mob via the deal with Rough Trade should be paid out had been worked out. They left a letter on my desk saying Rob Challice was now in charge of ATM. I took this as a dismissal / redundancy letter. The only thing which annoyed me about this was that it meant that the Anarcha And Poppy record never got released. I thought this was a brilliant piece of music which should have been released
 which it now has been.

Between the KYPP, ATM, Centro Iberico, etc. what do you think was your main interest and your best memories of the times?

My main interest was Kill Your Pet Puppy. I thought it was brilliant then and I still do. I put it up there with sixties counter-culture magazines like International Times and OZ. Sod Crass and their idiot ilk, KYPP was the real thing, they were just background noise. KYPP was PUNK. ATM and the Centro Iberico were interesting asides to KYPP and to the evolution of punk and I am proud that I was part of them. But when it comes to punk as revolutionary, as visionary, as creativity, as ‘be realistic: demand the impossible’ – it was KYPP which demanded the impossible and delivered it as reality.

How do you reflect back on those days?

OH! pleasant exercise of hope and joy!

For mighty were the auxiliars which then stood

Upon our side, we who were strong in love!

Bliss was it in that dawn to be alive,

But to be young was very heaven!–Oh! times,

In which the meagre, stale, forbidding ways

Of custom, law, and statute, took at once

The attraction of a country in romance!

As Wordsworth described the French Revolution. Our Revolution was inspired by the French revolution of May 1968, by the Situationists, by the Surrealists, by the Doors, by the Velvet Underground, the Stooges, by Patti Smith, by David Bowie and Marc Bolan, by the Pink Fairies, by the Sex Pistols, by
 The Mob, Blood And Roses, Charge, by Adam And The Ants, by punk
 but not Crass

How do you reflect back on that music scene?

Ooops, think I have answered this above. Zounds, Rubella Ballet, 
 Hagar The Womb, Look Mummy Clowns. But we also listened to the Human League and Soft Cell (well I did!) to Killing Joke and the Pop Group, to Siouxsie And The Banshees and the Psychedelic Furs, to Syd Barrett and the Misunderstood, Bow Wow Wow and the Slits, to Joy Division and New Order 
. We were not bound to the constraints of ‘anarcho-punk’. We were anarchists, we were punks but the very act of such self-description destroyed the narrow boundaries of ‘anarcho-punk’ and liberated us to create a ‘music scene’ beyond the puritanical constraints of ‘anarcho-punk’ as defined by Crass and their clones.



Subway surfing anarcho-goths.

Legend has it that when Tony D. First saw Jeremy Gluck of The Barracudas, he was carrying a surfboard down an escalator at Holborn tube station in 1978. The Barracudas were a surf-punk band, celebrating early sixties California in late seventies London. They even had a hit in (?) with I Want My Woody Back. Jeremy joined the Puppy Collective and wrote an article in praise of ‘stupid songs’ for KYPP 1 featuring Abba, Boney M, the Village People and Blondie.

Fast forward to early 1981 and the Puppy Collective are surfing the subway to see The Barracudas play rock n roll heaven, the legendary Hope and Anchor pub halfway down Upper Street, Islington. It was a venue I had never visited before. The pub was upstairs, the bands played downstairs in a tiny basement on a stage which must have been all of six inches high. It was hot and sticky. Sweat evaporated instantly and then condensed on the ceiling to fall back down like rain on the audience.

At some point in the evening’s proceedings, most of the Puppy Collective vanished, leaving only myself and Tony to re-create obscure dance moves from the Sixties as our tribute to The Barracudas.

 Gay Punx and a Parallel Universe

The lost puppies returned a few days later, full of strange tales. They had apparently entered a parallel universe and found a lost tribe of gay punx living in a squatted corner shop in Islington. They even had the evidence to prove it. On closer inspection, the evidence was revealed to consist of an article about gay punks in Gay Noise magazine (swiftly cut up and returned for KYPP 4) and flyers for gigs at a squatted church on the Pentonville Road called “The Parallel Universe”. From here on in, any coherent linear narrative breaks down. All that remains are a jumble of dubious ‘recovered memories’.

