Back to the Snare: Joe Strummer on Punk, Power, and The Clash’s New Fire

00:00
Interviewer: What has changed from what you were before to what all of this does now?
00:10
Joe Strummer: Well I think that we are.. we're back more rocking now, you know. The old Clash maybe used to get into like a long piece of music, uh, funky or reggae style, you know, we'd experiment with a lot of music, but I think that the new Clash is a little more, we're going back to a little more, you know, when the snare drum's going, you know, (makes bashing snare drum noise) we keep it up a little bit more. I think we're reacting, you know, to the slow music of the day, yeah. …
00:40
Joe Strummer: Yeah, uh, guitar.
01:11
SONG: PLAYING SEX MAD WAR
01:52
Joe Strummer: If I could define punk a minute. To me, punk was never a special haircut, or a brand new leather jacket, or a certain kind of studs to put in a jacket, or even a certain kind of philosophy. To me, punk was an attitude that just said, we don't believe you. Punk was an attitude where people came out and they said. We were being told we had no right to exist, that we were too, uh... Unemployable, there was no future for it. And punk had the guts to step up and say, I don't believe you. I have the right to, I have been born the same as you. I have the right to exist. And that is punk, and that's why we'll go forward.
02:45
SONG: This is England
02:49
Joe Strummer: I write, I write the lyrics for us. I cannot write about love. It's not that I don't love, but my subject seems to be - reason for living.
03:16
Interviewer: I'd like to know more about your influences for your music.
03:22
Joe Strummer: Yeah um we have a new a new record that's going to be released sometime in September. I don't know when it's going to be released in Greece but we got a new record and we just wanted it to be up .. up … as in not down the music you know we're sick and tired of people complaining and not coming up with any answers. We wanted … we wanted to deal with reality but we wanted it to be up so when people heard the record they felt like they could get outside and and deal with their life rather than, you know, there's too much heroin in London.
04:19
Joe Strummer: I heard you've got socialist government, which is more than we've had. It's been…oh, five, six, seven years since we've had one. And I can tell you that, from an English point of view, a Conservative government, the opposite of a socialist, does not work. You want to travel, here in London everybody has money, but you want to travel up north and see what they've got there? They're really crying for some kind of a life. That's all they want, a life. And like, we've tried a Conservative government and it doesn't work and I can tell you one thing for sure next election here in this land they're going out. Yesser! Ok! (laughs)
05:06
SONG: Plays out This is England

White, Vince. Out of Control: The Last Days of The Clash. London, Moving Target, 2006, p. 258.

The Last Days of the Clash

It gets forgotten. It was a bad show. Something was wrong. We flew back to London straight after. In and out in a day.

Another show has been lined up in Athens. We begin rehearsals for it. But rehearsals have become really boring and especially without a singer. We have our stuff down. It's pointless going over and over it. We know the songs backwards.

I arrive at Heathrow at 9am but there's some shit with the tickets or the plane or something so we can't leave.

It's hot out there on the runways. The sun is beating down. We sit in a little booth waiting for the flight. There's a TV screen in there up near the ceiling. Live Aid is on the TV. Up there on that TV we watch all the famous rock'n'roll bands doing their bit to save lives. It's a good cause. Not some anti this or that political rally but a real humanitarian event that will raise money for the starving. The destitute. People who probably don't even know what a ballot box is let alone seen one.

On the plane I'm sitting next to Joe. His head is buried in the inflight magazine.

‘Joe. How come we're flying off to Greece? This Live Aid thing is looks pretty good. How come we're not involved? We'd steal the fucking show!’

‘We weren't asked,’ he replies, tartly.

‘Weren't asked? You could have just insisted. You could just tell them we want to play! Make them an offer they couldn't refuse.’

Joe went on reading his magazine. He didn't want to talk about it. I asked Kosmo about it. I wasn't happy we weren't playing. After all, The Clash was supposed to support humanitarian causes. It didn't get bigger or better than this one.

Sick.

‘Well, it goes back a while,’ says Kosmo. ‘Joe and Geldof have had some differences in the past. The punk past. Some rivalry there. Geldof didn't like the idea that Joe had become the spokesman of a generation. They both saw themselves as that.

They don't get on.’

‘Surely they could put all that aside. I mean......it's all a bit childish, don't you think?’

‘They hate each other. That's the way it is.’

‘Oh, OK.’

Kosmo walked off. I sat down.

The Whale was taping the show for me. I'd watch it when I got back.

Big meal that night after we arrive. Long table. The band.

Discussion.

‘OK,’ says Joe. ‘Who on this table has ever had a homosexual experience? Hold your hand up if you have.’

Joe puts his hand up. Nick puts his hand up. Pete puts his hand up. Our art director puts his hand up. I don't put my hand up. I look around the table. A couple of other hands are up. Only Paul and I don't have our hands up.

What is this? One by one, stories are told of these experiences. In the bath. At school. Whatever. I search my mind but there's nothing. Not even in a dream.

