Poly Styrene: I Am a Cliche

One of my great inspirations in pursuing a DIY ethic is the late Poly Styrene, singer and writer for X-Ray Spex and someone I sadly missed meeting during my time in the UK. Not that I didn't try. I distinctly remember speaking to her manager Falcon Stuart around 1995-96 and trying to arrange an interview, but it did not happen. And I missed the X-Ray Spex reunion gig at the Roundhouse in 2008, the gig that would turn out to be her last, as one of the interviewees in this documentary points out. Styrene's death in 2011 robbed the world of a visionary figure who was ahead of her time. Stuart, who passed in 2002, also appears in archive footage and I was startled to discover the two were lovers back in the day. It is one of many eye-opening moments in this unusual film, whose narrator is none other than Celeste Bell, the daughter of Poly Styrene. 

Or rather Bell is the daughter of Marion (also frequently spelled Marianne) Elliott, but had to get used to sharing her mother with the public figure who was Poly Styrene. Their tumultuous relationship is at the heart of the film, which follows Bell around the various haunts of her mother, as if seeking traces of an elusive figure: Hastings, Hertfordshire, New York City and even India. Bell pops up in brief tracking shots as the soundtrack gives voice to her thoughts while actress Ruth Negga gives voice to Poly's written thoughts. The diary is extraordinary, showing what a brilliant writer Styrene was. If only she had written a novel! And Negga's voice is uncannily similar to Styrene's. If a bio-pic ever appears, she surely must be a shoo-in for the starring role. 

What comes out of the piece is really how much Bell wanted to be the daughter of someone a bit more normal and less volatile than Styrene who was misdiagnosed with schizophrenia before being correctly diagnosed with bipolarism. Bell explains how she grew up with her grandma after many adventures with Styrene including time in a Hare Krishna temple. 

Bell seems to be coming to terms with both this personal legacy and with upholding her mother's creative legacy as she notes how much she treasured working with her mother on her solo album, Generation Indigo. Many other interviewees appear in voice only, among them Gina Birch and Kathleen Hanna, but it is Poly's voice and her relationship with her only child that comes through most movingly. It makes one want to run out and re-listen to Styrene's records. 

Poly Styrene Weekender

Coming up is the Poly Styrene Weekender, which seems to only be one day, 1 June, but it's packed full of activity.

Disappointingly, I cannot attend but am very excited to hear there are an exhibit, a biography and documentary in existence celebrating the human dynamo that was Poly Styrene. A punk legend, she wrote for and fronted X-ray Spex before going solo and then vanishing from the public eye for many years. I attempted to make contact with her when I arrived in the UK in 1995 but never did and she was taken far too soon, in 2011.

But let's celebrate her wonderful achievements in music. This is one of my favourite songs ever, an excoriating 3-minute examination of identity.

This is a very odd profile of her which appeared on the BBC in 1979, hinting at some existential melancholia.

And this is her last release. Enjoy.

Punk.London?

I was very excited earlier in the year to learn of the Punk.London commemoration of the birth of punk. I haven't been to many of the exhibits, but have found them of varying quality. Still, there's time to revise that opinion. And of course there's the whole question as to whether punk should be commercialised in this way.

So far, I've been to the rather skimpy British Library exhibit which appears to really want to be a celebration of Sex Pistols and The Clash, while grudgingly acknowledging there were other bands. Viv Albertine's guerrilla intervention is much appreciated.

Albertine also turned up a couple of weeks ago on Mary Anne Hobbs's show, offering her views on failure, which I found quite interesting. It's not something one often hears acknowledged, much less celebrated and I didn't recall that as a theme in her memoirs, but apparently it was. Something of a punk philosopher is Viv Albertine. 

I was pleasantly surprised to discover my own borough is getting in on the act, with Punk Waltham Forest featuring exhibits and talks coming up this month, including a visit by Gina Birch to the local library. The revelation that Birch and Helen McCookerybook are making a film about women in punk was the highpoint of the BL exhibit. Can't wait for that to see the light of day.

