[intense music rock]
Downloaded from YTS.MX
Official YIFY movies site: YTS.MX
- [Corre] When I was a young kid,
my parents weren't kind of considered so much as iconic.
They were considered as anti-establishment.
They were considered as scum,
and some people thought they were geniuses.
It wasn't like it is now.
My mother is a national treasure.
[dramatic rhythmic music]
[tools clanging]
[workers murmuring]
[suspenseful orchestral music]
- Get the others.
[suspenseful orchestral music]
- Ssh.
Coast clear.
- Just a few people control the world's economy.
They keep you trapped in debt.
I can get money off this card.
I'm working here to pay the interest.
That's how they make money.
The world's bankrupt and they're wrecking our planet.
- There are all these poor people
and just a few billionaires and trillionaires.
They're ripping us off.
All caused by the rotten money system.
They're squeezing the poor
and giving all the money to the rich.
We all work for them.
How can we get the whole world to understand
they're being ripped off?
Grab their attention,
challenge them to think about what they really value
and save the planet.
[dramatic orchestral music]
- [Corre] My father Malcolm used to like to portray himself
as a kind of modern-day Fagin kind of character,
with everyone around him as one of his urchins.
Played the role like he was always on the run,
always one step ahead of the law or the bailiffs,
and that's how he portrayed himself in his film
"The Great Rock 'n' Roll Swindle."
[suspenseful music]
- We have got a lot of stuff.
It's quite an impressive amount of stuff we've got.
- Yeah. - Really.
- When punk first started, the hairstyles were so mad.
The people had the most brilliant hairstyles,
and I remember going to a party and nobody could move,
and there are all these people.
There's a girl in front of me with a fringe down to here
and I couldn't see her at all.
Long black hair and a fringe,
and you just couldn't see where her eyes were.
And people with the most mad, curly, spiral hair
and all kinds of things.
It was absolutely great.
But, anyway, and then it all kind of petrified
into the punk look that you see on a little duck
that you float in the bath,
and there's one of the queen that you can float in the bath
and she's got a crown
and the punk's got a Mohican
and a red T-shirt on or something.
But anyway, it's all petrified into the punk-
- Yeah, uniform.
- Uniform. - From whatever,
the icon punk.
- All this has got to today,
you know, you've got punk beer and punk credit cards.
- Oh yeah.
Considering it was- - Punk rock McDonald's.
- Taken to court when it was originally done,
it is ironic that now it's on Mastercard.
- Really?
- Yeah. - That's incredible, isn't it?
- [Ben] Mm-hmm.
- Oh, I see.
"Never Mind the Bollocks, Here's the Sex Pistols."
Virgin Mastercard.
Yeah.
That's the Virgin cred.
The Sex Pistols and the bollocks.
[anticipatory orchestral music]
- Now, this is funny 'cause this is Malcolm
sending a letter into the "Melody Maker."
It says, "In view of articles
written in your paper about my production,
'The Great Rock 'n' Roll Swindle' film,
the film's original title, 'Great Rock 'n' Roll Swindle,'
its theme, script, construction, attitude,
and above all, style, was my own.
The Sex Pistols trial last year hinged on
the writing of that script,
the production of the film,
and the money spent on making it.
The script bore my name and was read out in court
by Lydon's lawyers as an indictment of my ideas.
They made the comment that it was filth written by Satan,
harmful to John Lydon's new image.
The judge asked if he had reformed.
He replied, 'I've changed.'
As a result, the court seized my company and the film.
Unwilling to work under the auspices of the court
to take into consideration their cuts,
and unwilling most of all to have Virgin Records
seize 25% of a film they had nothing to do with
by donating 150,000 pounds of Sex Pistols royalties,
Jones, Cook and Lydon and agreed to it.
It was their last and most pathetic performance.
I decided to withdraw my name from the credits of the film,
both as a producer and writer.
Jamie Reid withdrew his name too from the credits
for similar reasons to my own."
And they've given him a little prize,
LP Winner for Flogging a Dead Horse.
- That just shows you the jealousy of the press.
It means that Malcolm was dangerous
and they don't like dangerous people
and they don't like people who are more advanced,
more avant garde than any of their stupid,
uneducated people.
When Johnny started and when he wrote
the lyrics "Anarchy In The UK"
and the lyrics of "God Save the Queen"
and "your future dream is a shopping scheme"
and "I want to be anarchy,"
at that point, Johnny, I think, was fantastic.
He was really fabulous.
He was really going for it.
It was like revolution to him and he really meant it.
And then at a certain point,
like as you say, he's been led astray by Malcolm,
but no, he was into it.
I believed in him.
I really did.
And I find it disappointing that his role today
is to just try to stay on this pedestal
and look like he's good at spitting.
I mean, that's about his claim to rebellion.
I got out of punk because I realized
it was actually a marketing opportunity,
and the main thing it was marketing is,
isn't England this wonderful free society?
It's got all these rebels.
And so there you are, Johnny Rotten, stay on your pedestal,
You're a punk and you're proof
that we live in a free society.
[drummer tapping a cadence]
- Malcolm McLaren wanted to cause maximum chaos,
and he just giggled through the absurdity of it all.
He was just like a kid who wanted to take
the bottom tin of beans from a supermarket display
to see them tumble.
Lots of disturbed adolescents got into punk rock.
I mean, Steve Jones was disturbed.
McLaren was disturbed.
I was very disturbed.
Most of the stars were, actually.
In fact, I think that's why people go on stage,
'cause they're crippled in some way.
People got all this energy out
and I'd have killed someone
if I hadn't been in Tenpole Tudor,
'cause all that aggression, you get it out,
but not in an aggressive way.
You don't have to hit someone or anything,
so it's a terrific therapy.
- My name is Jordan.
I worked with Malcolm McLaren and Vivienne Westwood
in their shop in 430 Kings Road for several years.
I would say probably the three of us,
we're like a kind of perfect storm, and we, in a way,
created the whole scene of punk in that time.
The relevance of punk today
I don't think is necessarily aesthetic.
I think it's more of a mind issue.
I would hope the legacy would be that people feel empowered,
both men and women,
'cause I feel that at the time, in the 70s,
'75, '76, '77, maybe '78,
it created an atmosphere where people,
men and women, could feel equal,
and I don't think that corporations
can ever buy anything like that.
I think it's to do with individuality.
And as I said before,
I think it's all to do with how your mind is.
[somber trumpet music]
- I just really believed in Malcolm
because we were both rebels
and I was just so disgusted about the human rights,
about the Vietnam War, and about killing,
and I wanted to change the world then just so bad.
Anarchy, that was me.
I invented this sign, anarchy-
- [Corre] What do you mean you invented the sign anarchy?
- Well, apparently, this A in the circle
is what I decided was the anarchy sign.
It's still used as it.
You've got "ban the bomb" in a circle.
- [Corre] You invented that?
You put the A in the circle?
- Yeah, of course. - I thought that was
a really old thing.
Is that you that invented it? - No, I did that.
My idea of anarchy was that the older generation
had just totally made a disaster of everybody's life
and the life of everybody in the world,
and it was just this mismanagement
and this destructive,
power-driven people that ruled the world.