Bernie is not at the table, but I wonder if he's had a homosexual experience like everyone else. Back in my hotel room I think hard about it. I'm a bit shocked. Are they making it up to be cool? I don't know. I don't believe in bisexuality. Women are bisexual. But men aren't. In my mind a guy is either gay or straight.

After we go to a club. I'm sitting down nursing a beer. Joe and Pete stand over me leering.

‘I'd love to fuck Vince. What do you think Pete? Would you fuck him?’ says Joe.

‘Oh yeah, definitely. I'd fuck him,’ Pete agrees.

‘Get out of my face you fucking poofs,’ I yell and jump up quickly.

I get away and go find Paul. Joe and Pete are laughing away.

I spy Paul near the bar and go talk. Paul and I start having a Clash conversation. This is cool. That's cool. Being careful to talk only about 'cool' things. Nothing substantial. There are lasers in the club. Quite a show. I'm bored with it. So is Paul.

We wander out together into the car park.

‘Let's get a car!’ whispers Paul.

‘Good idea, but how?’

‘Hotwire!’

‘I don't know how.’

‘I do.’

We sneak around the car park. There are security around the club. We have to be careful. I begin trying doors. No luck. Paul is trying doors. I push the door button on one and it flies open.

‘Here! I've got it!’

Paul moves in, head down. Gets in the car and begins fumbling around under the dashboard. I wonder if he really knows what he's doing. He's taking his time in there. I'm keeping lookout.

‘What's happening? Get it started you cunt. Oh shit. Paul! Get out of there! There's someone coming!’

A couple of security men walk towards us. We run away laughing and get back in the club.

Thousands of people in a big concrete Olympic Stadium. More than 40,000, I think. I'm not too up on the numbers. But it's a lot of people. Little do I realise that this will be the last concert The Clash will ever play. Complete Control is the first song on

a list Joe has scribbled down on a scrap of hotel paper. We gather around backstage and work out an intro. Joe suggests we go out one by one and build the song up. I reckon it's a good idea. It's different. I like the way Joe thinks on his feet.

Spontaneous and always game to try something. We'd played a show in the States where we'd done three encores. The house lights were up and the DJ had begun playing records at the end.

Most of the audience had filtered out of the hall by then.

‘What do you think, Vince? Another song?’ he asks me, backstage.

‘Fucking right! Let's do it!’

So just for the hell of it we'd run back out on the stage and begin playing White Riot in a brightly lit half empty hall.

People began scrambling back in to try and catch it. Mad.

I'm to go out and start with the riff. Pete will be next with the bass drum. Nick with guitar. Then Paul. Then Joe will appear and start singing. It's a good plan. I've decided not to drink anything before this show. Drink and adrenalin don't mix. It's like mixing drugs and you get confused. I'm worried about walking out there alone. Boy George got bottled off the stage earlier. The people are here to see The Clash and they don't want to be disappointed.

I walk out in the dark and plug in my guitar. Turn up the volume. I hear a low hum. I'm electrified. My hands are shaking a bit. I look out over the audience. All I can see is a sea of little lights out there in the distance. Candles or matches or something in the blackness. There's just me and 40,000 people. Facing it off. Here it is you CUNTS!

BAH-BAH.

....BUH...-BAH, BUH BAH-BAH.

BAH-BAH. .BUH...-BAH, BUH BAH-BAH!

I play the refrain over and over. The audience begin screaming.

Pete arrives quickly with the bass drum.

DUH....DUH....DUH.....DUH.....DUH......

It seems ages before Nick arrives and starts playing the opening chord. Over and over it goes. Paul arrives and it all goes to plan. Where's Joe?

Joe arrives and ‘They said that it's REMOTE CONTROL! We didn't want it...’

And we're off. It's a blinding show. Being sober is good.

Thinking is quicker. Notes are struck and movements are synchronised and effortless. I'm on the wave all the way through. There's room for experimenting too. At the final count I realise I've played my personal best. And as the newer live band we've reached our best. Even Nick and Pete are complimenting my playing to Bernie. We've been given a tour itinerary for next year. Japan and the Far East. Things are looking up.

Rock in Athens Festival '85

Translated by Vasilis Papadimitriou

From the title alone, you can see, my good friends-good friends!-what I mean is a review and detailed report on the activities of the famous festival by the authors of Pop & Rock (Nikos Kontogouris, Nikos Bozinakis, Stathis N. Panagiotopoulos). I prepossess the reader musically by noting that the reference to the band Fast Train (the Hellenic Depeche Mode) is very, very small (text is in red), but not negative. The entire text can be seen as a historical document, and in many parts it reflects the overall bias, decadence, and misery of 1980s Greece-a dowry we are still trying to discard.

We thank once again our friend Costas M. for his kind initiative in giving me this article (see here, typing!-I need to develop a little voice-assisted system, as I require daktylotherapeia, a manicure, and a secretary, as I mentioned in the previous paragraph).

Pop & Rock - August 1985

Five pages of text behind the scenes at the Rock in Athens Festival in Kallimarmaro, by N. Kontogouris and S. Panagiotopoulos. The text doesn't say much. In fact, SP complacently ignores the facts and instead delivers more dithyrambs. The only real value of the issue is the cover, obviously-and a photo of Joe inside that's nearly identical to the one on the cover (see below).