Chris Stein/Negative

I thought I was too late with this, as Chris Stein/Negative: Me, Blondie, and The Advent of Punk was meant to close today, but this exhibit of photos by Stein has been extended to 8 February. Very good news for lovers of punk/New Wave and New York's indigenous contribution, the very grotty No Wave.

Best known as guitarist for Blondie, Stein has a fine eye and a long-standing practice as a documentary photographer working in black and white. As one might expect for one so engrained in the New York music scene, Stein's work provides an entree to the CBGBs crowd and their cohort, including a lovely portrait of Basquiat. But, he also captures some of the West Coast contingent, with many shots of a very young Joan Jett, including her lounging in her "notorious Los Angeles apartment", handcuffs and other accoutrements dangling above her head. "Wahey!" I noted to my friend B., a punk veteran who had seen pretty much everyone in the bygone era and was thrown into many a reverie, including one recollection of time spent at Jones Beach under some influence, ahem.

My eye was taken by a shot of a handsome blond head spied from across the room. "Oh, Billy Idol!" I thought. But, no. On close inspection, it was none other than The Avengers' Penelope Houston, looking more androgynous than usual. Sadly, the caption identified her band as hailing from Los Angeles, rather than San Francisco, which led to much tsking on my part.

In addition to the star names, there are many shots of long-gone and not so well-remembered figures, many dead from HIV or drug abuse, which illustrates the other side of 1970s New York. While many rhapsodise over its magnetic and creative qualities, I well remember the city as being pretty seedy and grim in many ways. One shot shows Debbie Harry reclining on a car. The caption notes the hood (bonnet) is sealed with a lock to prevent battery theft. Yes, really.

Debbie Harry by Chris Stein

I hadn't mentioned Harry up to now, but she is the undisputed star of the show. Not surprising, as she and Stein lived and worked together back in the day. And he obviously found many opportunities to work her into photos. And, let's be honest, who wouldn't? There's Debbie standing by a window, backlit like a Bond girl. Debbie on a train somewhere on tour, looking amazing in a beret. "A classic look", observed Bev. And she's on quite a few postcards, too. "Picture This", indeed.

Pussy Riot Freedom compilation

As the year winds down, spare a thought for the two members of Pussy Riot still detained in Russia. While there are noises that they may be released before year's end, there are still legal fees to be paid, as well as costs for the young children separated from their mothers.

The electronic music music producers female:pressure are releasing a compilation. Here's what they have to say:
 [The] electronic music producers of female:pressure offer their music in solidarity with Pussy Riot  calling for freedom for imprisoned Pussy Riot members Nadezhda Tolokonnikova and Maria Alyokhina. We have heard that they may be set free, and hope that this effort increases exposure for their cause and celebrates their liberation.
 
All money raised from this compilation will be donated directly to the Voice Project who is managing the International Support Fund for Pussy Riot. 

Let's hope the remaining members of Pussy Riot are free soon.

LLGFF: Disunited in Anger

Caroline Azar in She Said Boom

You wait 25 years for a documentary on ACT UP and then two come along at once. Most curious. Viewing the more feted How to Survive a Plague, I had a distinct feeling of deja-vu. And well I might, because some footage, indeed entire scenes, is identical to that seen in United in Anger, which I viewed on DVD earlier in the week. It just goes to show the power of editing, because the two films, while focusing on the same time period (1987- ca 1996) and the same locale (the original ACT UP in New York), go off on radically divergent paths.

While United in Anger (dir Jim Hubbard) takes great pains to show the great width and breadth of actions ACT UP undertook and the emphasis on social justice many of its campaigners pursued, David France's How to Survive moves into the narrow stream of one faction of the group, the Treatment and Data Committee, and its quest to get drugs fast-tracked through the bureaucracy. But, drugs for whom?

