Chance, History, Art...

Joe died young. But his and "The Clash's" memory live on in the programme as it seeks to explore and identify the music and the reasons behind the split of one of the most iconic punk rock groups of the day. We follow the life of one of the original members of "The Clash". Told through interviews of Joe's involvement in the ground breaking group from other band members including Mick Jones and 'Topper' Headon, we tell the story as it was.

Featuring portions of over a dozen songs, humorous British 'punk' ads, opinions, Ronnie Biggs, Malcolm McLaren (of course!), and a fantastic not-so-candid Lydon interview.

Live perfomances and interviews from the post-punk era.

Iconic Welsh rock musician Mike Peters' rise to fame, battle with cancer and inspiring return, featuring one-of-a-kind performances from other legendary musicians.

With his startlingly outrageous behavior, GG Allin became one of the most infamous performers in the history of rock and roll. GG Allin: Live & Pissed 1988 contains a collection of live performances, television appearances, and interviews that pain a full portrait of the controversial singer. The DVD release of the documentary contains a San Francisco concert appearance.

A recovering alcoholic and recently converted Mormon, Arthur "Killer" Kane, of the rock band The New York Dolls, is given a chance at reuniting with his band after 30 years.

What kind of power is accessible through the discovery of a voice? Morgan Quaintance interlinks two anti-racist and anti-authoritarian liberation movements in South London and Chicago’s South Side with his own biography to explore what happens when speech is ignored, and the voice fades.

A documentary that explores the making and impact of Green Day's third album Dookie, which was released in 1994 and became a worldwide phenomenon.

Equal parts punk and psychedelia, the Flaming Lips emerged from Oklahoma City as one of the most bracing bands of the late 1980s. The Fearless Freaks documents their rise from Butthole Surfers-imitating noisemakers to grand poobahs of orchestral pop masterpieces. Filmmaker Bradley Beesely had the good fortune of living in the same neighborhood as lead Lip Wayne Coyne, who quickly enlisted his buddy to document his band's many concerts and assorted exploits. The early footage is a riot, with tragic hair styles on proud display as the boys attempt to cover up their lack of natural talent with sheer volume. During one show, they even have a friend bring a motorcycle on stage, which is then miked for sound and revved throughout the performance, clearing the club with toxic levels of carbon monoxide. Great punk rock stuff. Interspersed among the live bits are interviews with the band's family and friends, revealing the often tragic circumstances of their childhoods and early career.

Rowland S. Howard, the Primitive Calculators, Ollie Olsen, Phillip Brophy and many others proffer their recollections and air their animosities in a tribute to the underground music scene of '77-'81 in Melbourne, Australia. This is a warts and all look at the Melbourne underground music scene of 1977 to 1981 that spawned the likes of Nick Cave, Rowland S. Howard, Ollie Olsen, The Birthday Party, the Primitive Calculators, The Ears as well as venues such as the Crystal Ballroom and others that fostered what became known as the Little Band scene.

Another State of Mind is a documentary film made in the summer of 1982 chronicling the adventure (and misadventure) of two punk bands – Social Distortion and Youth Brigade – as they embark on their first international tour. Along the way they meet up with another progressive punk band, Minor Threat, whom they hang out with at the Dischord house for about a week near the end of their ill-fated tour.

The discovery of a human torso thrown into a waterway, leads the viewer to observe the work of modern criminology and the task of special agents to track and record the psychopath's mentality through the elucidation of techniques present in the reality of the police investigation.

This portrait of a guinea fowl is the first clear vision I've had of the hot-blooded dinosaurs still living among us. (SB)

WORM AND WEB LOVE begins with bracketed light, a throbbing worm in the sand and sea foam mixed with grass and oceanic detritus, soon superimposed upon the dark blue-toned face of a man, then a woman (Michael McClure and Amy Evans McClure), each seen, then on, through superimpositions of drifting smoke and the back-lit stark grid of a spider's web. The obvious affections of the man and woman, their clear display of love, is metaphored in these tenuous superimpositions, culminating in the frantic movements of the spider itself and the dance of joy of the features of the couple in loving resolution.

This is a film made in Toronto, in memoriam, so to speak - a memory piece, a "piecing-together" of the experience of living there. The consciousness of the maker comes to sharply focused visual music - not to arrive at snapshots, as such, but rather to "sing" the city as remembered from daily living...complementary, then, to an earlier film, "Unconscious London Strata." Preserved by the Academy Film Archive in 2015.

This stream-of-consciousness could be nothing less than pathway of the soul, as images of Marilyn's window are remembered from inside-out, its "view" interwoven with all of other windowing and the Elements of the known world.

"Firstly, I revealed in salutary confession the secret filth of my misdeed, which had long been festering in stagnant silence; and I made it my custom to confess often, and thus to display the wounds of my blinded soul..." (Petrarch, 1352, in a letter to his brother). I wish to avoid any "classical" misunderstandings of the above quote by stating clearly here that any sacrifice of love is, yes, "filth" or at the very least "misdeed." An academic reading of Petrarch tends to bias thought that there are kinds of love which might be wrong: I do not believe this. (SB)

Pun on "light" intended - that short preceding expulsion of breath perhaps the "subject matter" of this film which centers in consideration of death. It is the third tone poem film and did much surprise me by thus completing a trilogy of the "4 classical Elements." (SB)

After a six -or seven- year study of Hammurabi's Code, original Babylonian Text and translation, I've tried to feel my way into the moving visual thought process of this ancient culture (whose numerical system is composed primarily of building materials, nails, joints and the like): this, then, is a visual music which balances the two thought processes of Structure and Nature.

Out of the vagueries of sometime beseeming repetitive light patterns, and the delicately variable rhythms of thought process, the imagination of The Monumental and of the Ephemeral are born to mind hard as nails.