Why CRASS Disbanded by STEVE IGNORANT

From the double DVD - Rebellion - A Punk Movie. Available here: https://www.ebay.co.uk/itm/REBELLION-... #crass #steveignorant

Crass were an English art collective and punk rock band formed in Epping, Essex in 1977, who promoted anarchism as a political ideology, a way of life, and a resistance movement. Crass popularised the anarcho-punk movement of the punk subculture, advocating direct action, animal rights, feminism, anti-fascism, and environmentalism. The band used and advocated a DIY ethic approach to its albums, sound collages, leaflets, and films.

Crass spray-painted stencilled graffiti messages in the London Underground system and on advertising billboards, coordinated squats and organised political action. The band expressed its ideals by dressing in black, military-surplus-style clothing and using a stage backdrop amalgamating icons of perceived authority such as the Christian cross, the swastika, the Union Jack, and the ouroboros.

The band was critical of the punk subculture and youth culture in general; nevertheless, the anarchist ideas that they promoted have maintained a presence in punk. Due to their free experimentation and use of tape collages, graphics, spoken word releases, poetry, and improvisation, they have been associated with avant-punk and art punk.

The band was based around an anarchist commune in a 16th century cottage, Dial House, near Epping, Essex, and formed when commune founder Penny Rimbaud began jamming with Steve Ignorant (who was staying in the house at the time). Ignorant was inspired to form a band after seeing The Clash perform at Colston Hall in Bristol, whilst Rimbaud, a veteran of avant garde performance art groups such as EXIT and Ceres Confusion, was working on his book Reality Asylum. They produced "So What?" and "Do They Owe Us A Living?" as a drum-and-vocal duo. They briefly called themselves Stormtrooper before choosing Crass in reference to a line in the David Bowie song "Ziggy Stardust" ("The kids were just crass").

Other friends and household members joined (including Gee Vaucher, Pete Wright, N. A. Palmer and Steve Herman), and Crass played their first live gig at a squatted street festival in Huntley Street, North London. They planned to play five songs, but a neighbour "pulled the plug" after three. Guitarist Steve Herman left the band soon afterwards, and was replaced by Phil Clancey, aka Phil Free. Joy De Vivre and Eve Libertine also joined around this time. Other early Crass performances included a four-date tour of New York City, a festival gig in Covent Garden and regular appearances with the U.K. Subs at The White Lion, Putney and Action Space in central London. The latter performances were often poorly attended: "The audience consisted mostly of us when the Subs played and the Subs when we played".

Crass played two gigs at the Roxy Club in Covent Garden, London. According to Rimbaud, the band arrived drunk at the second show and were ejected from the stage; this inspired their song, "Banned from the Roxy", and Rimbaud's essay for Crass' self-published magazine International Anthem, "Crass at the Roxy". After the incident the band took themselves more seriously, avoiding alcohol and cannabis before shows and wearing black, military surplus-style clothing on and offstage.

Crass logo.
They introduced their stage backdrop, a logo designed by Rimbaud's friend Dave King. This gave the band a militaristic image, which led to accusations of fascism. Crass countered that their uniform appearance was intended to be a statement against the "cult of personality", so (in contrast to many rock bands) no member would be identified as the "leader".

Conceived and intended as cover artwork for a self-published pamphlet version of Rimbaud's Christ's Reality Asylum, the Crass logo was an amalgam of several "icons of authority" including the Christian cross, the swastika, the Union Jack and a two-headed Ouroboros (symbolising the idea that power will eventually destroy itself). Using such deliberately mixed messages was part of Crass' strategy of presenting themselves as a "barrage of contradictions", challenging audiences to (in Rimbaud's words) "make your own fucking minds up". This included using loud, aggressive music to promote a pacifist message, a reference to their Dadaist, performance-art backgrounds and situationist ideas. Meanwhile, Johnny Rotten stated that the band was "too political for my liking. They preach to themselves with a communist slant".

The band eschewed elaborate stage lighting during live sets, preferring to play under 40-watt household light bulbs; the technical difficulties of filming under such lighting conditions partly explains why there is little live footage of Crass. They pioneered multimedia presentation, using video technology (back-projected films and video collages by Mick Duf
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