In effect, it ends up being the split that devastated the group, between what came to be characterised as the angry HIV-positive white boys and everyone else. I must say that after viewing How to Survive, I felt curiously unmoved. After seeing United in Anger, I felt a great sense of pride: it was a struggle I participated in, albeit across the country in San Francisco, and I felt I had tapped into my activist heritage seeing the archive footage and hearing people describe their reasons for being there and what it meant to them. By contrast How to Survive seemed highly clinical (in both senses of the word) and a bit smug: "We did this", said its small band of protagonists at the end. Neither film really acknowledges the grassroots nature of ACT UP. It was never centralised, but each chapter had its own methods, issues and strategies, which came together brilliantly at the VIth International Conference on AIDS in San Francisco in 1990 (an episode skipped in United and reduced to a conference speech in How to Survive). It laid the groundwork for many other activist movements, including Queer Nation and to some extent Riot Grrrl, as well.

Activism seems to be having a cinematic revival at this festival, and I wonder if that means the community is awaking from its long slumber. I had two more excursions into reminiscence, with the documentaries Lesbiana and She Said Boom. The first is Myriam Fougere's recollection of lesbian separatist culture in the 1970s and 80s: women's land, womyn's festivals, etc. I wondered if there would be arguments afterward in the Q & A but everyone seemed quite respectful and impressed by the film, which featured recent interviews with women Fougere had first met 25 years ago on her travels as an artist along the Eastern Seaboard of North America. So, there was a lot of material from her hometown of Quebec, as well as New York and the southern states. Women's land still exists, but it seems to have become retirement communities for the Second Wave. I don't know whether to be pleased or depressed.

But, to end on a high note, She Said Boom. Swoon. Kevin Hegge has done a fine job of memorialising Toronto's foremost queer punk feminist band, Fifth Column, who emerged alongside the advent of homocore (a movement named by band member GB Jones). I had no idea what a turbulent history the band had, with members coming and going and a prickly relationship between core members Jones and singer Caroline Azar (a marriage proposal was mooted and rejected at some point. Ouch.).

These days, Hegge revealed, the former members of the band don't speak. But their attempts to ally feminist politics with cinematic and artistic points of view, while positioning themselves in the punk scene take some beating. I do believe this day at the festival pretty much covered my twenties.

Pussy Riot Appeal Monday

Pussy Riot's appeal is to be heard Monday am in Moscow. Here is the text accompanying MEN's new video in support of them. "This may be the last chance for the Russian judicial system to free the jailed members of Pussy Riot. After this, the women are expected to be sent to three different penal detention centers, where we are very concerned for their safety. Please check in at www.freepussyriot.org for more information."

Pussy Riot on Trial

The wheels of justice turn very slowly in Russia, where alleged members of Pussy Riot have been detained for months awaiting trial on charges of hooliganism. The trial is finally set to start tomorrow, 30 July, and is worth keeping an eye on. Numerous stories have come out about the significance of this whole process for Putin's government.

Among Pussy Riot's supporters are high-profile musicians such as Sting, Red Hot Chili Peppers and Franz Ferdinand, as well as members of Bikini Kill, the latter not at all surprising, as the two bands share a lineage of matching music and political expression.

Amnesty International is circulating a petition calling for the women's release. The implications of a seven-year jail term for political protest are quite alarming.

Avengers tour

Back in the early '90s when I used to haunt the dank and spooky basement of the Main Library of San Francisco seeking out month-old issues of the NME and Melody Maker, I used to disturb the tranquility of the assistant there, one Penelope Houston, late of first-wave punk band The Avengers.

Most famous for opening for the last ill-fated Sex Pistols show at Winterland in 1978, The Avengers kicked up some pretty fierce agit-punk, such as the anthems "I Believe in Me" and "We Are the One", for which Penelope was the shaven-headed, snotty-voiced singer. Later she became a neo-folkie and released some pretty cool albums, as well as becoming quite successful in Germany.



But, the old punk instincts returned at some point in the late '90s and the band has gone on the road periodically. I never heard the album that came out in '99 but I still have some tattered unofficial vinyl of their original recordings which I found in some second-hand shop years ago, with a grainy Penelope (it's not really a very punk name is it?) on the pink cover.

This month she, Greg Ingraham and some recruits go out on the road with Paul Collins' Beat and Pansy Division for a West Coast tour. There are also some accompanying events, including a photo exhibit (in the Main Library!) and discussions, including one on queer punk. Wish I could be there.