The Mob on Parliament Hill

The gay punx/ Gay Noise was written by Pip. Pip lived at 51 Huntingdon Street in Islington, a former corner shop with its windows breeze blocked in. H Street as it was called for reasons which will become apparent later, was part of a punk squatting scene which had diverged from that of the Puppy Collective a few years earlier. It is all somewhat confusing, but from 1977 onwards, as more and more teenagers were drawn to London by punk, punk squats began to emerge as the squatting scene of a previous generation (i.e. Frestonia/ Freston Road W 11) decayed.

For a while, members of the Puppy Collective lived in a squat at Covent Garden. later they lived in a derelict fire station at Old Street, right on the edge of the City of London. After this squat was evicted, some occupied an abandoned hospital, St. Monica’s, in North London. Other punks moved to Campbell Buildings near Waterloo. Campbell Buildings gained a reputation as a ‘hell on earth’. As Bob Short of Blood and Roses put in an interview with Tony D published in Zig Zag magazine, “It was like boredom for weeks, then there would be a murder”.

What happened in 1981 was a re-connection between these divergent strands of punk. Pip invited the Puppy Collective over for a meal (vegetarian lasagne) and the next morning we trekked back across north London to search for magic mushrooms on Hampstead Heath. None were found. What we did find was The Mob playing a free gig in an adventure playground on Parliament Hill Fields.

Though we did not know it at the time, The Mob were to become inextricably entwined with the Kill Your Pet Puppy Collective and the Centro Iberico, with ‘anarcho-punk’ and the Black Sheep Housing Co-op and with our magickal mystery tour to Stone(d)henge and beyond. Through Min, who I met that afternoon, another series of connections emerged, leading from Throbbing Gristle, Psychic TV and onto Zos Kia.

The Mob were west country punks. John Peel (of sacred memory) picked up and played their second single Witch Hunt, which is how we knew of them. “Still living with the English fear, waiting for the witch hunt dear”. Not sure when they moved up to London, but by 1982 they were mainstays of ‘the scene’. The connection with the Puppy Collective was briefly intimate (Tony’s sister Val ‘ I am not a Puppy’ and Mark Wilson were an item for a while). Plans for The Mob’s album Let The Tribe Increase were made on the back of a shopping list in the kitchen of Puppy Mansions. My contribution was to ask how much it would cost to make an album (such a quaint word these days). Mark jotted down some figures and then went to Rough Trade who offered to pay the pressing costs if he could raise the recording costs. Thanks to Crass, who had released their single No Doves Fly Here, The Mob were able to build on the strength of Witch Hunt to become, thanks to Let the Tribe Increase, a major influence on anarcho-punk.

Their very success became a problem, at least for main Mob person Mark Wilson. Inspired by an encounter with uber hippy travellers the Ukrainian Mountain Troupe, who had occupied an abandoned bus garage near Brougham Road in Hackney. Brougham Road was a row of squatted houses where ex Bader Meinhof person Astrid Proll briefly lived. Her sojourn there inspired a song by Nik Turner of Hawkwind fame. Mark bought a truck and made himself a tipi over the winter of 1983/4 whilst living at 103 Grosvenor Avenue, part of the Islington based anarcho-punk Black Sheep Housing Co-op. As Tom Vague would no doubt point out, members of the Angry Brigade had lived on the same street a decade earlier. Black Sheep’s anarcho-punk credentials were established by managing to acquire Andy Palmer of Crass as an active member. But on a point of information, the original inspiration for the Black Sheep Co-op came from anarcho-communist Andy Martin of The Apostles.

To cut this part of the saga short, by 1984, an idea first expressed by Mark P’s ATV / Here And Now tour of 1978, which took in a performance at Stonehenge Free Festival had become a reality. First a trickle, then a surge of the punk generation became ‘hippy travellers’, much to the discomfiture of tribal elders like John Pendragon.

Thelemic punk- Blood and Roses.

Back to 81. Clissold Park, Stoke Newington. One of London’s ‘lost rivers’ ran through here, down from Seven Sisters and on past Abney Park Cemetery, along part of Brooke Road, through the edge of Hackney Downs (with a ford on Mare Street) to the River Lea. I didn’t know that then.

What I did know was that Bob Short had been one of the Old Street fire station squatters and then the last survivor at Campbell Buildings. Now Bob had a band and they were to play on the outdoor stage at Clissold Park. I remember going with Puppy Collective, but not much more.