And the idea of anarchy is we will not
let this older generation ever,
we've got to do something.
But Malcolm wasn't really in it for that.
He just hated the older generation,
'cause like I said, he hated his mother,
and he had a terrible ego, Malcolm,
and anybody that was powerful,
he automatically didn't like them.
He didn't like Richard Branson for that very reason.
And I'd just come to what Malcolm used to say
about "never trust a hippie."
In 1968, there were all these student sit-ins,
and Malcolm got all excited by that
and was following them.
I was living in a caravan in Wales looking after you
and they were supposed to be burning the American flag,
and he was really pissed off
because they didn't even practice setting fire to a flag.
And when they wanted to try and burn it, they couldn't,
and I think Malcolm managed it in the end by emptying petrol
from some lighters onto it and making it set fire.
They just had a box of matches and it wouldn't work,
and I don't know, but anyway,
but he got the idea
that he wanted some sort of revolution.
He didn't like hippies because he just thought
they were soppy or whatever the word is.
I know he really brought that phrase out
when he got involved with Richard Branson,
and that's when that came out
because Richard Branson was a powerful person,
and in fact he actually took over
The Sex Pistols in the end when they all fell out.
[person singing into cone]
["Peer Gynt Suite No. 1 Morning"]
- What's this hotel got to do with punk rock?
Why are we in this flash hotel?
It's jolly nice but it's got nothing to do with punk.
- We always have a good time.
It's to let go, isn't it?
You know.
- As part of the punk rock celebrations of punk London,
40 years of "Anarchy in the UK,"
they are doing the Anarch-Tea.
Part of their marketing department's-
- One of the grandest hotels in the West End.
- This is what they're putting on for everyone.
- And that is where we got to, folks.
Marco, they got one of your old singles on this cake stand.
- [Alan] Horrible.
- Adam Ant.
- Is it? - "Stand and Deliver."
- Really?
Is it?
- Yeah.
That's where you've ended up, mate.
You've ended up on a cake stand.
[all laugh]
You mustn't forget how funny Malcolm was.
- He was hilarious. - Most of the time,
he was laughing.
Talk, laugh, and everyone was laughing with him,
'cause he used to take us out
and he'd be surrounded by a load of people
in let's say the Green Man by Great Portland Street,
having these ideas on the run, "And then, and then,"
and laughing at his own ideas.
It was sort of like a riff.
- "You, write a song."
"What?"
"You, design some clothes now."
- That's right.
- "You, ride a motorcycle."
"But I've never..."
"Just do it."
- Every Saturday we'd have the windows broken
by the Teddy Boys going along and we never knew-
- [Marco] And all the Chelsea fans-
- And I'll always remember we used to
put the grills on outside just to
make sure it didn't happen.
The one day we didn't was the day
that they always got smashed in.
And I always remember Vivienne was always
sort of paying out bills,
changing the glass.
[glass shatters] [dramatic guitar music]
- [Derek] What do you actually sell here?
- Clothes.
- These are cardigans you can see through.
The wool is.
- [Vivienne] These restrict your arm movement somewhat.
- [Derek] What's actually wrong with what I'm wearing?
- Mate, you look so bloody boring, I cannot believe it.
- [Derek] I agree with that, yes.
- It's a question of how you feel.
The point is to change yourself, and if you change-
- [Derek] But why?
Why does one have to change?
- Because then you'll feel great.
[discordant guitar music]
What happened is that the police came
and just raided all our T-shirts,
and if anything had the word "fuck" on it,
they took the lot of the T-shirts,
put them all into bin liners, and put them all in their van.
We had T-shirts telling you how to make bombs.
They didn't take them.
They only took the sex ones.
I remember Malcolm saying,
"If you'd have been in Paris with that shop,
it would've been the opposite."
As for the swastikas and everything,
it was my complete antagonism to the older generation,
and it was, "You're all terrible fascists anyway.
We're not going to accept your values
nor are we going to accept your taboos."
And it was a way of putting that I accepted that swastika.
What has happened that we got arrested
for selling this T-shirt,
and myself and Malcolm defended it in court
that it wasn't indecent,
so the judge convicted us,
and I can't remember what the first reason was,
but it was that the penises were almost touching,
therefore it was indecent.
The first reason.
The second reason was that.
And the third reason was that one man
was tying the other's necktie.
So, they just empty the shelves,
'cause lots of them had the word "fuck" on on them.
And so I wouldn't stop printing them.
I kept on printing them and printing them.
- [Corre] I remember, yeah.
- And they said,
"If you do this anymore, you'll have to go to jail."
[discordant guitar music]
- There's the 40th anniversary
of the start of the punk rock movement,
a moment for celebration.
There's even been a grant from the Heritage Fund
to help them celebrate.
But that and the supposed endorsement of the Queen
and other establishment figures
hasn't gone down very well with everyone.
- You'll forget, in those days,
you would be arrested for wearing those clothes.
When The Sex Pistols were Number One,
it was actually a blank on the charts
because the establishment refused to recognize it.
- Isn't that whole era of rebellion pretty anachronistic?
It's passed into history and therefore, in a sense,
it is a sort of museum piece,
all the memorabilia.
- Well, I don't know.
I guess punk rock did become a bit of
a tourist attraction a long time ago,
but those things actually meant
something much more deep to me.
And I'd like to invite all the punk rockers
and all the anarchists from all over the world
to come here and burn the last fragments
of what they've got, because,
and I'd also like Boris Johnson to light the torch,
and he should be quite into doing that
because we all know
that when he was head of The Bullingdon Club,
his initiation ceremony was burning 50-pound notes
in front of homeless people.
- Joe Corre, thank you very much.
I should just say the allegation about Boris Johnson
burning 50-pound notes is just that, an allegation.
Thank you very much for joining us.
- Well, you would say that.
[bright orchestral music]
[suspenseful music]
- Why is the establishment promoting anti-establishment?
I think irony and contradiction
are key components of what punk is about in London.
If the argument is kind of punk shouldn't be commodified,
if it's saying punk shouldn't be put in museums,
then I think you could say that
about a number of other artifacts and things.
- None of those involved in tonight's debates
seem to have anything to do
with the London punk scene today.
Our program is bollocks.
We are protesting against the corporate takeover of punk.
Basically punk is a subculture
that is constantly regenerated
by every new generation that comes through.
Every new young generation
that discovers punk makes it their own.
It's a fresh and vibrant music scene, a subculture,
an artistic and political movement that constantly evolves,
has continued throughout the last 40 years since the '70s.
This yearlong exhibition of punk,
which is state-sponsored,
endorsed by Boris Johnson, of all people,
and are funded by the National Lottery,
goes against everything that punk was and punk is.
Everything that is the essence of punk rebellion,
street culture,
doesn't have anything to do with being in a museum.
It's to do with the streets.
Punk should be on the streets.
- [Host] Can you give a warm welcome to our chair and panel?
Thank you.
[attendees cheering]
- Richard,
why do you think people think that punk music in particular
is bigger than history?