Typical Girls? The Story of the Slits

Zoë Street Howe
Omnibus Press
Legendary as first-wave punks and pioneering women, yet largely ignored by the myriad punk histories over the decades, The Slits finally get their bio as the 30th anniversary of their debut album, Cut, approaches.

Hanging her book on this peg, Street Howe (see pic) gives a very abridged back story to the album and also pretty much fast-forwards through everything after the band broke up, but the golden years of 1976-81 are given their due, with an array of funny, insightful anecdotes from a range of colourful characters such as Don Letts, Keith Levene and Vivien Goldman about what it was like being around the Slits in that heady time when the world was introduced to what would become known as punk.

This then branched off into the infinitely more interesting post-punk, with its reach into the diaspora of reggae, dub, experimental noise, art rock and all of the "waves". The Slits were there through all of it and were still evolving when they broke up at the end of '81. The book includes interviews with band members Viv Albertine, Ari Up, Tessa Pollitt and Palmolive, and also some of the ones who left early on, such as Kate Corris.

Told in a rather breathless, golly, gee-whiz style, the book lacks a solid social and political context for The Slits' story. It is also peppered with dismissive phrases such as "die-hard Women's Libbers", a phrase I haven't heard in about 25 years.

This anti-feminist thread is backed up by Street Howe's comment in The Quietus: "I loved their strange, funny, experimental sound and look, and was inspired by, from what I'd read in the odd interview, their refusal to label themselves 'feminist', or even 'punk'."

Why is this inspiring? What is wrong with aligning oneself to a group or movement? Surely this is exactly what the Slits did: they called themselves a gang or a tribe and were close-knit. Ari Up has long referred to being part of a "revolution". Surely one cannot have a revolution without acting in tandem.

Strange, really, because, when I met the author recently, she said she identifies as a feminist, but she was at pains to illustrate that The Slits didn't want to be categorised.

Ironic, then, because the memory of The Slits has largely been kept alive by underground women's movements such as Riot Grrrl and Ladyfest (the Manchester event hosted the re-formed band) which are avowedly feminist and see the value of standing together in the face of continuing misogyny.

But if The Slits baulked at being adherents to a movement, their sense of being independent and in control of their work has certainly been picked up by thoughtful and adventurous souls in the intervening years.

It is unfortunate that the book uses the word "seminal", a word whose etymology is linked to semen, to describe The Slits. But the band is extraordinary, their legacy impressive and their story well worth telling.

SO36 Benefit

A landmark of Berlin, SO36 has been called Berlin's CBGBs. The Roxy in London is another comparison, as all three played host to an explosion of counter-culture in the 1970s. But, unlike the latter two, which have disappeared, SO36 is still running, putting on gigs, club nights, and, eh, flea markets and serving as a real community resource, supporting the queer and feminist scenes, among others.

This excerpt from Berlin Super 80 gives a flavour of its heyday.


Having just celebrated its 30th anniversary, SO36 now faces closure because of noise complaints. I wondered if this was another example of the creeping gentrification engulfing the scruffier parts of the city. In response to my query, Henning, who works there, emailed me to say gentrification is a concern but this seems to be an isolated case of one neighbour complaining.

It would be a terrible shame were the SO36 to succumb. Mona Mur, who is playing on a benefit bill tomorrow, recalls many a big night: "I saw some really crucial concerts there, like DAF in 1981 when Gabi Delgado transformed the place into a madhouse. These are indeed memories... As a young punk/wave musician from "westGermany" West-Berlin was the fulfilment of desire. And the SO36 (named after the old postal code of Kreuzberg SüdOst = South East) was the Temple. It is still a cool place although it has seen its Golden Days, I guess."

Berlin Supports SO36 is on 2 July at the Modulorhaus.

Penetration Reanimated

It's become a bit of a theme for this year: punk band re-forms for one or two gigs. But, Newcastle band Penetration have been at this re-formation game longer than most, having actually re-convened as far back as 2001.

As leader Pauline Murray explained recently, they take a flexible approach, with band members coming and going. This week the band play two gigs, but also have a compilation out on Easy Action, as well as a new single on Damaged Goods.