Did we end up back at Bayston Road ? Or not ?

Bob’s group evolved into Blood And Roses. The name came from a vampire film by Roger Vadim. Bob was and still is a movie buff. Thanks to Bob I saw Blade Runner and Assault on Precinct 13, Alien and ET. Blade Runner still haunts me, Alien still scares me. Blood And Roses created an evocative and powerful version of the theme to Assault On Precinct 13 for a John Peel session. Still got it on tape somewhere. Safely back in Australia, Bob is still making music and making movies. Just seen a couple. Makers of the Dead and a spoof Christian TV show. Makers of the Dead is a fascinating and brilliantly subversive re-writing of Bram Stoker’s Dracula set in present day Oz. The spoof religious TV show is perhaps more directly subversive and just happens to be side-splittingly hilarious.

“Do what thou wilt shall be the whole of the law, love is the law, love under will…” . The chorus of a Blood And Roses song, which is also they key mantra of Thelemic magickians, or followers of mad, bad and dangerous to know Edward Alexander (Aleister) Crowley to get tabloid. If The Mob were the dayside of anarcho-punk, Blood And Roses were the evil twin , the anarcho-goth nightside. Although The Mob and Blood And Roses occasionally played on the same bill, their worlds did not collide. They just overlapped a wee bit.

At the Centro Iberico for example. But that came later, so I will have to return to the Hope and Anchor. Discovering the Parallel Universe opened up fresh set of possibilities, allowed a movement away from straight venues, created opportunities for a punk underground to develop as an alternative to the overground represented by ‘oi!’ punk as promoted by Gary Bushell , then of Sounds, now of the Sun. But … it also meant a gradual retreat into an ideologically pure ghetto, a return to the pre-Grundy period when the Sex Pistols were an underground group playing to a self-selected elite of hip dudes and dudettes. It was a slow death, but it was a dying none the less.

Like all squats, the Parallel Universe was physically only ever a temporary space. A gang of ‘dossers’ hung out there and resented their space being taken over by a bunch of spotty punks. Eventually the church caught fire and lay derelict for years before being turned into trendy offices.

Bit of psychogeography – a famous Victorian clown ‘Grimaldi’ was buried in the attached graveyard which remains a place of pilgrimage for the clowning community.

Fortunately the Autonomy Centre set up post Persons Unknown trial with the help of Crass/ Poison Girls became our new church. The original idea (Andy Martin’s?) was just to have a few benefit gigs to pay the rent, but they turned into a regular Sunday feature over the winter of 81/2.

On John Eden’s website there is a whole chunk by Andy Martin about the Wapping Autonomy Centre, complete with lists of the bands who played. The Puppy Collectives contribution was to buy crates of cheap lager to sell alongside fanzines and anarchist literature in a back room.

Didn’t last though. According to Albert Meltzer’s online autobiog, the punks trashed the place and then the landlord threw everyone out. Which is true. What is also true is that the Autonomy Centre was never a viable economic proposition. There just weren’t enough straight anarchists around to keep it going without the punk gigs, but the punks gigs broke the lease agreement (no music, no alcohol)… echoes of similar sixties ventures. Except instead of Crass and the Poison Girls, places like the Indica bookshop were financed by the Beatles (see In the Sixties by Barry Miles : Jonathon Cape: 2002 or All Dressed Up by Jonathon Green).

Aside – Tom Vague has done an excellent job by creating a seamless narrative for West eleven/ Notting Hill which firmly puts ‘the sixties’ in a before and after context – see www.historytalk.com and numerous Vagues.

Centro Iberico 421a Harrow Road W9

Knit your own anarchy centre. It was an old school on the Harrow Road. Brick built circa 1900, similar to the one my kids later went to in Hackney and again in New Cross. Real Spanish anarchists lived there, some were veterans of 1936. There was a proper assembly hall with a stage on the first floor. We got the use of the ground floor and built a stage out of old cookers ( I had a photo, used in Punk Lives, of Tony hard at work building the stage). It was a bigger space than Wapping and its active life as Anarchy Centre lasted through into the summer of 1982. Still have a bright yellow double sided A 4 flyer Tony produced for it.

National tragedy 23 million people still employed!

The Autonomy Centre in Wapping has now officially closed after being largely unused in its year long existence- apart from the gigs there every Sunday from November to Feb 21st 9 till the landlord found out.

