Biff Byford: We were playing quite a few shows with a lot of youngsters in the crowd. The 'new wave' films and the sources that inspired them gave a voice to a working-class that was for the first time gaining some economic power. (1949, Alexander Mackendrick) goes even further, presenting a classless society unified in the face of outsiders. It’s what you should do, no matter who you are or what music you play. In We Are the Lambeth Boys, the establishing shot of the youth club emphasizes the fence that surrounds it, while the gate to Arthur’s lane in Saturday Night and Sunday Morning is constantly guarded by two disapproving old women and at the end of the film, as he sits on a hill with his fiancée, the housing estate below provides a context by showing where they will spend the rest of their lives. Tony Wilson (Friday Rock Show producer): Alan Freeman had been presenting the Saturday Rock Show on Radio 1 since 1973, but they decided that Fluff was too old for the job, and he left and went off to Capital Radio. Killers: The Irresistible Rise Of NWOBHM and Iron Maiden, Southern rock is alive and well and its name is The Georgia Thunderbolts, Election update: Donald Trump is now singing AC/DC's Dirty Deeds Done Dirt Cheap, AC/DC to debut new single Realize tomorrow, 25 years after it was taped, a new Bowie live album is finally getting released, Power Up may not be AC/DC’s final album, as Angus Young has a ‘mountain’ of unheard ’DC music. In Passport to Pimlico, a London East End neighbourhood falls out of British jurisdiction and the residents promptly tear up their ration books and keep the pubs open late, while the area is soon swamped by merchants and shoppers from the rest of the city who also want to escape the extensive government restrictions then prevalent. Because why would it be a film of the British New Wave if it was made before 1959 or after 1963? An underlying realist approach made the characters seem genuine. Brian Tatler: I think there was a rivalry. It was the start of the Thatcher era, which was quite destructive. Biff Byford (Saxon): I grew up in the 1960s. That ‘backlash’ was all blown out of proportion. Thanks to the business acumen of their new manager, Rod Smallwood, Iron Maiden were jostling with Def Leppard for the position of the NWOBHM’s top dogs. I remember playing Sunderland Mecca on a Friday night, and the head of labels from Virgin, EMI and CBS had flown up. Neal Kay: After Geoff Barton’s double-page spread in Sounds, suddenly all these demo tapes started arriving from oppressed bands who couldn’t get out. The intended result of this focus on landscape, what McFarlane calls the “insistent evocation of time and place” (McFarlane 138), is to suggest that the lives of the working class protagonists are inescapably defined and limited by their environment. I was like, “Let’s not hang around – these guys are doing it.”. I think it was one of the ways for people to hear music and engage with the new rock movement, and they did. This patronizing and clinical attitude toward working class culture runs through the New Wave films. But we all loved Led Zeppelin and Black Sabbath as well. The sense of architecture functioning as a prison reaches its height in The Loneliness of the Long Distance Runner, much of which is set in a prison. When I walked off I thought: “Follow that.” That was a fucking great gig. New York, NY: Hopkinson & Blake, 1974. Upper Class Boys in We Are the Lambeth Boys. What these films highlighted was that the increased income and new consumer goods that came with affluence did very little to change the class structure. The practice of Ken Loach, which hasn’t changed since his early work of the 1960’s, is a more traditional take on working class realism that is a ‘strategy of observation, rather than involvement.’. So it was fantastic for us. We’ve all been through barely affording gas and sleeping in the van. Houston, Penelope. . A scene in Night Mail that would not be found in any of the New Wave films is the one where a benevolent supervisor wanders down the train offering unsolicited advice, which is cheerfully received. Scotland had Holocaust. We quite liked that. Their name was Iron Maiden, and they were led with gritty ambition by bassist Steve Harris. All the festivals that had happened in the UK before had had a cross-section of bands, so this was the first to go with specifically one type of music. Steve Harris: We did a four-track demo and gave it to Neal Kay. These films can be faulted for ignoring industrial conflict and sacrificing persuasive social analysis in favour of messages acceptable to the government agencies that sponsored them, but they do include aspects that would be picked up by later filmmakers. Rob Halford: We went out with Iron Maiden, Def Leppard. A subsequent double-page feature in Sounds, plus strong support from local station Radio Hallam, helped secure them a contract with Phonogram. Fascination with the sex lives of the British lower orders goes back at least as far as Lady Chatterley, but there was a freshness in dealing with previously forbidden subject matter such as extramarital and premarital sex, homosexuality, unmarried pregnancy, (sympathetically treated) miscegenation and abortion. I’ve got millions of tapes to listen to.” But that night I put it in the player and listened to it. Arthur from Saturday Night is viciously beaten, Colin from Loneliness commits a robbery to finance a dirty weekend in Skegness and is sent to a youth prison, Vic from A Kind of Loving knocks up a girl, Jo from A Taste of Honey gets knocked up, and Joe from Room at the Top loses the woman he loves. His whole life was like that. Hue and Cry in fact begins with a pan of London’s docks that could have easily come from one of the wartime documentaries. Geoff Barton (writing in Sounds): “The band, dressed in cheesecloth shirts and loon pants, tossed their long hair, pouted, posed and punched their firsts into the air after each agonising guitar solo.”, Alan Lewis (editor, Sounds): I coined NWOBHM (New Wave Of British Heavy Metal) as a front-page headline. The more potent dream that takes over from it is of a return to wartime solidarity” (Barr 