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“Q: How do you tell when there's an elephant in the pit?
A: Peanut shells on the floor.”
― Bucky Sinister, ALL BLACKED OUT & NOWHERE TO GO

“L'ancienneté, chez les punks, était signe de crédibilité et conférait prestige et avantages divers. Un des rares points communs entre punk rock et fonction publique.”
― Virginie Despentes, Bye Bye Blondie

“I hear a phone ringing through the thick fuzzy air. It's Thunders, asking me to join the Heartbreakers. He says to come over to the rehearsal studios right now. I’m scared but I go anyway. That should be written on my gravestone. She was scared. But she went anyway.”
― Viv Albertine, Clothes, Clothes, Clothes. Music, Music, Music. Boys, Boys, Boys

“Mirad: somos punks y skins, somos los chicos con botas, somos las ratas con botas, somos feos y pajeros y tiñosos, buscabullas y culoapretados, espitados y bocazas y chulos, botas sucias y caras brutas, los paquetes estrujados y las cabezas rapadas, rotos y descosidos en la ropa y en el alma, malas dentaduras y mal cutis, los peores empleos y barrios, somos la gente que no quieres conocer y venimos de los sitios adonde no quieres ir, nacidos para ser carn d’olla, nacidos para fracasar, el eslabón más bajo de la cadena alimenticia, pisando charcos en la ciudad podrida, carnaza de descampado y bóbila y calimocho, comiéndonos las consonantes y comiéndonos los mocos, expulsados y castigados, sin recreo pero también sin clase, sin clase de ningún tipo, esta noche hay un destroy, tienes-tienes-tienes y nosotros no tenemos nada, pero si tienes una lista negra ya nos puedes ir apuntando, si tienes una lista negra nosotros queremos estar en ella, meando por las calles, rompiendo los cristales, cantando las canciones que no salen en los libros.
Los chicos con botas, bolsillos vacíos y cojones llenos, esas canciones son lo único que tenemos. Eso, y a nosotros mismos.
Porque somos los chicos con botas, somos las ratas con botas, duros como clavos, a veces hay que agachar la cabeza para no romperse, y somos los irrompibles, somos la arrogancia original, borrachos y orgullosos, pisando cascos rotos, los culos contra la pared, sin futuro y sin modales, carne de cañón, Cornellà, Santako, L’Hospi, Bellvitge, Castefa, Viladecans, Gavà, Sant Boi, La Cope, feas las esquinas y más dura será la caída, cayendo, cayendo, siempre cayendo, cayendo y riendo, haciendo la conga en la cola del INEM, de aquellos polvos vinieron estos lodos, sólo que aquí polvos hemos visto pocos y el lodo nos llega ya hasta el cuello, de cara a la pared pero sin libros en las manos, no nos dio tiempo a querer ser alguien, nadie te cuenta nunca cómo se sale de aquí, ¿hay alguna manera de salir de aquí?, primero deletrea u-n-i-v-e-r-s-i-d-a-d si tienes huevos, oportunidades para estudiar una carrera es lo que no te van a dar (cantaban los Clash), esto es Todos Contra Todos pero nosotros estamos juntos, es lo único que tenemos.
Las canciones, y a nosotros mismos.
Caemos como piedras pero, mientras tanto, ¿echamos unas risas? Cayendo y riendo, es todo lo que nos queda. Nos vemos en la Casa de la Bomba a las diez en punto, como cada sábado, que esta noche hay un destroy. No tardes, no me jodas.”
― Kiko Amat, Rompepistas

“I’m too outspoken for most people, they think you’re rude if you tell the truth. ‘Punkâ€� was the only time I fitted in. Just one tiny sliver of time where it was acceptable to say what you thought.”
― Viv Albertine, Clothes, Clothes, Clothes. Music, Music, Music. Boys, Boys, Boys

“Everyone ate as a group, and a huge cauldron of dumpster-dived gruel bubbled over a campfire, tended by a grubby-handed group of chefs dicing potatoes and onions on a piece of cardboard on the ground. Huck [Finn] may have been right that a 'barrel of odds and ends' where the 'juice kind of swaps around' makes for better victuals, but it occurred to me that the revolution may well get dysentery.”
― Matthew Power, The Best American Nonrequired Reading 2009

“My interest in comics was scribbled over with a revived, energized passion for clothes, records, and music. I'd wandered in late to the punk party in 1978, when it was already over and the Sex Pistols were history.

I'd kept my distance during the first flush of the new paradigm, when the walls of the sixth-form common room shed their suburban-surreal Roger Dean Yes album covers and grew a fresh new skin of Sex Pistols pictures, Blondie pinups, Buzzcocks collages, Clash radical chic. As a committed outsider, I refused to jump on the bandwagon of this new musical fad,
which I'd written off as some kind of Nazi thing after seeing a photograph of Sid Vicious sporting a swastika armband. I hated the boys who'd cut their long hair and binned their crappy prog albums in an attempt to join in. I hated pretty much everybody without discrimination, in one way or another, and punk rockers were just something else to add to the shit list.

But as we all know, it's zealots who make the best converts. One Thursday night, I was sprawled on the settee with Top of the Pops on the telly when Poly Styrene and her band X-Ray Spex turned up to play their latest single: an exhilarating sherbet storm of raw punk psychedelia entitled "The Day the World Turned Day-Glo" By the time the last incandescent chorus played out, I was a punk. I had always been a punk. I would always be a punk. Punk brought it all together in one place for me: Michael Moorcock's Jerry Cornelius novels were punk. Peter Barnes's The Ruling Class, Dennis Potter, and The Prisoner were punk too. A Clockwork Orange was punk. Lindsay Anderson's If ... was punk. Monty Python was punk. Photographer Bob Carlos Clarke's fetish girls were punk. Comics were punk. Even Richmal Crompton's William books were punk. In fact, as it turned out, pretty much everything I liked was punk.