As the gigs were the centre’s only form of income it was inevitable it had to close (ÂŁ680 rent every three months, next payment would have been made on March 22nd).

Around ÂŁ700 was paid into the bank from concerts, another ÂŁ50 used to repair the drum kit that was used almost every week and to buy materials and keep running the Centro Iberico. As this is written there is ÂŁ89 in the kitty, but there is also a list of things that are needed quickly:

Microphones, chemical toilets (what people in caravans and things use) tape recorders, a plu board (not enough sockets in hall) paint / brushes to paint banners to decorate the place, food / tea / coffee that you eat and drink free each week (or pay a little for the food)…

This isn’t just a gig venue run by an elite clique of people. As we said in our last Sunday Supplement “A kick up the arse”, if you don’t put energy into the centre well all get pissed off and put none in ourselves and then where will you be? The Lyceum? The Clarendon? the 100 Club? Twice the cost, half the bands and bouncers = no fun. Thieves, no-one paying, no participation = no A centre. Its your centre, use it, don’t abuse it…etc.

When a new, permanent place is found that we can use during the daytime for more than just gigs, then these gigs now should have raised enough to pay for facilities and things that can be used by and for all. If you have any ideas about what should be there, come along early and discuss it.

Crass have shown interest in helping out but they don’t want to be used as a money source (the way Iris Mills and crew did in the setting up of the last place) – this place has to be financially independent…

ÂŁ1 entry, doors open 4.30pm, first band on at 7pm, finish at 10.30pm

21st March 12 Cubic feet / Apostles / Lack of Knowledge / Replaceable Heads

28th March Rubella Ballet / Action Pact / Dead Man’s Shadow

4th April Subhumans / Organised Chaos / Locusts / Hagar The Womb

11th April EASTER -no trains? no bands? probably a free mind boggling weird and wonderful day

18th April Flux Of Pink Indians / Cold War / Screaming Babies

25th April The Mob / Bikini Mutants / D-Notice

Dotted around the text little Situ quotes “Authority is the Negation of Creativity”, “Dis-obey your jailers- Smash the Spectacle”, All power to the imagination / imagine no power”, “In a time of universal deceit, telling the truth is a revolutionary act”

Anarcho-punk, anarcho-goth – and Crass had fuck all to do with it. Got a single recorded by Conflict there, but probably belongs to Tinsel. Got a tape with Blood and Roses going nova with Curse On You live at the Centro … and didn’t they play Sister Ray there once? The first Sunday there was nothing so we banged bits of wood and metal together and sang Patti Smith songs “We shall live again…”

It was the kind of atmosphere which the previous underground turned into legends – like Pink Floyd playing the IT launch party at the Roundhouse/ Hawkwind and Pink Fairies playing under the Westway… or the stuff of 76/77 punk mythology. But by 82 a few hundred crazy-coloured anarcho- gothic punks were? What? An invisible sub-sub culture and the whole scene has been re-written 1984 style as if it was Crass what done it.

But Crass were out in Epping, not there on the streets and in the squats. If anything, as their influence grew, the walls closed in. Or was it the politics? Re-election of Thatcher in 1983 and the unfolding consequences? Another angle is the failure of anarcho-punk to become class conscious and engage with real political struggles.

But I reckon the average age of anarcho-punks was about 17 – working class / middle class = parents. I worked in a factory all the way through the period – there was no point of contact between the worlds. Oh, apart from when the Black Sheep Housing Co-op made the front page of an outraged Evening Standard (thanks to my soundbite!) and into the Daily Mail…

“Was that your bunch Alistair? ” I was asked. My subsequent move from a bed-sit in Ilford to a Black Sheep house in Islington was met with incredulity.

“You don’t want to move there. I was brought up in Hoxton, bloody awful place full of darkies now, you want to move out to Romford like me” .

Or Epping, where my boss lived… “no niggers there”.

I sometimes wonder how many lefty politicos have ever actually worked in a factory.

More Anarchy Centres, Acid Houses and City Stopping

There were dozens. Even the Hope and Anchor got squatted. The Black Sheep managed to open up half a dozen in and around Islington and Mick (Luggy) was head-hunted to go and help open up Peace Centres in places like Leeds. Even Psychic TV played a gig in a briefly squatted synagogue – but by then the scene had mutated, with ex anarchos becoming born again Psychic Youths and some carrying on even furthur to become ‘hippy’ travellers.

