BBC - A Night With Punk Britannia [MP4-AAC](oan)

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BBC - Punk Britannia - Pre-Punk 1972-1976 [MP4-AAC](oan)

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Narrated by Peter Capaldi, this opener of a three-part documentary series in BBC FOUR's
celebrated 'Britannia' strand is scheduled to chime with the 35th anniversary of the
Queen's Silver Jubilee and the arrival of punk as national and then international music
culture. The film explores the road to punk in Britain, which begins in the early 70s
with a young generation already conscious that they have 'missed the 60s party' and are
stuck in a Britain heading for economic woes and dwindling opportunities. Meanwhile the
music of the day - prog and super rock - seems to ask not for their interest and involvement
but only their awe and their money.

But before the punk generation finally arises to have its say during 1976 come a group of
pub rockers, a generation of bands sandwiched between 60s hippies and mid-70s punks who
will help pave the way towards the short, sharp shock of punk, only to be elbowed aside
by the emergence of the Sex Pistols, the Clash et al.

An unlikely cast of characters set the scene for punk in early 70s Britain. Reacting against
overblown super rock of the day and the glam their younger sisters like on Top of the Pops,
pub rock set the template for punk. Small venues, fast retro rock n roll and bags of attitude
typified bands like Dr Feelgood, Ducks Deluxe, Kilburn and the High Roads and Eddie and the
Hotrods. These bands engendered a small London scene which is sometimes forgotten and helped
define the Pistols, the Clash and the Damned, both positively and negatively.

Featuring copious unseen archive footage and interviews with John Lydon, Paul Weller
Mick Jones, Wilko Johnson, Nick Lowe, Adam Ant, Brian James and many more.



BBC - Punk Britannia - Punk 1976-1978 [MP4-AAC](oan)

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Daydreaming England was about to be rudely awakened as punk emerged from the London underground
scene. A nation dropped its dinner in its lap when the Sex Pistols swore on prime time television.
Punk had finally found its enemy- the establishment. In Manchester, the Buzzcocks' self-released
Spiral Scratch was a clarion call for a do-it-yourself generation, while the Clash's White Riot
tour took punk's message across Britain. Moral outrage followed the Pistols around the country,
effectively outlawing punk - but there was one refuge for the music. Nestled in the wasteland of
70s Covent Garden, the Roxy was punk's cathedral. Punk interlopers the Jam raised the bar for
lyricism, challenging punk's London elite.

Punk also began to extend its three-chord vocabulary through an alliance with reggae, memorably
captured by the Clash on White Man in Hammersmith Palais. With their second single, God Save the
Queen, the Pistols scored a direct hit at the establishment in summer '77, but a disastrous PR
stunt on a Thames barge would mark a turning point. The darker underbelly of the summer of '77
would see race riots in Lewisham. This street turbulence was the backdrop for a rawer, working
class sound. If the Pistols and the Clash had been the theory, a second wave led by Sham 69 was
the reality.

By '78 punk was becoming a costume - the very pop orthodoxy it had originally sought to destroy.
For many punk ended when the Pistols split, beset by internal problems, following an abortive tour
of the USA in January '78. Those practitioners who would go on to enjoy sustained success sought
to modify their sound to survive, such as Siouxsie Sioux. Punk had shown what it was against, now
it was time to show what it was for in the post-punk era.

With John Lydon, Mick Jones, Siouxsie Sioux and Paul Weller



BBC - Punk Britannia - Post-Punk 1978-1981 [MP4-AAC](oan)

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Punk had shown what it was against - now what was it for? In the wake of the Pistols' demise a new
generation of musicians would re-imagine the world they lived in through the music they made. Freed
up by punk's DIY ethos, a kaleidoscope of musical influences broke three chord conformity.

Public Image Limited allowed Johnny Rotten to become John Lydon the artist. In Manchester, Magazine
would be first to record in the wake of the Pistols' split, Mark E Smith made street poetry while
Ian Curtis turned punk's external rage into an existential drama. A raft of left-wing art school
intellectuals like Gang of Four and Wire imbued post-punk with a sense of radical politics and
conceptualism while the Pop Group infused funk with anti-capitalist sentiment in the early days of
Thatcher. Flirting with fascism and violence, the working class Oi! movement tried to drag punk from
the Kings Road into the heart of the East End whilst Anarcho punks Crass embarked on the most radical
vision of any.

In a time beset by dread and tension perhaps the biggest paranoia was Mutually Assured Destruction
essayed perfectly by Young Marble Giants' Final Day. Released in the height of Thatcherism, Ghost
Town by The Specials marked a parting of the post-punk waves. Some would remain avowedly uncommercial
whilst others would explore pop as a new avenue in the new decade. The song that perhaps summed up
post-punk's journey was Orange Juice's Rip It Up and Start Again.

With John Lydon, Howard Devoto, Mark E Smith, Peter Hook, Jerry Dammers, The Raincoats, Wire,
Jah Wobble, Mark Stewart, Edwyn Collins, Young Marble Giants and many more.