The world started to make sense for the first time since Mosspark Primary. New and glorious constellations aligned in my inner firmament. I felt born again. The do-your-own-thing ethos had returned with a spit and a sneer in all those amateurish records I bought and treasured-even
though I had no record player. Singles by bands who could often barely play or sing but still wrote beautiful, furious songs and poured all their young hearts, experiences, and inspirations onto records they paid for with their dole money. If these glorious fuckups could do it, so could a fuckup like me. When Jilted John, the alter ego of actor and comedian Graham Fellows, made an appearance on Top of the Pops singing about bus stops, failed romance, and sexual identity crisis, I was enthralled by his shameless amateurism, his reduction of pop music's great themes to playground name calling, his deconstruction of the macho rock voice into the effeminate whimper of a softie from Sheffield.

This music reflected my experience of teenage life as a series of brutal setbacks and disappointments that could in the end be redeemed into art and music with humor, intelligence, and a modicum of talent. This, for me, was the real punk, the genuine anticool, and I felt empowered. The losers, the rejected, and the formerly voiceless were being offered an opportunity to show what they could do to enliven a stagnant culture. History was on our side, and I had nothing to lose. I was eighteen and still hadn't kissed a girl, but perhaps I had potential. I knew I had a lot to say, and punk threw me the lifeline of a creed and a vocabulary-a soundtrack to my mission as a comic artist, a rough validation. Ugly kids, shy kids, weird kids: It was okay to be different. In fact, it was mandatory.”
― Grant Morrison, Supergods: What Masked Vigilantes, Miraculous Mutants, and a Sun God from Smallville Can Teach Us About Being Human

“Palmolive wrote the lyrics to ‘Newtownâ€� too. The song was originally called ‘Drugtownâ€�, but I changed it to ‘Newtownâ€�, thinking about all the new towns that are springing up around the edges of London, like Milton Keynes and Crawley. The young people growing up there are so bored, they take loads of drugs and drive around really fast or beat each other up at football matches, then they get up and commute to their dull jobs on Monday morning. Palmolive made up these great words like ‘televisinaâ€� and ‘footballinaâ€� as drug names, I think only a foreigner could do that.”
― Viv Albertine, Clothes, Clothes, Clothes. Music, Music, Music. Boys, Boys, Boys

“Ari [Up] was an artist and an artist needs love more than anyone, she needed loads, but I don’t know if she got enough on a one-to-one level. Everything came second to her music, even family. You have to be selfish to be an artist; your family just have to accept that. It’s not personal, it’s not that you don’t love them. What an artist gives their family isn’t routine and their constant presence, they give vitality and ideas, independence and creative thinking.”
― Viv Albertine, Clothes, Clothes, Clothes. Music, Music, Music. Boys, Boys, Boys

“Everyone used to laugh at him because he was the first one to do it. This was all new to people and it took a bit for everyone to get used to it. Thenâ€� yes, you’ve guessed, I too dyed my hair and other people followed suit as well and the punk explosion was about to hit the scene in a big way.”
― Stephen Richards, Born to Fight: The True Story of Richy Crazy Horse Horsley

“Der scheinbar einzige Gast außer mir war ein junger Punker mit Hund. Er leistete mir beim Essen Gesellschaft, ernährte sich selbst aber eher von Flüssigem. Das Gespräch mit ihm war interessant, wenn ich ihm und er mir folgen konnte. Oft hatte ich allerdings das Gefühl, wir redeten einfach aneinander vorbei.”
― Esther Kleinhage, Mit der Sonne Richtung Westen: Begegnungen auf dem Jakobsweg

“Things get a bit out of hand at Caroline's. No one eats anything, someone pisses in the pot plants and the turkey is stuffed, arse up, down the toilet. I didn’t see who did it, but it was obviously the silly English boys, the Americans would never do anything like that, they’re much more respectful.”
― Viv Albertine, Clothes, Clothes, Clothes. Music, Music, Music. Boys, Boys, Boys

“I put on a tight black lace dress Sid got me from a jumble sale. It didn’t quite fit so he slashed a slit in the side â€� which is now held together with safety pins â€� then he hacked the bottom off whilst I was wearing it, leaving the hem really short and frayed. I pull on my holey black tights and Dr Marten boots; I still never wear heels if I’m seeing Sid.”
― Viv Albertine, Clothes, Clothes, Clothes. Music, Music, Music. Boys, Boys, Boys

“We're invincible together. We have no doubt that the Slits are great and are going to change the world. We're on a mission and pity anyone who doesn’t get it.”
― Viv Albertine, Clothes, Clothes, Clothes. Music, Music, Music. Boys, Boys, Boys

“Ari [Up] hides nothing from our audiences: if she’s in a bad mood, she shows it, and if we happen to be on stage when she’s not happy, she just does a shit gig. There’s no
You’ve paid money to see this so I’m going to give you a good time, or I’m not going to let the band down â€� she’s just grumpy and uncommunicative. This is a good thing in many ways, we’re against faking it, we tell it like it is. People in bands are just like the audience: they have good days and bad days, we’re not pantomime or theatre, we’re no different to anyone else. We don’t see ourselves as entertainers, trying to make the audience forget their troubles for forty minutes. We see ourselves as warriors. We’d rather people confronted their anger and dissatisfaction and did something about it. Like Luis Buñuel said, ‘I’m not here to entertain you, I’m here to make you feel uncomfortable.”
― Viv Albertine, Clothes, Clothes, Clothes. Music, Music, Music. Boys, Boys, Boys

“Incremental change is the clarion call of cowards.”
― Richard Cucarese, PUNKS