- It's not bigger than history.
It's part of history.
You know,
while we worry about Daesh bombing Palmyra,
quite rightly worrying,
equally we should worry about burning punk archives, sir.
[audience claps]
- Nevermind the bollocks.
[audience laughs]
- The thing is that if it's his to burn,
it's his to burn.
If you want to talk about punk,
it's a talk about freedom
and it's a talk about being individual
and deciding your future for yourself.
- Punk, to me, that's something that's dangerous,
that can have an effect, that can actually change something,
that can create a social change,
and all it's becoming today is another conformity
in another uniform that sits next to Beefeaters.
And the whole thing could not work without the acquiescence
of all these self-appointed experts that continue this myth.
You can't tell this lie to young people.
It's a lie.
- Can I just say that I don't think any of you are punk.
No, there are no punks in this room.
The only punk thing left about London
as "The Guardian" know, as Joe knows,
and everyone else in the room is WikiLeaks, right?
It's the only thing punk left in London is Julian Assange.
- I'll absolutely agree with you there.
- [Lismore] And he's not here.
- There was punk danger.
There was a revolution.
The establishment was shitting themselves, right?
That doesn't happen anymore.
- [Speaker] Thanks very much. Jennifer.
[audience cheering]
- You're here coining it in as a punk professor
perpetuating this idea of young people,
which I think is shameful,
that somehow punk is still gonna get 'em out of this mess.
- You want punk. - You know equality.
You're establishment.
So you can bind yourselves up.
- Okay, punk, in it's first-
Excuse me, everybody.
- I don't know where the idea
that interrupting is punk 'cause it's actually really rude.
- They cut me off.
[audience laughs]
- You were a little kid when I first met you.
You were down here, all right?
[audience laughs]
[panelists speaking over each other]
- [Panel Peer] I'm taking this from him
because he is being a bully.
He's talking over me like, please, finish your thing.
- [Bob] And you're listening to Resonance 104.4 FM.
Mr. Joe Corre has joined us in the studio.
- There's an opportunity- - Joe!
There's a few other things going on
in the world right now, man.
- And I can't actually see any punk rockers standing up
and saying anything about it.
They're all kind of going along with this thing
with their hands out for a bowl of gruel hoping to get a job
kind of advising some museum or establishment or another
about their collection or something.
- He is destroying our youth culture.
For him to burn something
that's valued at five million pounds is utterly vulgar.
[energetic rock music]
- Where he's coming from is a whole bunch of hurt
in himself and in his heart
and he's kind of expressing it in that way.
He's kind of taken it really personally,
but as I said, I think right from the start,
punk was commodified,
and his father was probably very much
a part of that very process.
And I've got a book which I've co-edited.
It's an anthology and it's about punk
and it's coming out next year in March.
[dramatic guitar music]
- This is Ray Gange, star of "Rude Boy."
- How you doing?
When it got announced,
"Oh, the 40th anniversary,"
and the mayor's office were going
to get involved in supporting it,
and lots of, let's say, names from the old punk era
were slagging that off and talking about
how they weren't going to have anything to do with it.
As events have gone on,
they're all gradually participating in these events
that they weren't going to have anything to do with.
- [Nigel] What are they saying now?
- "I wish I still had all my old stuff,
'cause when he burns his,
my stuff would've been worth more money."
[dramatic music]
- I knew The Sex Pistols,
some of them more intimately than others.
My then-boyfriend was the original bass player
in Adam and the Ants.
I was Adam's muse for quite a long time.
But they didn't actually have a word for what was happening,
so they said, "Boys in nails varnish,
girls dressed as whores,
and people who look a bit like Hell's Angels,"
and I thought that was fantastic
because they were struggling to describe
and contain what was happening.
That was in October.
Less than two months later,
you had Bill Grundy, December the First,
and suddenly you had a word, punk,
and you could shove that like a label onto it all,
and that killed it.
That was it.
They could shove you in a pigeonhole, into a box.
[Edward playing guitar melody]
- Well, if some guy hadn't rang me up.
He said, "You know The Sex Pistols are auditioning
for a new singer, Ed?"
I said, "No?"
He says, "Yeah."
I says, "When?"
He said, "Tomorrow." I said, "Where?"
He said, "The Duke of York's Theatre,"
or it's one of those West End theaters.
I said, "What time?"
He says, "11:30."
I said, "Thanks, mate."
'Cause it was in the "NME."
I didn't see the ad.
My heart was hammering ' cause I knew I'd get it
'cause I was so full of...
No one had the intensity that I had.
Anyway, to cut a long story short, McLaren was said to me,
"I want you to write a song called "Who Killed Bambi?"
So, I was in my basement squat
with damp running down the walls
in Albany Street, Regents Park,
with my guitar,
trying to write a song called "Who Killed Bambi?"
This was my first job.
I thought, "This is nice.
How does he know I can write song?"
There's a mark of respect.
I was strumming away, and I thought,
"Who killed Bambi?
That's a good bit."
I thought that.
Right, that's one good bit,
and he came 'round, and he said,
"Well, I like that bit.
I don't like the rest.
I'll come back in four hours."
So, I'm carrying on.
And I thought, "One man went to mow. I could nick that."
[sings indistinctly]
So, that's where the tune came on,
but the words, man, I couldn't.
I mean, I didn't know what to write about.
So, I wrote some words, which they weren't very good.
So, Vivienne came 'round to check me out,
and she improved my words dramatically.
Some of them I wrote, but most of them she wrote,
like "Gentle, pretty thing,
you only had one spring.
You bravely faced the world ready for anything.
I'm happy that you lived and your life is mine.
What have I except to cry.
Spirit, never die."
You know, they're her words.
Right early on she said,
"Create your own look and be original."
And to me, that's still my favorite definition.
But you know, go to Germany to a punk rock thing,
they're all in uniform.
You know, the Mohicans.
It's strict dress code.
The jackets, the studs.
So, I go over, they said, "You're not ze punk."
"Why no spikey hair?"
You know.
- Well, I was just thinking about this newspaper here,
and it's dated Saturday, February the Third.
I remember the day I woke up
and Malcolm was just coming in
through the front door with the paper,
and he went like that.
"Sid's dead. Sid's fucking dead."
- Oh wow. - You know?
"I told them, if you're gonna let him out,
tell me first,
'cause I knew that if you didn't tell me first,
his mom would get him."
What did his mom do?
Took him out.
He'd just got off heroin addiction
by being put on methadone in prison.
She took him out to a bloody party.
Apparently, she gave him his usual dose of heroin,
and it killed him, so.
- She started him- - She's the one
who killed him. - When he was 14.
- She gave him his first thing.
- [Ben] So concerned about his image and his public persona,
she killed the poor fucker.
- As a kid. I remember making these with him.
- Can I just see what he's like?
- Yeah, yeah.
- Yeah, well that's it,
'cause his hair should be all sticking out.
And the thing is that this actually looks like Sid.
It looks ever so much like him.
- Bits of fake fur that we cut out into strips and glued on,
but it was a girl doll and we melted the tits off
with like a hot knife. - It's actually lost
one little bit there.