104). Biff Byford: We were always chasing a record deal. Visit our corporate site. The New Wave Of British Heavy Metal adopted the do-it-yourself attitude. british cinema political, Walking with the Dead: An Interview with Marc Price. Yeah, we’ll do that.”, Andy Dawson: There were a few bands that made the jump to a major, like Saxon and Iron Maiden and Def Leppard obviously. Steve Harris: I wouldn’t say I’m a control freak. But it was always a challenge. “How do Documentaries Differ from Other Types of Films?” Introduction to Documentary. We knew the opportunities we were being given. Perhaps unsurprisingly for a nation famed for its archaic class system, the British New Wave originated from the unified desire among creative minds such as Karel Reisz, Jack Clayton, John Schlesinger and Lindsay Anderson to share realist stories that highlighted the struggles of working class life. Motörhead, formed in London in 1976 by former Hawkwind bassist Lemmy, were one such group. It was prefigured in the 1960s and early 1970s by the use of synthesizers in progressive rock, electronic, art rock, disco, and particularly the "Krautrock" of bands like Kraftwerk. Examples of this would include Jo (Rita Tushingham)’s walk along the canal in A Taste of Honey (1961, Tony Richardson), Colin (Tom Courtenay)’s long training run through the woods in The Loneliness of the Long Distance Runner(1962, Tony Richardson) and Vic (Alan Bates)’s walk through the town in A Kind of Loving (1962, John Schlesinger), but variations can be found in almost all of the New Wave films. The emphasis throughout is on “lives . “The Humphrey Jennings Film Reader.” Screen 36.3 (1995): 301-4. Similarly, while both the local grocer (Stanley Holloway) and bank branch manager (Raymond Huntley) in Passport to Pimlico (1949, Henry Cornelius) could be considered middle class, Holloway’s working class cockney accent and desire to turn a bomb-damaged area into a playground for local children mark him as Labour, just as Huntley’s prim, educated speech and intention to sell the area to a private business show him to be a Tory. Synth-pop (short for synthesizer pop; also called techno-pop) is a subgenre of new wave music that first became prominent in the late 1970s and features the synthesizer as the dominant musical instrument. Bloomington, IN: Indiana University Press, 2001. The fucking Americans weren’t coming up with anything, anyway. But Getcha Rocks Off did have a vibe about it that was above and beyond what everyone else seemed to be doing. For others, years of success had bred complacency, arrogance or both. In documentaries such as Industrial Britain (1933, Robert Flaherty and John Grierson), Shipyard (1935, Paul Rotha) and Night Mail (1936, Harry Watt and Basil Wright), British filmmakers had attempted to portray the details of working class life. Rick Savage: We were teenagers, and we had this belief that anything was possible. It was known as The Bandwagon in the Prince Of Wales pub, but I rechristened it the Heavy Metal Soundhouse. In Britain new wave was led by clever singer-songwriters such as pub rock veterans Nick Lowe, Graham Parker, and Elvis Costello; Squeeze and XTC, whose songs were sophisticated and infectious; ska revivalists such as Madness and the Specials; genre-hopping Joe Jackson; synthesizer bands such as Human League, Heaven 17, and A Flock of Seagulls; and the so-called New Romantics, including the … There was a massive groundswell and a lot of young fans were getting into metal. Lewis Jacobs. Biff Byford: When we walked on that stage we’d done a hundred thousand records. That was Metal For Muthas. However, many of the characteristics this cycle of films was noted for were already present in British cinema. Singer Joe Elliott, bassist Rick Savage and drummer Tony Kenning had formed the band Atomic Mass while still in their mid-teens. Even the stuffed shirts at the BBC couldn’t ignore the musical shifts that were happening. We had no idea how the hell you structure a song. That happened for a few bands, but the rest of us were just working our arses off trying to make this happen. The traditional working class realist films were gritty and realistic, struggling for commercial success due to the themes and tone of the films but that would change in the 1990’s. ( Log Out / I picked him up at the train station in my van – a two-seater so you could throw shit in the back. I can live with that on my headstone. The attention had gone onto the American bands. ( Log Out / All these sexually active protagonists are punished for their randiness. The East Midlands had Witchfynde and Savage, while the West Midlands was represented by Diamond Head, the West Country had Jaguar. Mining was a good living, it wasn’t awful. The scene’s big guns weren’t resting on their laurels, either – Def Leppard and Iron Maiden both released their debut albums, On Through The Night and Iron Maiden, in 1980, while Saxon released two stone-cold classics in the shape of Wheels Of Steel and Strong Arm Of The Law. Essays I just like to get things done. Fast Eddie Clarke: The prog rock lot had gone a bit over the fucking top. They’d seen the charts in Sounds and assumed we must already have a record deal of some kind, but we didn’t. Rob Halford - Judas Priest singer, and the man who helped give metal its iconic leather uniform. For many of these aspirant musicians, music offered an escape from the drudgery of real life, if not a direct route to fame and riches. From BFI: Film Forum celebrates the British New Wave. I’m sure they’d love to see younger bands. The difference can be summed up in Bill Nichols’ comment (about documentary, although it can be applied to any film) that a film “organized as It speaks about them to us will have quite different qualities and affect from one organized as We speak about us to them” (Nichols 21). Paul Loasby (Monsters Of Rock promoter): The amount of rain was unbelievable. The New Wave of British Heavy Metal music has both musical and visual characteristics. Through April 6, New York Cityâs Film Forum celebrates the British New Wave with a fantastic series. So when you tuned in to listen to Tommy, you knew you were in for an education.