The Mutoid Waste Company took to creating situations in squatted warehouses, which evolved into acid house parties and years later fused with the free festival scene which in turn inspired the Dongas of Twyford Down to start the road protest movement.

On a different tack, how about Stop the City? Dave Morris of London Greenpeace / Maclibel trial was instigator there, but a certain Pinki aided and abetted him. 29th September 1983 was first Stop the City… and the idea came around again through Reclaim the Streets in 1999 and is still live as in yearly G8 summit protests. Which is a very brief summary of a lot of things going on, but trolling through the internet, I have found enough links and connections to take it all back to the Parallel Universe in 1981. Sort of. Trouble is there is too damn much stuff. I haven’t even mentioned the Peace Convoy from Stonehenge Free Festival to Greenham Common in July 1982. It is like some weird inverted conspiracy theory in which everything connects – or at least it does if a bit of disbelief is suspended.

The Personal as Political

Not so sure about this, but some of it is public domain. All The Madmen, The Mob’s record company, funded by profits from Let the Tribe Increase, released a single called Rape by Zos Kia in 1984. It is a harrowing piece of music. It is a bleak and graphic description by the vocalist Min of her experience of being raped in the Australian outback on a family holiday whilst she was a young teenager. It is not easy listening.

I was ‘manager’ of All The Madmen at the time. I knew the story behind the song. Min had told me it a couple of years before. It had shocked me. To know that women are raped is one level of knowledge, is the stuff of hundreds of news stories, court cases and tabloid tales. But to hear a woman quietly describing her experience of a rape before breaking down in tears… it disturbed me, and confused me deeply and profoundly.

I could say nothing, do nothing. It was freezing cold in her room. We lay side by side in bed, fully clothed. The City of the Dead. All courage gone and paralysed.

There is no easy path back from such depths. Other voices echo the question “How could anyone do that to a young girl?”. It was not only Min’s experience. I heard then and have heard since many others. Not just in the city either. A school friend only recently recounted her experience of childhood sexual abuse here in this small rural town in the early sixties.

How deep was the politics of anarcho-punk? How shallow were the gothic-punk images of ‘the horror’?

But then… for Min at least, the Zos Kia single was an exorcism. She only listened to it once, it was enough. Maybe this one piece of music alone can stand as justification, as and end point. It came out of Genesis P Orridge’s Psychic TV experiment, but was also part of punk, ‘our’ punk.

Who are we now? We are the future, your future…. not in any obvious way, not like the sixties generation, or even like the 76/77 punk generation. Rather we have vanished into the world as if we had never been, yet (from what I can see) are still somehow shaping and shifting the world. Really? Of course not! We were just a bunch of mixed up kids having a bit of fun pretending to be situationist revolutionaries. Now we are all grown up and much more mature and sensible. Well, some of us are. Min is a Speech and Language Therapist. Can’t get much more sensible than that, can you? Tony is an all round family entertainer. Tom is a local historian. Not so sure about Bob though. And… well lets just wait and see what happens next.


Someday All The Adults Will Die – Hayward Gallery Project Space – London SE1


Punk Graphics 1971- 1984

Hayward Gallery Project Space

14 September – 4 November 2012

Admission Free

From 14 September to 4 November 2012, the Hayward Gallery Project Space on the South Bank in London will host ‘Someday All the Adults Will Die’: Punk Graphics 1971 – 1984, a comprehensive overview of punk graphic design from before, during, and after the punk years. Curated by Johan Kugelberg and Jon Savage, the exhibition will include several hundred pieces of previously unseen material from private archives and collections: home made cassettes, fanzines, posters, handbills, records and clothing. Highlights include work by Gee Vaucher, Jamie Reid, Gary Panter, Raymond Pettibon, John Holmstrom and Penny Rimbaud, alongside numerous anonymous artists.