It needs a repair.
Sid was completely immoral.
He did not know the difference between right and wrong.
He was highly intelligent, fantastic company,
sweet and lovely, as well as mad.
Poor old Sid, I mean, he was his mother's victim.
He was spoiled when he was young.
Meaning spoiled like ruined.
You know, he had no chance
of somehow making the right choices in this world.
He was finding out.
He was finding out for sure.
He was an affectionate person.
- [Corre] Yeah, he was.
- I don't want people to think
that we're aggrandizing Sid in any way.
I don't think they should.
He's not a role model.
That's the last thing he is.
[solo trumpet plays]
- Hey, there's no royal wedding this year.
Instead, the establishment are celebrating anarchy.
Think about it for a minute.
- It's absurd.
- It's an opportunity on a silver plate.
We've got to take it.
- What are we gonna do?
- Money rules.
We've got to attack the establishment.
[suspenseful music]
I've got an idea.
Let's create a spectacle to wake them up.
The media is going to love it.
Oh, but the people are going to hate us.
- We don't care about what people think of us.
- They don't think of us anyway.
- Let's go talk to the old punk upstairs.
He made millions out of women's knickers.
[children yelling]
- So, you want to create a spectacle
and wake everybody up?
If you want to grab people's attention,
you've got to destroy parts of their value system
in front of their eyes.
- How do we really celebrate punk anarchy?
- Burn the acetate of "Anarchy in the UK,"
the only one ever recorded.
- It could be worth millions.
- Their shock will first turn to anger
and soon become hatred.
Now they're all ears.
[dramatic music]
[record squealing]
- Well, yes, I've done PR for Joe for quite some time.
You know, "Malcolm's son burns
five million pounds worth of punk memorabilia,
bum-bum-bum-bum,"
that sort of thing,
and I think I laced it with a few fuck-words as well
and I may have slightly over-exaggerated
and said the Queen was backing punk London.
[dramatic classical piano music]
It was the perfect storm.
You got a bit of celebrity,
Joe being Vivienne and Malcolm's son,
and a complete act of anarchy,
true to form by the son of Malcolm McLaren.
We hadn't even really thought
whether he was really gonna do it or not.
We just said, "We're gonna say we're going to do it."
I think he might have thought he was going to do it.
I hoped he was gonna do it.
But anyway, it didn't really matter.
We thought this was a bloody good story
so we put it out there.
Not sure if anyone was going to run it or not,
but anyway, off it went,
and just went [makes explosion sound] like a mushroom,
like a nuclear mushroom,
global, absolutely global straightaway,
which is the sort of essence of the media.
[discordant guitar music]
- I thought it'd be quite a good idea
to put together a coverage book,
and that's basically an industry PR tool
that helps you to see how far and wide a story is traveling.
It's traveled internationally
to 1.91 billion people have reviewed this story.
It's just amazing to see how fast it's traveled
without research and without proper due diligence.
I think the hatred is really unnecessary,
and the fact that it's gone international now
and he's got an international hate campaign against him.
- You know,
this now belongs to the cultural heritage of London,
this bloody theme park,
and let's not pretend that this
was all some kind of joyous cultural movement
that the establishment embraced and wanted to own.
I mean, you know,
the mayor of the London at the time or the equivalent,
the head of the GLA, the Greater London Authority,
suggested that the best thing to do with punk rock
was to dig a bloody great hole and bury everybody in it.
- I think most of these groups
would be vastly improved by a sudden death.
I would like to see somebody dig a very, very large,
exceedingly deep hole and drop the whole bloody lot down it.
You know,
I think the whole world will be vastly improved
by their total and utter nonexistence.
- I'm just saying if you're going to talk about nostalgia,
let's talk about the truth.
Let's talk about the fact that people got beaten up
and stabbed and cut up for being a punk rocker
or spat on or kicked in.
I don't think what it should be is castrated,
sanitized, neutered,
and boxed up as a lie to sell to younger people
and try and pretend that it's cool
and that that version, that sanitized,
harmless version is something that
we should all now feel belongs
to the culture of this nation.
I just think it's ridiculous and a lie.
- And how do you know it's worth five million?
Is it definitely worth five million?
- Well, it's an interesting point,
and I think part of this is to have that conversation
about the difference between price and value.
You know, we all know the price of a house,
but do we know the value of a home?
- There's no link anymore between money and value.
- What does value mean?
Do I have any?
- Well, I'm not sure.
Let's think about it.
[dramatic orchestral music]
- The difference between culture and consumption
is that consumption is about sucking things up,
opinions, the lot.
Culture is about investing in the world.
You get out what you put in.
You've got to try and understand the world.
You've got to think.
You've got to see your way through.
You've got to compare what people did in the past,
what they had to say,
with what people are doing today to know
who are human beings?
What are we?
Get an overview.
You never ever get an overview
of anything in today's consumption media.
Never.
- [Reporter] Joe, do you have any doubts about this?
At any point did you think,
"Hang on, this is an act of historical vandalism"?
- No, because I think that
these items represent something that was very heroic.
This ending for them is an heroic act.
- Did it not occur to you to maybe donate stuff to charity
or use some way of raising money towards a cause?
- I have witnessed the selloff of every asset
that this country ever owned.
The job of the state is now taken up
by the charitable sector.
You have charities where people
are earning 250 grand a year to sit on the board.
This whole thing is a process,
and the stage we are at now
is about winding the media up,
and that's what they want to talk about.
Let's give it to 'em.
You want to talk about my father's manipulation
of media or industry.
At the time,
in order to kind of cut through all the crap,
he was very influenced by the Situationists
and Guy Debord and people like that.
And yeah, certainly he used all of those um,
all of those devices.
- Malcolm hated the establishment
because they're hypocrites.
Let's start again.
Let's have anarchy.
Destroy the past.
That's where he was coming from.
And I think this 1968 student movement
that swept through Europe at the time
was what that was about.
We don't want your education.
And therefore,
I think the song that summed up
the punk movement better than any other
was from The Sex Pistols' Glen Matlock.
He wrote it and it said,
"We are so pretty,
pretty vacant, and we don't care."
And we were pretty.
We were gorgeous and we were vacant.
How you ever going to convince people
that this is worth even a million pound,
'cause you haven't got anything
that's really anything but a bit of old stuff.
- A bit of old stuff can be expensive.
[dramatic electric guitar strum]
♪ When Johnny comes marching home ♪
- The public need a price before they get angry.
- We need an expert to put a value on it.
- For me, the special piece is the suit.
But obviously, the Venus.
Again, a very well-documented piece.
Why not go for a hundred, 100,000?
- As far as I remember,
at one point this was put into a photo frame on the wall
along with three other completely iconic T-shirts,
and this was the fourth- - Yeah, I remember.
- Iconic one.
- Yeah. - And Sid Vicious
came in one day,
smashed the glass, and took this off.
I worked with Malcolm on this.
It was his idea to put
the bike tire on the shoulders.
- I think the beauty of pieces like this
is that you see, in a way,
you see the birth of Vivienne Westwood.
