"Do They Owe Us a Living? Of Course They Do!" Crass, Throbbing Gristle, and Anarchy and Radicalism in Early English Punk Rock

  title={"Do They Owe Us a Living? Of Course They Do!" Crass, Throbbing Gristle, and Anarchy and Radicalism in Early English Punk Rock},
  author={Brian Cogan},
  journal={Journal for the Study of Radicalism},
  pages={77 - 90}
  • Brian Cogan
  • Published 6 March 2008
  • History
  • Journal for the Study of Radicalism
Although many books and articles have been written in the popular and academic press about the punk movements of the 1970s in England and the United States, few have gone beyond examining the canonical bands and movements. Works such as Legs McNeil’s and Gillian McCain’s Please Kill Me: Th e Uncensored Oral History of Punk and Clinton Heylin’s From Th e Velvets to the Voidoids: A Pre-Punk History for a Post-Punk World off er valuable insights into the motivations of the American and British… 
Typical Girls?: Fuck Off, You Wanker! Re-Evaluating the Slits and Gender Relations in Early British Punk and Post-Punk
One of the most fascinating musical, social, and political movements of the last century was the initial rise of punk rock in the early to late seventies. Punk rock was characterized by many writers
Positive Surrender: An Interview with BREYER P-ORRIDGE
In their pronouncements on performance, art, history and humanity, BREYER P-ORRIDGE like to paint in broad brushstrokes. They create grand narratives about human evolution, creative potential, the
The Blurred Boundaries of Anarchism and Punk in Vancouver, 1970–1983
While historians have been increasingly attentive to the politics and culture of social movements since the long sixties, they have engaged much less with the significance of anarchism within these
Alternative Notions of Dissent: Punk Rock’s Significance in the Soviet Union and East Germany
The punk movement arrived in the late 1970s in the United States and United Kingdom, creating non-traditional and experimental ways in which to produce music. As the movement grew it developed a
‘What the heck: Eskorbuto for PM!’: Eskorbuto’s punk music and anarchist ideology
Eskorbuto was one of the most important Spanish-speaking punk bands and the most extreme among those belonging to the ‘Basque Radical Rock’ movement in the 1980s. This article aims to analyse the
‘We are fireworks’: Anarcho-punk, positive punk and democratic individuality
This article explores the tensions within and around anarcho-punk concerning individuality and individualism by drawing on George Kateb’s discussion of the normative ideal of ‘democratic
‘I Wanna See Some History’: Recent Writing on British Punk
Tucked away on the b-side of the Sex Pistols’ third single, ‘Pretty Vacant’ (1977), is a cover version of The Stooges’ ‘No Fun’, a diatribe against those attempting to imbue the punk culture he helped instigate with broader socio-economic, cultural or political implications.
The dilution of avant-garde subcultural boundaries in network society
ions produce alienation, and the medical industry can either increase or decrease this alienation by providing people with a personal sense of agency and understanding in dealings with their own
10.1 German punk feminist festivals’ gender politics and social space: between identity and anti-identity politics
Growing out of diverse influences, including for example the Riot Grrrl scene, intersectional feminism and queer movements, punk-feminist festivals associate theory, activism and art, and act as
Songs about fucking: John Loder's southern studios and the construction of a subversive sonic signature
This article posits North London's Southern Studios and its late founding recordist John Loder as responsible for the construction of a sonically discernible production aesthetics befitting a


Rip It Up and Start Again: Post Punk 1978–1984. By Simon Reynolds. Faber and Faber, 2005. 752 pp. ISBN: 0571215696
of musicological, sociological and historical concerns that, taken together, seem to shed as much light on authorial predilections as the reason for Woodstock’s enduring place in the common memory.
Punk Rock: So What?: The Cultural Legacy of Punk
It's now over twenty years since punk pogo-ed its way into our consciousness. Punk Rock So What?brings together a new generation of academics, writers and journalists to provide the first
Lipstick Traces: A Secret History of the Twentieth Century
Greil Marcus, author of "Mystery Train", widely acclaimed as the best book ever written about America as seen through its music, began work on this new book out of a fascination with the Sex Pistols:
Notes from Underground: Zines and the Politics of Alternative Culture
"Slug and "Lettuce", "Pathetic Life", "I Hate Brenda", "Dishwasher", "Punk and "Destroy", "Sweet Jesus", "Scrambled Eggs", "Maximumrocknroll" - these are among the thousands of publications which
Siouxsie and the Banshees
Ce contenu est une compilation d'articles de l'encyclopedie libre Wikipedia. Siouxsie and the Banshees est un groupe de rock britannique forme a Londres en 1976. Initialement associes a la scene punk
Genesis and Paula P-Orridge,
  • RE/Search
  • 1989
Wreckers of Civilization
  • Th e Story of Coum Transmissions and Th robbing Gristle (London: Black Dog Publishing,
  • 1999
In which Crass voluntarily blow their Own
  • Best Before (Crass Records
  • 1986