Schedule of Events:

Press View: 11am – 1pm Thursday 13 September

There will be a panel discussion moderated by exhibition co-curator Johan Kugelberg (Thursday 13 September at 7pm, ÂŁ10). Tickets can be purchased HERE

The panel discussion at the Purcell Room, Southbank Centre will explore the provocative graphic art that developed alongside punk rock. Panelists will include Tony Drayton, editor of Ripped & Torn, one of the first UK punk fanzines, and Kill Your Pet Puppy – arguably one of the most aesthetically interesting anarcho-punk fanzines of the ’80s; William Gibson, award winning writer and seminal cyberpunk novelist; John Holmstrom, writer, cartoonist and legendary editor of the iconic Punk magazine; and artist Gee Vaucher, whose record covers and newsletters for anarcho-punk band Crass in the late 1970s and early ’80s influenced graphics for political protest as well as for music.

The exhibition coincides with the publication of  Punk: An Aesthetic by Johan Kugelberg and Jon Savage, published by Rizzoli.

“If you don’t like the culture you are spoon-fed, you can make your own. It worked wonders at the end of the seventies, and all these jagged, chiaroscuro urgent masterpieces of graphic design, executed by art school masters alongside anguished adolescents continue to reverberate as get-up-and-get-on-with-it eyeball-pleasers.” – Johan Kugelberg, co-curator

Spanning a range of different media, works presented in ‘Someday All the Adults Will Die’: Punk Graphics 1971 – 1984 include: various ephemera such as clothing designed by

Vivienne Westwood and Malcolm McLaren; early press releases and pamphlets for the Sex Pistols and the Ramones; publications and early fanzines including London’s Outrage, Punk, Sniffin’ Glue, and Suburban Press; a rare chance to see and hear a collection of DIY 7” records from international punk labels and artists of the period; situationist-informed prints produced at art school by Malcolm McLaren; limited edition Black Flag prints from the early 1980s by Raymond Pettibon; a Linder Sterling flyer for a 1978 Joy Division performance in Manchester; and six banners used to advertise The Great Rock ‘n’ Roll Swindle, a 1980 ‘documentary’ film about the Sex Pistols, designed by Jamie Reid – whose cut-and-paste aesthetic became synonymous with the graphic imagery of the punk movement, particularly in the UK.


Johan Kugelberg is the author of The Velvet Underground: New York Art, and also organises exhibitions and runs Boo-Hooray gallery in New York. He is also the founder of the Cornell University hip hop history and punk history archives.

Jon Savage is a journalist and the author of England’s Dreaming: Sex Pistols and Punk Rock and Teenage: The Creation of Youth Culture, among many other books. 

Southbank Centre is the UK’s largest arts centre, occupying a 21-acre site that sits in the midst of London’s most vibrant cultural quarter on the South Bank of the Thames. The site has an extraordinary creative and architectural history stretching back to the 1951 Festival of Britain. Southbank Centre is home to the Royal Festival Hall, Queen Elizabeth Hall, Purcell Room and the Hayward Gallery as well as The Saison Poetry Library and the Arts Council Collection. www.southbankcentre.co.uk.

For more information, contact visit our website HERE

Boo-Hooray is an exhibit space dedicated to 20th/21st century counter-culture ephemera, photography and book arts. We publish catalogues, books, artists’ books and LP’s regularly, as well as arrange readings and performances.


265 Canal St, 6th Floor, Chinatown NYC


Advertisments from Kill Your Pet Puppy

This is some stuff I got recently which has gained the Kill Your Pet Puppy seal of approval.

Overground Records anthology of the complete Small Wonder recordings: The Cravats In Toytown album and five singles, newly remastered, plus a bonus disc of In Toytown remixed from the original multi-track tapes by Penny Rimbaud. The Cravats back on stage again after many decades away. One of the best bands from the early 1980’s for anyone with half a brain. An essential purchase.

For more information press on this CD press HERE.  And for the Cravats website press HERE.

Overground Records limited edition remastered gate-fold official re-release of The Mob’s debut LP on vinyl. A true beauty. This LP (like the CD released on the same record label over a year ago) has been professionally remastered in the studio plus it also has Alistair Puppy’s long text inside the gate-fold sleeve artwork. Added to this it is an official release and some money filters down to The Mob. For more information on this release on LP (and CD) press HERE.

Unbelievably after thirty three years Andy T releases his debut album on CD accompanied by a ninety six page booklet. A nice bit of kit indeed. This special CD is also notibily the debut release on the newly revamped All The Madmen co-operative so quite obviously this CD has to be supported! For more details press HERE.