You see her being a bricklayer and taking various,
you know, the bike tire, the studs.
You've got the birth of, shall we say, punk clothing.
Every piece is unique.
Vivienne wore it.
We know it's Joe's.
It's special.
We've got to be talking,
in the right hands,
probably to a museum, half a million.
You could go higher.
You could go to a million.
- So, this might very well be my jacket
that was once stolen from me.
I could try it on if you like.
But yeah.
'Cause I wore this all the time.
I had very few clothes.
I'm not an acquisitive person.
I try not to take clothes even from my own collection.
So, as I said,
I think this is a jacket
that was probably stolen from me once.
- [Corre] Yeah, but what was that bunk?
- By Malcolm's girlfriend.
But yeah, he sent her around to take all my clothes.
He was jealous.
He didn't want me to have access to my own designs.
That was what it was all about.
- I mean, the beauty is this is Joe's,
so nobody's going to question that.
That does make the prices rocket.
Yeah, why not?
Why not?
It could go five million.
Maybe it's 10 million.
There's no reason why not.
It about who wants it, why they're buying it.
If he was ever to sell it or if he's going burn it,
burn it, fine.
I think that would actually act as
a very nice end to the whole chapter.
It would absolutely also upset a lot of people.
That would be very punk in its own way.
I like that idea.
- You know, Boy George.
He made his own bondage things.
He copied them.
He just bought some tartan and made them
for less money than we charged.
- I'm the person that sold, what is it?
Apparently 80,000 pounds worth of clothing
that was all fake.
I don't blame Malcolm if he went along
and said it was all fake.
That's very Malcolm.
- Yeah. Yeah.
- It's kind of amusing.
- And how would he know?
[laughs]
- Well, you could say, how would he know?
Let's face it.
He wasn't sitting down making this stuff.
- He was in the office running The Sex Pistols.
- Exactly.
- But that looks like an original thing.
That zip's not, is it?
- No, it doesn't look right to me.
- No, it's not an original thing.
I don't know what it is.
It's got our label on it.
That's not ours. - That doesn't really
mean much, I'm afraid.
There's so many people doing funny copies, and-
- Really?
- They make the labels and everything.
They do.
Japan and funny places.
People have been making those things for years.
- But you've got several companies.
You've got 666, Aced or Robot,
Peel & Lift, AFFA, KS Corporation.
They're just producing this stuff every day,
and have they ever given
any money to Vivienne in the years when she was struggling?
- [Corre] No. No.
- No. - None.
Not to Vivienne, not to charity, not to anything.
- And they claim they have permission from her to do it.
Well, they don't.
- I guess the one person who really does know
all the truth about what's original,
what's authentic is Vivienne,
and she's completely bored shitless by it.
- Of course. - You know.
But in that sense as well,
it therefore allows other people to step in and go,
"Well if she's bored of it,
that's all right, but I'm not,
and I'm therefore going to spend my life
looking at all these details that
are of no importance to her,
but they're important to everyone else" about her.
But at the same time, because of that,
it's almost like they don't want
to give her any credit for it,
because let's give Malcolm credit for it,
because then that allows us to kind of
exist within this space and have some sort of authority.
- Malcolm, particularly when he was alive,
he always sidelined her.
He did it all by himself.
It's all his idea.
- I do think that later on he became very bitter about her,
and the idea that somehow Vivienne
had taken all his ideas and made a success happen,
which was just a megalomaniac thing to think,
and he kind of portrayed her like that in public.
Kind of wanted to belittle her in that way,
and it was just a bit cruel, but that's, you know.
[dramatic orchestral music]
- There we are, get your hat.
[dramatic orchestral music]
["When Johnny Comes Marching Home"]
- Find them kids.
- [Commentator] No one who's part of
the right-wing elite of this country
should ever lay claim to punk rock.
They don't have the right to,
so if they're gonna get their paws on it,
then fucking burn that, do you know what I mean?
Never forget what they actually represent.
Well, his parents spearheaded the movement,
so if they're not happy about
the current political climate
and how people are trying to manipulate punk rock,
then let them do what they see fit for future generations.
Youth today have united in a way which basically
they all understand that they exist
outside of the system that's handed to them.
So, you know,
I think whether you're skating in places
you're not meant to,
whether you're painting on places you're not meant to,
or whether you're spitting bars on grime beats,
you all carry a punk rock attitude
that's kind of come through the ages.
- If someone's passed away,
they don't have a say in it anymore,
and I think as Malcolm McLaren's son,
he's in a position to say, "No, fuck you,"
whereas other people might not.
Who knows?
Do you know what I mean?
Maybe other people from the original punk era
might not step in and do anything,
and Boris Johnson just parades around
like he's all for punk rock and shit,
so I don't think you can really tell him what to do.
It's his family's personal items.
- The stuff that I do now has got
a chance to last for a bit.
You know, five, 10 years.
You know, spray paint, it's going to fade.
Someone's going to paint over it.
You know, a graffiti like that across the road
is going to last for like five minutes.
You know, Joe burning the stuff,
it's not meant to last forever.
[bright orchestral music]
[suspenseful music]
[footsteps landing]
["When Johnny Comes Marching Home"]
- [Escapee] He's coming! Come on!
["When Johnny Comes Marching Home"]
[children panting]
- We're free.
Now what?
- There's nowhere to run.
- We have to get everyone together and make a plan.
[dramatic orchestral music]
[energetic electronic music]
- We're from the youth media organization Fully Focused.
We're all about representation
and young people having the platforms.
- So, we're just trying to jump this idea
that sometimes escaping something
is not always the best solution,
'cause you need to know about this,
'cause if you don't,
you just become ignorant and then you're just stuck.
- Some of the solutions that we found for our future
are things like the government really
getting a grip with corporation tax avoidance.
Distractions.
We live in a world of social media
where it is so easy to get distracted away from the truth
and away from the things that really matter.
Another major thing is that we don't have enough role models
or we don't have enough role models
who are invested in our interests,
in the interests of our children,
and of our grandchildren in the future.
So, we really need to stop, as someone once said,
"Making stupid people famous."
Use your purchasing power.
If you think about it this way,
that each pound you spend is a vote,
is a vote for whatever you are buying,
whatever you're spending that money in
is something that you're voting for.
It's a world of supply and demand.
The more you demand it, the more they're gonna supply it,
so if you spend your money more on clean energy,
there will be more clean energy provided.
But I think what we found overall as a major issue
is that as a young generation,
we don't go out and vote enough in numbers, you know?
And that's where you get what you want:
at the ballot boxes by voting.
- [Sauven] All the young people come out and vote,
that is the most powerful thing that they can do.
And as a bloc, they are enormously powerful,
and politicians have to listen to that bloc.
I mean, they have immense power in many ways,
and I don't think they realize how powerful they could be,
and particularly because they've got tools
at their disposal today to really organize
in ways that when I was a young person, I didn't have.
I could only dream of the kind of tools that they have
to organize and mobilize today.
- [Protestors] Solution, not pollution.
- It's very easy to have politics of division,
to have them and us.
