Still Immaculate in Our Authenticity by Alistair Livingstone.

This is another post from Alistair Livingstone’s excellent blog ‘Greengalloway’. The original can be found here.


Still Immaculate in Our Authenticity

Book cover plus original Let the Tribe Increase art work (1982)

I guess it was fun while it lasted. I started this blog 1 March 2005 recycling the intro I wrote for Encyclopaedia of Ecstasy Volume one in June 1983 which was a memory of the long hot summer of 1976 ‘In the beginning there was punk’ … but even that pushed the ‘beginning’ back to the pre-punk counterculture of Hawkwind and the Pink Fairies.

“It was the summer of 76, the summer the earth stood still and burnt…”

Next up 26 March was a post about a local campaign against a Tesco
supermarket. The supermarket opened in 2006, but the campaign did manage to limit its potential to damage the local economy by making sure it did not have a petrol station attached to it.

Then on 31 March came ‘Subway surfing anarcho-goths’

In April I posted my 1983 ‘Diary of an anarcho-goth-punk-fiend’

As the titles and the texts show I was already trying to subvert and confuse   linear/ exclusive narratives which distinguished between the origins of the goth subculture and accounts of the anarcho-punk sub-subculture. The Barracudas surf-punk gets an honourable mention in the 31 March post. The Diary post includes references to Richard Cabut’s 17 February 1983 front page ‘Positive Punk’ NME article which has since become part of the ‘history of goth’. There is even a mention of Andy Palmer of Crass, 18 June, who came round to visit the Black Sheep Housing Co-op house I was living in with his then partner Lu Vucovik who was living in one of other Co-op houses. In 1984 Andy became a full time Black Sheep.
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Alistair Livingstone’s ‘9162 words on The Mob by Lance Hahn’

Excellent article from Alistair Livingstone’s blog ‘Greengalloway’. The original can be found here.


9162 words on The Mob by Lance Hahn

Original art work for ‘Let the Tribe Increase’ by Wilf
I have just been reading The Aesthetic of Our Anger. Anarcho-Punk, Politics and Music edited by Mike Dines & Matthew Worley which

explores the development of the anarcho-punk scene from the late 1970s, raising questions over the origins of the scene, its form, structure and cultural significance examining how anarcho-punk moved away from using ‘anarchy’ as mere connotation and shock value towards an approach that served to make punk a threat again.

It is 325 pages long and gives the impression of being an authoritative text. However Matthew Worley has assured me that it is more of  ” a round-up of what people are currently looking at … such books are in part designed to reveal the gaps and encourage further research.”

A gap which the book reveals is the absence of The Mob from current research on anarcho-punk. In the hope of encouraging further research and making it easier to access ‘info’ on The Mob, here is an extract from the late Lance Hahn’s unpublished book on anarcho-punk which would have be titled ‘Let the Tribe Increase’.

The Story Of The Mob by Lance Hahn

“No Doves Fly Here” is one of the most powerful musical statements to come out of what

Literature of Resistance, as Literal Resistance by Mark P. Williams

Literature of Resistance, as Literal Resistance

The Seven-Author Novel Seaton Point

by Mark P. Williams

“The strong reader—whether actor, critic, director, artist, political polemicist, or whatever—expands the range of signification within the text; the strong text expands the horizon of the reader. We make the classic our own, bring it into our world; but we also give ourselves up to it, enter into its world” —Jonathan Bate, Shakespearean Constitutions: Politics, Theatre, Criticism 1730-1830.[1]

In 1997, seven people on a East London council estate decided to write a novel together that would be composed of stories based on their own lives and would appropriate the form of the novel to promote their circumstances and outlook. They produced the novel Seaton Point (1998), composed of intersecting stories of eccentric characters, vampirism, debt-collectors and demons, working-class culture and urban Gothic parody, set in and around a block of flats in Hackney.

It is a novel which resists many of the attributes of the postmodernist literary novel as we understand it – and falls stylistically and conceptually close to the work of Tony White. In an interview with 3AM Magazine,[2] Tony White explains how he has found the experience of writing for a specific audience expectation and deadline to produced not only different approaches to completing the work but concretely different experiences of writing. This attention to the changes in the fundamental experience of writing brought about by writing for rigid stricture, such as the strict ‘realism’ required for his contribution to the All Hail the New Puritans, or to a particular intertextual frame of reference, as he did in his novel Road Rage!, drawing on Stewart Home’s early novels (and the Richard Allen skinhead pulps which inspired them) produces a Modernistic avant-garde effect. Like these works Seaton Point demonstrates an interest in the performative quality of writing as an activity which produces its own logic; for the writers of Seaton Point, the collectivity and social activity informs every aspect of the text.

The authors of Seaton Point describe their text as ‘an inner-city tale of magic, mayhem and gratuitous sex scenes’ and wrote a provocative introduction in which they propose multi-author texts as an opposition to the cult of the author as originating genius of artistic work; they write:

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