Veterans of the first wave of punk, Penetration carved out a niche for themselves with angry agit-punk merged with more traditional rock guitar. Murray's vocal style was strongly influenced by Patti Smith, and the band covered "Free Money" to great effect.

Unlike some of their punk peers, the band have new material, with the single "Our World" their first since 1979. To my ears, "Our World" is a bit wimpy to carry the Penetration name, more reminiscent of mid-90s Britpop than punk. But kudos to them for not resting on their laurels. It remains to be seen how long this incarnation will hang around.

The dates are:
12 Dec Northampton, Roadmenders
13 Dec London,The Forum

Vienna: No One Is Innocent + Derek Jarman

Back after a brief absence of 20 years in Vienna, I find I recognise nothing. But at least the weather´s good and there is plenty to see, starting with two exhibits at the Kunsthalle.

Punk: No One Is Innocent views punk through the eyes of three great metropolises dear to me: New York, London and Berlin. Entering the gallery, one sees first the offerings from London: portraits of urban wasteland and the dandies who frequented the Blitz club. These are supplemented by displays of the usual suspects: Sex Pistols/McLaren/Westwood.

But there is little to entice except for some intriguing work by Linder, who fronted the band Ludus and made some brilliant album covers. Her critiques of male and female magazines are still fresh.

New York is also on the grimy side, with Richard Kern`s exploitation film Fingered given an airing, as well as some installations by various musician/artist types such as Alan Vega. Still not really piquing my interest.

The Berlin section, however, is where things really pick up with exciting musical/artistic and political connections being made. After so much male-oriented art, it was a pleasure to see work made by women. Upstairs was a kind of Frauenecke peopled by visual art by Elvira Bach and the rest of the space taken up by art bands Mania D and Malaria!, springing from the Geniale Dilletanten scene of the late `70s.

There was a lot more on the GD across the room, also upstairs, with DVDs of concerts and books scattered about in a kind of punk rock reading room. Someone had even scrawled a very punk comment on the display. In response to the question: what was punk like in Vienna, this person had crossed out the past tense and rendered it in the present. Punk lives in Vienna, as elsewhere.

Also on at the Kunsthalle is Derek Jarman: Brutal Beauty, curated by Isaac Julien. Here one can relax into giant scatter cushions to watch Derek, Julien's oh-so-arty but affecting doc on his mentor Jarman, look at numerous TV screens showing clips from Jarman's films, gaze at the filmmaker's visual art, created at his Dungeness retreat or ponder Julien's own visual tributes.

A most peculiar and oddly sparse exhibit. But I quite enjoyed the doc, even if Tilda Swinton and Julien appear to wander rather cluelessly through it.

Punk: No One Is Innocent through 7 September.
Derek Jarman: Brutal Beauty through 5 October.

X-Ray Spex Reunion

Continuing the unstoppable propensity of reunions, legendary punks X-Ray Spex have re-formed for one gig in September.

After a number of years out of the limelight, frontwoman Poly Styrene has been popping up of late, appearing in Zillah Minx's film, She's a Punk Rocker UK. She also made a cameo appearance at the Love Music, Hate Racism event in the spring, having played at the first Victoria Park event 30 years ago.

Last week she appeared on a UK radio station for an interview, which was a bit of a letdown, because the presenter insisted on focussing on the most idiotic of topics: gobbing and braces. Please.

The woman is a gifted lyricist, with trenchant observations about consumerism and identity that were decades ahead of their time, and he wants to talk about gobbing. Clod. She dealt with it in a dignified manner but it must be irritating to talk about such teen-era trivia.

I'd like to know what she's been doing all these years. There was a brief solo career in the '80s and an abortive band reunion in the mid-90s, which produced the album Conscious Consumer. And she joined the Hare Krishna movement, but it wasn't clear from the interview whether she is still a member.

The gig seems to be a one-off, a testing of the waters to see if there is an appetite for more. There is a lot of rehearsal planned and she promised an intense and tight live show. It's not clear who the band personnel are, but I'd quite like to see Lora Logic in there. Here's hoping.

X-Ray Spex play The Roundhouse on 6 September.