We had all these fuckin' feminists who'd come up to us and say...

>he said this in 1983
holy fucking shit MES the prophet

Mark E. Smith was correct in his belief that punk was always full of absolute retards. We've seen in recent years what an actual "punk" world would be like, and it's just endless screeching about identity politics as companies make money off radfem outrage clickbait that makes the population increasingly insane and resentful. A true cyberpunk hell.

this

punk has been appropriated by people who acknowledge that it was for everyone and didn't discriminate, but this has eventually looped back on itself and now this is supposedly seen as the predominant or sometimes only thing punk stood for which is completely wrong
if punk shocks at the cost of offending people, it certainly should offend people

Anyone with any brains and ambition moved on from punk by 1978.
It happened, it fulfilled its purpose, it died. Everything since has been a cartoonish, pointless pantomime act.

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I'm a huge punk fan but modern punk is way too safe. It's not financially safe like corporate pop-punk was, even that had it's appeal. The problem with modern punk is it's morally safe. Look at something like Idles, they try to play off their by-the-book politically correct morally-superior politics as some kind of underground edgy thing, when in reality it's the most fluffy toothless thing it could be.

Punk has to be counter-culture, and the way modern punk is going it's anything but, and terrified of controversy or offending anyone.

Like how in the devil is it edgy or subversive to repeat establishment Democrat talking points?

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>1978.
too early
say 1982 and I'd agree
hc punk and its various offshoots laid important foundations

i agree 100%, ive always felt like after 82 the quality went downhill fast, i cant name any hardcore punk bands formed after 82 i actually can enjoy

>You're sexist for wearing a leather jacket
Fucking what

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>Mark is psychic and he knows it. He’s a precognitive psychic, able to pick up snatches of future incidents before they happen. As we were waiting in line he said, ‘This ride is evil.’ He looked at me dead in the eye, and repeated, ‘This ride is evil.’ I said, ‘Don’t be ridiculous, I’ve been going on this since I was eight.’ He freaked out and kept repeating, ‘I don’t want to go on it’, like a mantra of fear. ‘Stop being such a baby, just get on the ride, it’s so much fun, you’ll see. It’s a rush.’ His face was white. We sat down in the front of the toboggan and were belted in. We went through the ride, and I screamed, because I love screaming. It’s a release. He was silent. His eyes were clamped shut the whole time. His pallor was deathly; tears of terror leaked from the corner of his eye. When it was over, he said, ‘That ride is fucking evil, Brix. It’s evil. It’s evil.’ I told him to calm down and took him to It’s a Small World. When we emerged from the tepid darkness and warm fetid waters of It’s a Small World there was a very strange atmosphere in Disneyland. The air bristled with a palpable undercurrent of fear.
>Officials materialised out of nowhere. Scattering and fanning out, they cleared everybody away from the vicinity of the Matterhorn ride. The ride had been stopped. Nobody was allowed to go near the ride. In fact, an all-encompassing cordon was erected, blocking any visual access to the Matterhorn. Since the Matterhorn was the focal point, for all intents and purposes the park was closed. Mark said, ‘I told you it was fucking evil.’ We went back to my grandparents’ high-rise apartment in Beverly Hills. We turned on the TV and were immediately greeted with the six o’clock headline: DEATH AT DISNEYLAND. A woman had either jumped or fallen off the bobsled, and had become trapped then crushed by an oncoming sled. It took mountain climbers hours to get her body off.

OH NO I CAN"T EVEN LISTEN TO SKREWRIVER AND FREELY WRITE LYRICS WITH THE N WORD IN THEM ANYMORE WITHOUT BE CALLED OUT FOR BEING A BIGOT

t. oppressed white male

> hyperbole

yeah I'm sure you were into punk in 1978, zoomer

...