You know, white versus Black, men versus women,
old versus young, cities versus rural areas,
and so on and so forth.
We have to overcome those divisions
if we are going to build a new and just society.
And I believe that young people have got a critical part
to play in actually building that society
and building it around action on climate change,
building it around social justice,
creating new industries,
industries of the future,
which are going to answer the problems
that have plagued us up until now.
And I think the fossil fuel companies,
the oil companies, the coal companies,
basically, they're history.
They're last-century.
But they will fight tooth and nail to defend their power,
their privilege, and their money,
and that's why it's gonna be a fight
and that's why everybody's gotta participate.
Everybody has got to build the future.
That's what's really critical.
[energetic orchestral music]
[protestors cheering]
- I designed a set of playing cards 'cause I'm an activist.
I had so many graphics, I thought,
"I'm going to put them all on the set of playing cards."
When I looked at the set of playing cards,
I realized that it was a whole strategy to save the world.
And this one here is misrule of law by government.
[onlookers cheering]
- You're an inspiration.
- I'm a big fan of yours.
- [Individual] Lovely, lovely. Come on.
[protestors calling out]
- [Protestors] We said no.
We said no.
- I think it's hard for people to understand
without actually going through it,
because people ask me things like, you know,
"What was it like growing up with your parents?" and stuff
as if I had a choice of a different set of parents
that I could compare it to, you know?
I only had one set of parents and that was how I grew up.
You know,
my father was a bit more bulletproof in some respects.
I mean, he kind of took that as par for the course,
but for him,
he was a guy who sort of never stopped running, in a way.
He always wanted to have a new idea,
always onto some kind of new thing,
and that to me was a sort of nervousness
on his part of ever being able to kind of sit still
and be questioned about anything.
As long as he could keep moving,
he never had to really face much.
- You never came to my school parents' meetings at all.
You didn't offer,
and I definitely didn't want you to come, either,
or being on the bus going to see some exhibition
with the school and going,
we went past the King's Road shop
when it was called SEX,
and all the kids go, "Oh, it's a sex shop.
Sex shop," you know.
But I just sort of kept quiet.
- You told me you pretended
that you weren't with me sometimes.
- That I would walk on the other side of the road
or something or other.
- Yeah, that's what I remember.
I sort remember holding Mom's hand
and you being behind the other side of the road.
- No one knew who you were,
even though that was the time punk was going off.
I told one of my schoolmates once.
- Malcolm had been in America
and he brought a lot of these graphics back from there,
but when he came back,
I had hidden a shirt that I'd made
underneath the few things in the airing cupboard.
It was hidden at the bottom of a pile of few sheets
and stuff in the airing cupboard,
and he found it.
- Why did you hide it?
- I was hiding it because I thought
he would really get annoyed with me.
And what I was trying to do was
I was trying to make a shirt for an urban guerilla.
So, it was inspired by the idea of Che Guevara,
but something for the city.
And so it was this sort of idea,
and so I hid it from him 'cause I thought
he'd really hate it.
Anyway, and so this is one of my slogans.
"Only anarchists are pretty,"
and it goes right down the sleeve to there, okay?
So, this is a later anarchy shirt.
I was still always doing the main ones.
So, this is one where we just used different prints,
and that's the one with the queen
with the safety pin in there.
- [Corre] I remember you working on that one
and talking about this Hell's Angels thing here.
"As you were, I was.
As I am, you will be,"
and I remember sitting with you
and you were talking to me about this 1% thing.
And I just remember you doing this graphic
with these anarchy flags and stuff, yeah.
- Anyway, you've put your finger on something there.
It is inspired by the Hell's Angels, as well,
and we had a couple of them
working with us making this stuff in our house.
- [Corre] That's right.
- They used to come in every day
and put little studs on these skirts and things.
- [Corre] That's right, yeah.
- Yeah. Red Baron. - They were sort of doing
all the leather work thing.
I remember catching you- - And you were little.
- [Corre] Snogging Red Baron in the hallway one day.
- Well, was I covering it up then?
No. - Well,
I just remember walking 'round the,
'cause he was there.
He used to work on the Waltzer, as well, didn't he?
On the fun fair.
- He was really lovely. - Oh Clapham Common.
- I liked him ever such a lot. - He was a biker.
Yeah, I know you did. - He was absolutely great.
- I remember seeing you in the clinch with him.
- And Malcolm wasn't around then,
and I thought we were finished,
and it wasn't that I was being a traitor to Malcolm,
because, you know, our relationship,
I thought it was over most of the time, really,
but I was very loyal to Malcolm.
So, he'd gone away, and when he came back,
you know, I was really into Red Baron.
We loved each other.
- Did you? - Oh, God, he was lovely.
He was so nice.
And when Malcolm came back
and said he'd like wanted me back,
so I had to go.
Was just still loyal to Malcolm.
Sorry. Yeah.
And I was very sad about that, and he was lovely.
[somber music]
When I met Malcolm a long time ago
and I fell in love with him,
I thought he was beautiful.
I think people are really in love
always do think that their boyfriend's beautiful,
and I still do.
I mean, I still treasure the experience of Malcolm.
- Malcolm fucked Joe over when he died with his will.
Not that Joe wanted anything.
I mean, Joe went over to Malcolm's dying body
and hugged him and whispered in his ear,
"Travel well, Malcolm.
Travel well."
You know?
And Malcolm went, and Joe was like, you know,
it was kind of a bit of a release and stuff.
And then like he set up this whole funeral,
put a great funeral for Malcolm.
Cash from Chaos.
The horses and carriages going through London.
Got him buried in Highgate Cemetery.
Paid for the bloody plot.
You know.
And then after this has all happened,
and after the party the next day, you know,
Young Kim gave Joe the will,
and the will said expressly that Joe was not to get anything
penciled in on the bottom of a letter
that he'd written just before
we turned up in Switzerland, apparently.
So, you know, that was very devious of her as well.
She should have showed him the will straight away
anyway before the funeral.
So, that hurt Joe incredibly.
It was incredibly hurtful.
Feel like he'd been stabbed
from beyond the grave by Malcolm.
[dramatic orchestral music] [flames lapping]
[somber orchestral music] [flames lapping]
- And I had to admit and to accept in the end
that my father wrote those words
and he was willing to write that.
You know what I mean?
And that's the truth.
You know, that's just the truth.
He was a fucked-up guy.
He had lots of personal issues
that affected me as a kid growing up.
But I would never take away from him his brilliance.
He was a brilliant guy and he did some amazing things,
and I'm very proud of him.
I'm proud to be his son.
You know, after my father left my mother in a terrible way,
he was horrible to Vivienne,
not just tried to smash everything up when he left,
but did smash up everything when he left,
you know what I mean?
And treated her really badly.
And we were with her
and we took the brunt of it as well.
And he never had any conscience for us
in what it meant to me and Ben,
and only later on did he realize the error of his ways.
I just felt very fortunate at the point when he was dying
that I was able to go and see him
and talk to him and forgive him.
You know, I think he'd turning in his grave
to see "Anarchy in the UK" on a fucking credit card.