This huge two hundred page A4 book is quite a tome. Includes many quality pages on Phil Russell AKA Wally Hope amongst the pages includes the original letters he wrote in prison in 1969 (for a minor offence – pre the arrest and breakdown when he was sectioned as documented by the book ‘Last Of The Hippies’ book by Penny Rimbaud / Crass). As well these priceless letters there are a set of postcards sent to ‘The Hatfields’ in Ongar Essex. The book is worthy just for an insight into this incredible man who died too soon. But there is much much more. There are also many insightful interviews with people on the road and a lovely piece on the legendary Sid Rawle. This book takes the reader from the mid 1960’s through to the Windsor Free Festival, along several Stonehenge and Glasto happenings, the beanfield and The Levellers. Castle Morten right up to the modern day. A must have if you are interested in Traveller culture. The Kill Your Pet Puppy website also gets a mention in this book (which was a lovely surprise). For more details press HERE. ISBN 9780952331698

Saving the best until last! If Kill Your Pet Puppy had still been produced in fanzine form during the last decade or so, it may well have looked and read a little similar to Laura Oldfield Ford’s ‘Savage Messiah’ fanzines. These fanzines are now collected and released in beautiful book form, much easier to handle and definitely a book worth supporting. Partly Kill Your Pet Puppy / Vague fanzine inspired texts partly Gee Voucher inspired artwork plus a whole heap of Laura’s take on society throughout the last few decades from places all over London not seen in tourist guide books. Absolutely stunning. The Mob, Crass and several other notables are mentioned in the text scape as are Spiral Tribe and even more up to date the London Olympic legacy. Ironically for a book dealing with inner London violence, inner London comedowns and inner London vibes Laura is actually from Leeds! The reviews below describes it better than I could.

Savage Messiah by Laura Oldfield Ford

The acclaimed art fanzine’s psycho-geographic drifts through a ruined city.

“One of the most striking fanzines of recent years is Laura Oldfield Ford’s ‘Savage Messiah’, focusing on the politics, psychology and pop- cultural past of a different London postcode in every issue. Ford’s prose is scabrous and melancholic, incorporating theoretical shards from Guy Debord and Marc AugĂ©, and mapping the transformations to the capital that the property boom and neo liberalism economics have wrought. Each zine is a drift, a wander through landscape that echoes certain strands of contemporary psycho-geography. Ford—or a version of her, at least—is an occasional character, offering up narcotic memories of a forgotten metropolis. The images, hand-drawn, photographed and messily laid out, suggest both outtakes from a Sophie Calle project and the dust jacket of an early 1980s anarcho-punk compilation record: that is, both poetry and protest.”

Sukhdev Sandhu – New Statesman

Walking away from the revamped container stack looking over the Olympic stadium, I found something worth recording. The poster with the smirking, corkscrew-haired young woman chosen to promote another meaningless development opportunity had been customised with black pennies over the eyes, stickers announcing: “SAVAGE MESSIAH”. Was this a band paying their respects to Henri Gaudier-Brzeska? (Savage Messiah is the title of a biography of the sculptor, by HS Ede, published in 1931.) Or was it an art school tribute to the subversive dynamism of Blast and Wyndham Lewis? In a shallow, fast-twitch period we thrive on commodified speed-dating, quoting the quote, Xeroxing energy sources to make them into marketable brands. If Ede’s book was not the inspiration, perhaps the neo-Vorticists of Stratford had chanced on Ken Russell’s 1972 film with the same title, scripted by the poet Christopher Logue, and featuring Dorothy Tutin and Scott Antony as the fated pair, Gaudier and his Polish lover, the troubled Sophie Brzeska?

The mystery of the defaced poster was solved when I discovered Laura Oldfield Ford’s samizdat pamphlets, recording moody expeditions, pub crawls, mooches through the kingdom of the dead that is liminal London. Even the author’s name seemed like a serendipitous marriage of Blake’s Old Ford and the poet Charles Olson’s notion of open-field poetics (the contrary of the current fetish for enclosures). The original Savage Messiah “zines” are serial diaries of ranting and posing among ruins. Ford delivers the prose equivalent of a photo-romance in quest of a savage messiah with attitude, cheekbones and wolverine eyes. A feral, leather-jacketed manifestation of place.