>he doesn't like early Skrewdriver

BACK WITH A BANG NOOOOOOOWWWWWWWW

>babbling alcoholic drug addict who says random things is a psychic because one of his babblings correlated with something that happened afterwards
gee, why didn't he get into stocks and get rich. oh, maybe because he wasn't really psychic

are music nerds the most gullible people ever?

based and ISDpilled

This

Dylan deserved better than Jack and his cunt hippie mom

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No it's just a funny pasta like the one where Brian Eno and David Byrne get jumped

you're not and have never been punk, fag

Not a bad book, weird how she married Nigel Kennedy

lmnop

>drug addict
That said I think he did mushrooms as a kid

he didn't predict it, he caused it

Also Brix is pretty dippy herself which explains the credulous tone

>I'd just had enough of fucking idiots who'd been working there for about 3 weeks, fucking socialist art student never done a day's work in his fucking life, coming up and telling me what he thought would be a good idea for the record. I'd rather hear it coming from a fat executive. It was so commune run, every idiot thought he had a fucking say in everything. The covers'd take about 10 people to do a square inch of cover, none of 'em would do it right, and they'd be coming in on songs saying 'that's a bit fascist' and all that shit. I'd say 'fuck off'! And they'd start all these big label games, you get it with every independent when you want something done -- 'we're independent, we don't do that sort of thing'... and when it suits them they act like a big label, like if you say "alright, you're going to say you don't want that single out, give us fucking 50,000 pounds', they go "Oh no no no" -- they want their fucking cake and eat it.
>Well Kamera are good 'cos you never hear from them. They never bother you, they just get things done. They're miles away from us. Got a small stable. No fuss, don't make a mountain out of a molehill, we do the covers and give 'em to a bloke who gets 'em printed up rather than "oh hello, this bit on the bottom, I was thinking it'd be good in pink and red -- what do you think? Alright Roger, hang on" and he's on the phone and there's fucking music blasting out in the background and then you get a foreign fucking Swedish student or something, who's doing a tour of fucking Rough Trade coming on. I mean it's like a fucking English colony. You go there and it's all Japs fucking taking photos of ('jap' voice) "1st independent label in England".

>We don't really fit into the current music scene and we never have. We're outsiders, but we're survivors,. We wouldn't want to fit in anyway because the music scene now reminds me very much of what it was like in 1972. It's very similar, all musos and machines.
>Like Frankie Goes To Hollywood for example. That song they've got's alright but it's just faggot disco. If you go into any faggot club in Liverpool or in Manchester you'll hear the same thing played by a black group. And it's all done on bloody machines anyway. I wouldn't mind if they made out like they were Jonathan King or some pop group, but they make out like they're so bloody clever.
>Now Wham, I think they're really good. Whatever you say about them that guy's a really good singer. His voice is great and he's dead handsome and all that. Like when he goes on TV everyone screams, I think that's great. I'm surprised at how good their stuff is.
>What I really hate more than anything is people pretending to be credible when they're not. Like that magazine The Face, it's a joke. I mistrust glossy magazines that go on about equality and oppression and all that shit--it's just such a paradox. The Face wouldn't cover us for years because we didn't have an image, because I wore a bloody anorak. They only cover fashion people and that to me is prejudice. Cocktail socialism I call it.
>The trouble with rock and roll is that the middle class took over in about 1960 and it's never been the same since. Once everybody started wearing check shirts we were all doomed. All this shit's coming back now: Genesis, folk groups, middle class people with pullovers, British vaudeville folk groups like Terry and Gerry, they're the enemy.

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>Yeah, Nazis…any type of racism or fascism or anti-trade-unionism is like (makes growling noise) to anybody, you know? Conservative and socialist alike. It’s just like poison. While in London it’s sort of “daring” to flirt with it, you know what I mean? But where I come from there’s a big scene called the Northern Soul scene, which is a lot of kids…the kids I’m trying to get to on Slates. They hate punk rock, they hate, you know, all those middle class art college groups. And they’re just into, like, Tamla. I mean, they’re very young, they’re only 18, 19…they’re into Tamla, but mainly “Northern soul”, which is , like, soul, played very badly by obscure American artists. It’s really good stuff, you know. And the Northern Soul scene was four years ahead of the new wave scene; they were into drugs years before anybody else. But because they were like, engineers and people like that, it just wasn’t hip. That’s why I’m into Dexy’s Midnight Runners a lot. Even though they’re from the Midlands, they’re the only band I think who really represent that scene. It’s sickening, you go to Rough Trade now and all the bands, the London bands are all getting into Tamla Motown. They’re just getting into it now, you know? I mean, people in the North are brought up on that from 12 or 13, you know. And you get all these art college guys about 24 going “We’re going funk! We’re going soul!” These guys who’ve been playing like, fuckin’ Henry Cow type material and think they’ve discovered what nobody else knew! I mean, Tamla have sold millions of records to the working classes of the world! (Laughing.)