I think that's full circle of showing
that everything he did was useless.
You know, it's known because it's a public document
that he said in his will,
"My son shall not fucking inherit anything."
[laughs]
[somber orchestral music] [flames lapping]
- And then we'd just go and sleep in barns,
all of us, didn't we?
We went to Anglesey, didn't we?
- That's the only family holiday I ever remember us having
was hitchhiking to Anglesey and sleeping in that cabin.
- What it would be,
it would be that I would be there with the little baby,
which is you, hitchhiking,
and then I'd get in the car,
and then Malcolm would come with Ben.
- [Corre] They were hiding in the bushes, yeah.
- And ask if they could get in as well, yeah.
And then that's how we got our lifts.
He thought because it was the island of Anglesey
where the druids were that there was
some sort of ritual had been practiced,
because we found a sheep with its leg cut off
next to the barn where
we'd just all decided we had to sleep,
and there was nowhere else.
And so he was terrified,
and we put all the hay bales against the door
so nobody could come and get us and everything.
Oh God, it was boring.
It was him that was so scared.
It wasn't me. I didn't care.
But yeah.
But then it was obvious somebody had thought,
"Well, we've just killed that sheep.
We might as well take its leg and roast it."
- I remember in the morning after,
as we walked into the little town that no one was up yet.
Everyone was still in bed.
- Before that we went to this lovely well.
There was a little well.
- I remember jumping in the well
and getting all the money out of it.
It was a wishing well, wasn't it?
And we took all the coppers out the wishing well
and then went and wait for the shop to open in the morning
so we could buy some breakfast.
Do you remember that?
I remember all our pockets were soaking wet
still piled up with coppers.
- Really? - Yeah.
- Yeah. Yeah.
- [Ben] We had no money.
- No, we always used to do lots of things without money.
- We haven't got time
to fuck about thinking about punk rock
or any other nonsense or pretending
that somehow that's all important,
when in reality
we are moments from extinction,
and we need to understand that as a human race.
You know, we've got to look at what's important,
because if we don't,
it's gonna be too late.
You know Nigel.
I mean we thought that a campaign
against Nigel Farage and UKIP, right?
In Thanet South.
And the main issue people had was about immigration, right?
Immigration.
We're terrified of immigration.
The bloody immigrants had come in, blah, blah, blah.
What I'm saying,
if you are worried about immigration,
you better get worried about climate change.
Where do you think all these people are going to go?
[dramatic music]
[motor humming]
Pleasant morning on the Thames.
[motor humming]
This is a old friend of mine's boat.
He lives here.
It's his old mine sweeper.
[travelers laughing]
- Where are you thinking for the fire pit now?
- Well, I think the fire pit's got to be on one end of it.
- Yeah, I think probably-
- On that front end.
I'm just thinking about all
the different technical aspects of it
and who's going to do that.
- There's not too much technical stuff, really.
- You've got to be able to, I think,
allow people to hear what I'm talking about
when I'm burning it here,
so that's power and speakers and everything.
There's no power on this boat, right?
So, we've got to bring all of that on.
- Yeah, you could just drop the focus between there to here.
If you're gonna say anything about doing the burning,
then that would be over the top of
whatever your mum's saying or whatever.
- Well then to me it would make more sense
that Vivienne was in over there.
Wish more people would get up and do something
that could be counted.
- Okay getting frustrated.
- Well, that's easy.
- Oh, it's quite clean.
Oh, I suppose it doesn't really matter
if they're all going up in smoke, does it?
Just burn a few.
Just squash it all in and get a bit more in.
Five million pounds worth of punk rock memorabilia
in the 20 pound box,
which I thought it was quite good.
Do you know what?
People think you are fooling them
with burning these clothes?
- [Corre] So, I think people are being fooled every day.
I've been able to, in a slightly unique way,
to be able to use this as an opportunity
to talk about more important issues.
So, have I fooled everybody?
Well, I don't know.
I think to an extent I've fooled some people,
but what I'm hoping out of it is actually to wake them up
to the idea that they're being fooled every day.
You know, we've got really crucial,
important issues in front of us about extinction,
about climate change that are much more important
than celebrating a kind of corporate idea
of what punk rock now is.
So, I took it as an opportunity to do just that.
The job now is to really get the main message across
and for people to understand why.
Now, how successful I'm going to be at doing that,
I don't know, but I'm going to give it my best shot.
[jaunty orchestral music]
- The press aren't really,
they're just stoking things up as they did in the past.
You know.
It's just the public reaction that's rather disappointing.
They don't understand punk at all.
The only one who seems to understand punk here is Challan,
which is do things to provoke the public
and provoke reaction for a good cause.
It's to make you think.
- I think it's his to burn.
It's punk rock punk.
Burn it if you want to burn it.
Fucking burn it.
- You don't have to be into The Sex Pistols to be a punk.
You know, it is an attitude to life.
It's about being aware of the injustice
happening in the world and trying to do something about it.
And at least the one thing you can definitely do about it
is not be taken in by the lie.
[dramatic electric guitar music]
- I think there's a load of people
walking around London right now
and they're kind of saying,
"Joe's looking for publicity" and whatever.
Actually, he's looking for publicity for the right reasons,
to change the world and to make people realize
what's really going on.
["When Johnny Comes Marching Home"]
- The older generation have made a mess.
They don't care about the world they're leaving us.
These politicians are destroying themselves
and taking us with them.
We need them to act fast and slow down.
All they care about is the money.
It's our future.
We've got to save it.
It's our only choice.
- There is nowhere to run and nowhere to hide.
We've got to take over the workhouse
and create a future for all of us.
[children calling out]
- [Protestors] Solution, not pollution.
[trumpeter playing charge cadence]
[drummers playing march cadence]
[energetic army band music]
- One million anti-people control seven billion.
It's the banks, the conglomerate corporations,
and the politicians who serve them.
That map comes from NASA, the American space agency.
If you draw a line level with Paris all around the world,
below that, it's uninhabitable.
By the end of this century, by 2100,
there'll only be one billion people left.
The rotten financial system, and it's run on debt,
and it's run on fossil fuel and cheap labor,
'cause they're just so power-driven,
and they get their power
through the rotten financial system.
As long as it works, we can't help poverty.
It's designed to make poverty.
It's a war economy and it causes climate change.
It's completely corrupt.
There's only one way and that is a green economy.
Can you imagine when half the country's on green energy,
the rotten financial system,
which is administered by our government,
would not be able to do what it does anymore.
It will be completely undermined.
It couldn't function.
I never had an answer, and I've got the answer now.
Switch to green energy.
It's the most important thing
you could ever do in your life.
This simple thing.
Switch.
[audience cheering]
[dramatic orchestral music]
[suspenseful music]
- [Kids] Now!
[suspenseful music]
[kids calling out]
[suspenseful music]
- You're gonna have to work a little bit harder now.
The other kids are missing.
I've got my loans to pay back to the banks.
[kids calling out]
Hey!
[kids cheering]
- Have you heard that the old punk's having a bonfire?
Clearing out his old clobber?
- Nobody knows what he's burning
and nobody knows what it's worth.