Collided into a great block, the catalogue of urban rambles takes on a new identity as a fractured novel of the city. Slim pamphlets, now curated and glossily repackaged, have an awkward relationship with their guerrilla source. With a formal introduction and a cover price a penny short of ÂŁ20, it is difficult to sustain the swagger of the throwaway form, strategically manipulated to look like dirty sheets on which you can smell the ink, glue, semen and toxic mud. The structure depends on a steady drip-feed of quotes from JG Ballard, Italo Calvino, Guy Debord, Walter Benjamin. White men all, festering in elective suburbs of hell, where they labour to finesse a paradise park of language.

Moving beyond this relentless Xeroxing of the entire genealogy of protest from Blast to Sniffin’ Glue, by way of Situationism and psycho-geography, Oldfield Ford displays authentic gifts as a recorder and mapper of terrain. She is a necessary kind of writer, smart enough to bring document and poetry together in a scissors-and-paste, post-authorial form. Like so many before her, psychotic or inspired, she trudges far enough to dissolve ego and to identify with the non-spaces into which she is voyaging. “This unknown territory has become my biography.” Her story is eroticised by the prospect of riot, anecdotes teased from smouldering industrial relics. The “euphoric levitation” of brutalist tower blocks. Post-coital reveries from “an ugly night on ketamine in a New Cross squat”.

Alongside the standard tropes of entropy tourism, talk of “mystical portals”, Heathrow as a “mesh of paranoia”, Oldfield Ford experiences sudden illuminating shifts of consciousness. “The air is perfumed, the sky pink. My hair is loose, unkempt, I am in a red dress descending into the chlorine scent of a disused pool.” Ballardian riffs anticipate plague, soul sickness, breakdown of the social contract. “There wasn’t a fixed point where the malaise started.” In the end, it’s about walking as a way of writing, recomposing London by experiencing its secret signs and obstacles.

When writers identify with the city that feeds and sustains them, they become plural. They abdicate originality. Sophie Brzeska, after Gaudier had been killed in the first world war, embarked on a London walk as random and driven as anything undertaken by Oldfield Ford. As Ede reports: “She walked all through the night 
 talking and swearing more loudly than ever 
 a strange, gaunt woman with short hair, no hat, and shoes cut into the form of sandals. She felt the world was against her.”

Ian Sinclair – The Guardian

Savage Messiah collects the entire set of Laura Oldfield Ford’s fanzine to date. Part graphic novel, part artwork, the book is both an angry polemic against the marginalization of the city’s working class and an exploration of the cracks that open up in urban space.

For more information on this book press HERE. ISBN 9781844677474

Laura Ford Oldham, Stewart Home and Tony D at the Housmans promoted ‘fanzine, art and politics from punk to present’ public discussion – Institute of contemporary arts (I.C.A) London – October 2010

Save Mark Mob’s home from the complaining neighbours. Please enter positive comments to Bath Council…

This is the house and home of Mark from the Mob who together with his family and many friends have built this building out of mostly recycled and locally sourced materials.

Mark has done this conversion to an (originally) ugly old building without planning permission and is now seeking retrospective planning approval. The neighbours who live several hundred metres away down the hill have got quite vitriolic with their comments in opposition to Mark’s home in Temple Cloud near Bristol.

Mark has eight days left to try and get as many positive comments added to the planning website.

If you have already done so thank you so much and Mark really appreciates it but if you have not could you please take a look and add some comments at;


And then enter reference 12/03092/FUL into the SEARCH box

Get on ‘The Quarry’ address link and then you can go on the link that states ‘Comments are invited on this application’ and then you are there on the page to enter comments…

You do not have to live in the area to make a comment. In fact you do not even have to know Mark personally.

If you feel that the old building which has been restored in an ethical and environmentally sound way is a good idea then please go onto this council website and put across your points in how ever many words you wish to write. It should only take a few minutes.

It would be a shame to knock the house down as it promises to be a 21st century equivalent to Dial House in North Weald Essex. Dial House is the building that housed Crass all those years ago, and still houses two of the ex members of Crass today.

Please support Mark’s house! More pictures of the house (at the time almost finished) here;


Thank you very much to anyone making a positive comment to the council. Please ensure comments are kept ‘clean’ if you get my gist!