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>Right! I mean, that’s one of the reasons I got into the new wave…for a change from the eternal grind of soul! And now you go into Rough Trade and they’re trying to say to the Fall, “Oh, you’re not funky enough!” It’s so condescending. Middle classes always, like, take working class culture. I mean, older people I know…like, Kay’s about 32 and…when the Teddy Boys happened in Britain in 1957 and rock and roll came along, all the middle class were into trad jazz. And the Teddy Boys were into Eddie Cochran, the working class were into Gene Vincent and all that. And like, the students were still wearing silly little beards and duffle coats and listening to Acker Bilk and these fucking tripey clarinet duos and all this shite, you know? Dixieland, watered down, played by Brits!!! And looking down on rock and roll! And then Pink Floyd and all that, they finally caught up with it 10 years later and that’s why you had 1967. I firmly believe that, man!
On rock being dead
>(Laughs loudly) It’s totally meaningless, you know? The Subway Sect, of course, said that, about ’76. It’s the Subway Sect that started that one. Now all the new British bands have started saying this, but if you listen to their material, it’s the straightest stuff I ever heard in my life, you know? (Laughing.) It’s not even as good as rock and roll, know what I mean? You can’t destroy structures like that just by bringing in the word “anti”. It’s just stupid! But you’re talking about the “rockist” thing, aren’t you? “Anti-rockist” it’s called in England, perpetrated by these Liverpool bands who want their name in the papers every week! I find it very suspicious.

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kikes

Neo-nazi punk is the real punk

>The 4-Skins are more relevant to what’s going on in the country, no matter what they play like, than the Gang Of Four’s songs about chinks in 1951 and all this, man. It’s more true, man, and it’s probably as good musically...
>Crass attack people who play on emotions and that’s exactly what they do. Kid’s emotions. It’s a badge innit? I like to see a kid in a Motorhead tee-shirt, but I worry about a kid in a Crass tee-shirt. That sort of mass equality thing freaks me out, after a while you end up not being a person.
>Crass reminds me of when I was very heavily into left wing politics when I was about 17. I got really psychotic about it, about sexism and all that. Anybody who doesn’t agree with you is like a fucking lackey. You realize in the end it’s your own inadequacies that gear you towards that in the first place.
>No actually I find Bushell’s mob a lot more stimulating politically, I really do. That’s a more honest political statement than anything else going down. I think it’s a genuine statement. And it’s a lot more convincing than the Gang Of Four will ever be. It says a lot about England that music.
>The talent is somewhere else, but it’s not in the Gang Of Four. The Gang Of Four are never going to do anything positive. Those skinheads aren’t taken in by shit like the Gang Of Four and that’s a positive plus to them.
>I believe that you can't sit down and say "This record is going to be really weird, nothing else is ever going to sound like this", `cause that's crap. The Pop Group are the greatest example of that. The Pop Group's stuff is good, but they tried so hard to be different, they just fell flat on their faces, and innovators don't do that. When you dissect the Pistols they were a sub-Who heavy metal band. It came out beautiful because it was unconscious.

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>it's just faggot disco
(100% correct)

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>reads catcher in the rye once

The Fall are the most overrated band in history and Mark E Smith is a talentless hack
>reee everyone is so stupid except me!

He was very nice about Wham

He did have an ability of encapsulating an atmosphere in lyrical form