[kids calling out]
- Funny old world.
The establishments celebrate anarchy
and the punks are trying to save the planet.
- I thought the punks were the anarchists.
- No, it's the politicians.
- Welcome to The Great Punk Rock Swindle.
Punk provided an opportunity
for the no-future generation of the 1970s
to create a way out of it,
not trust in the media,
not trust in the politicians,
investigating the truth for yourself.
DIY.
If you want to understand the potent values of punk,
confront taboos,
do not tolerate hypocrisy,
investigate the truth for yourself.
You will find that the problems are up here
with all the corporations and the banks
and they're doing it with the help of this lot.
So what can we do?
Stop buying their lies and stop buying their products.
Now then.
Let me introduce you to the band,
the greatest punk rock group ever, Extinction,
as they play their track record of your future.
[discordant rock music plays]
[fire crackling]
The Bullingdon boy Boris Johnson,
Sajid Javid coming to a town near you.
And for role to [voice drowned out]
the people of Lancashire of fracking.
Jeremy Hunt, Dr. Death.
[rocket flares]
Theresa Mayhem, secret squirrel,
secret [voice drowned out by music].
[discordant rock music] [fireworks squealing]
George Osborne.
555-billion-pound of public debt under his innings.
[discordant rock music]
Dodgy Dave, Anarchy Andrea,
Go forth, George.
Goodbye.
Because what's got left behind
when all this is gone is just that lot,
and they can't do anything without this lot.
[discordant rock music]
[water spraying]
Why is that stuff of any value whatsoever?
Why?
Because it represented a moment in time
when people thought they could do something,
and then it just turned into a pose,
and it's been a pose ever since,
and now it's a pose that belongs to McDonald's,
Louis Vuitton, car insurance, and any other nonsense.
If this country and the people in this country
and internationally don't get serious
and their representatives don't get serious,
then we've got get them out.
And we've got to get people in
who are going to start doing it.
Because they're not representing your kids,
they're not representing your future.
And punk rock is a side show.
- [Journalist] Joe, some people said this was a hoax,
that you were burning stuff that wasn't valuable.
- This is real, isn't it?
You are here.
You are present, right?
- [Journalist] Yeah, but I'm not a collector
so I don't know if it was valuable.
- Who cares?
I'm glad you're not a collector.
You're sensible.
Anything else?
Good.
Thank you.
[crowd laughing and calling out]
- So, what was the point of burning punk?
You wanted to annoy people, didn't you?
Upset them.
You know, we love our rebels.
This is our national treasure.
It's worth five million quid.
- My name's Nick Reynolds.
I'm a sculptor.
I'm the only, to my knowledge,
specialist in death masks in the UK,
which is how I got to be pally with Joe.
I did his dad's death mask, Malcolm,
which you can see a couple of copies here.
The original one's in bronze
on his headstone at Highgate Cemetery,
for those who don't know.
And strangely enough,
we've got a bit of sort of
kind of kindred spirits of sorts
'cause my dad was Bruce Reynolds,
the mastermind at the Great Train Robbery,
and as you know, his partner in crime, Ronnie Biggs,
was once upon a time the lead singer
of the legendary Sex Pistols.
So, we've both got rather naughty dads.
So, yeah, I'm looking forward to actually
seeing this all finished and seeing it in the gallery.
- I think for me,
when I first said I was going to burn all his stuff,
it was about getting a reaction out of people
and a public conversation going about price and value.
You know what I mean?
We know the price of a house,
but do we know the value of a home?
And I'll talk about that metaphorically.
The home being the world that we live in together.
[somber orchestral music]
- [Gallery Attendee] Very interesting to see the way
that you can just reduce five million pounds
into a small coffin,
and I'm still not sure
is it selfish and fucking sad or is it brilliant?
- [Finn] When you walk up into that room upstairs,
it's mind-blowing.
I've not seen anything like it.
- [Interviewer] Do you think anyone
would pay five million pound for the ashes?
- I think someone might pay more.
[somber orchestral music]
- I think that punk spirit transcends time,
so you can burn it and you can burn the memorabilia,
but I think the spirit lives.
- The situation that led to all
this amazing passion and spirit in historical form
being completely smashed and destroyed and exploited.
People over-commercialized and they manipulated
and re-appropriated the punk spirit,
and that is why we are stood in Mayfair, of all places,
looking at a pile of ash.
[somber orchestral music]
- [Sauven] You know, I really like this work of art
and I love the film that's being created that goes with it,
and I think if that provokes a conversation
and people start talking about what they really do value,
then, of course,
this becomes far more important than some old designs.
What are we actually valuing here?
Are we here valuing life?
Nature?
The beauty of planet Earth?
Or are we just turning into a commodity and just selling it
for whatever money we can make,
regardless of how much destruction it's actually causing?
[gulls cawing]
[pigs snorting]
[somber strings music]
- [Vivienne] I hate the establishment
because it's a killing machine
and the world could be different.
That's why I wanted anarchy.
But they're the real anarchists.
Their whole political,
domestic home policy and war policy is sow the whirlwind,
reap the whirlwind.
[somber strings music]
[animals howling] [birds chirping]
[animals screaming] [suspenseful music]
[suspenseful music echoes]
[eerie music]
♪ Where are your eyes ♪
♪ That look so mild ♪
♪ Hurroo ♪
♪ Where are your eyes ♪
♪ That look so mild ♪
♪ Hurroo ♪
♪ Where are your eyes ♪
♪ That look so mild ♪
♪ When my poor heart you first beguiled ♪
♪ Why did you run from me and the child ♪
♪ Oh, Johnny, I hardly knew you ♪
♪ With drums and guns and guns and drums ♪
♪ Hurroo ♪
♪ With drums and guns and guns and drums ♪
♪ Hurroo ♪
♪ With drums and guns and guns and drums ♪
♪ The enemy nearly slew you ♪
♪ My darling, dear, you look so queer ♪
♪ Oh, Johnny, I hardly knew you ♪
♪ You haven't an arm ♪
♪ And you haven't a leg ♪
♪ Hurroo ♪
♪ You haven't an arm ♪
♪ You haven't a leg ♪
♪ Hurroo ♪
♪ You haven't an arm and you haven't a leg ♪
♪ You're an eyeless, nose-less, chicken-less egg ♪
♪ You'll have to be put with a bowl to beg ♪
♪ Oh, Johnny, I hardly knew you ♪
♪ But sad it is to see you so ♪
♪ Hurroo ♪
♪ But sad is to see you so ♪
♪ Hurroo ♪
♪ But sad it is to see you so ♪
♪ To think of you now as an object of woe ♪
♪ Your Peggy'll still keep you on as her beau ♪
♪ Oh, Johnny, I hardly knew you ♪
♪ With guns and drums and drums and guns ♪
♪ Hurroo ♪
♪ With drums and guns and guns and drums ♪
♪ Hurroo ♪
♪ With drums and guns and guns and drums ♪
♪ The enemy nearly slewed you ♪
♪ My darling dear, you look so queer ♪
♪ Oh, Johnny, I hardly knew you ♪