Last Clash Performance Panathinaikon Stadion "Kallimarmaron", Athens, Greece

IN THE FESTIVAL OF FESTIVALS

The big moment had arrived. The famous two-day festival was part of the programme of celebratory events marking Athens as the Cultural Capital of Europe, and some of the most famous names in the European new music scene were set to appear.

For us "journalists", the two days became... four days of fatigue, running, and stress-because festival coverage began Thursday at noon and only ended Sunday at noon.

In addition to that, I was put in charge of every kind of job you can imagine.

So, during the week of the festival, all the official guests began arriving in Athens.

First and foremost was Nina Hagen, who went straight to Crete for a vacation. I imagine it must have felt like home to her, since the island has practically become a German parish.

On Thursday night, she returned to Athens, where her manager and security team attacked the journalists. Even the managers from the company who had gone to receive her couldn't avoid the punches.

The Stranglers, Depeche Mode, and Téléphone all arrived on the same day.

As for the others-no one knew anything.

The Clash said they would arrive on Saturday at noon, because they didn't want to see any of their compatriots. You can see that it's not only Greek bands who fight.

And since I've mentioned Greek bands, The Music Brigades, who were meant to represent the local music scene, pulled out of the festival at the last minute.

I've heard the reasons, but I'm trying to get in touch with Tzimakos to learn the whole truth. I hope I'll manage it before I finish this article.

Also, in the ads placed in international magazines, the name The Clash wasn't listed anywhere. The big band appeared as a "guest group" because they didn't want their name appearing on the same list as... Culture Club.

I learned the reasons, but I will try to get in touch with Tzimakos to find out the full truth. I hope I manage to do so before I finish this article.

Also, in the advertisements that appeared in foreign magazines, the name The Clash was nowhere to be found. The big group appeared as a "guest act" because they didn't want their name listed alongside... Culture Club.

On the eve of the festival, the arrival of David Bowie, who had gone to Patmos for a holiday-this was reported in all the newspapers-gave many people hope that the successful artist might appear on stage at the Panathinaikos Stadium.

On Thursday night, the organisers from Nouvelles Frontières, Roxanne, and Tenta Theater invited the entire music industry to a cocktail party at the pool of the Athens Hilton Hotel, in honour of the festival's participating artists.

Journalists from magazines and newspapers, musicians, producers, record label reps, radio and TV figures-famous and unknown-as well as talented artists from Atalanti (of every kind and nature) rushed to honour their guests.

The best band, musically speaking, was Culture Club-and it's a pity that people threw plastic bottles filled with water and sand into the spotlights aimed at the band. It was amazing. Talk Talk joined them-though someone threw dahlia flowers on stage at noon.

The Cure were excellent and relaxed; The Clash were strange with their new (at the time) lineup; Depeche Mode-I never liked them; The Stranglers (I was right in front when someone threw a slipper...); and Nina Hagen, goddess of the spaceship; French Téléphone-good.

All this was overshadowed by persistent rumours: that The Music Brigades had refused to take part in other festivals; and that vinteowall (the video wall) had shown little Coca-Cola squares and we all got thirsty trying to figure out what was hidden.

Amazingly, the so-called New Wavers or punks brought in 75,000 attendees!

Only the true guests did not deign to appear-except for a small group including members of The Stranglers, Téléphone, and Hagen, who mingled and spoke to those who recognised them.

The whole thing was a tragicomedy: many journalists-mostly from lifestyle publications and general-interest magazines-mistook anyone in eccentric clothes for an artist and bombarded them with questions. One of them ran into Greenfield of The Stranglers and, after a brief conversation, asked a man nearby: "Is this Depeche Mode?"

Hagen's arrival was like a Reagan-era summit. Hundreds of flashbulbs exploded. She swept in, decorated like a war frigate, snubbed everyone, and marched straight to the TV cameras. In another part of the pool, J.J. Burnel and Dave Greenfield sat like monks, watching the chaos.

When members of Téléphone arrived-and Hagen's bassist too-someone was clearly annoyed, grumbling and cursing. Her manager was a dangerously sharp woman and had to be restrained, as she was ready to bite someone.

After the cocktail party came the after-party, at a well-known disco in Glyfada.

In one corner, I spotted Hugh Cornwell of The Stranglers. One of our crew made introductions, and we got chatting. Their simplicity off-stage is remarkable. We talked about all sorts of things for about half an hour. Then he excused himself to speak with the manager.

Before getting into the two-day festival itself, I want to add a few things I saw, heard, or learned:

Because tickets weren't selling well right up until the eve of the event, someone-no idea who-started a rumour that Bowie would appear on one of the extra days.

This deception is common and was even repeated by a well-known radio presenter, who rushed to share the rumour on air without verifying whether it was true.

The Clash arrived the same day as Talk Talk, landing at the airport.

They wanted their arrival kept absolutely secret, so they hadn't even informed the organising company. That left them scrambling to find transport for their equipment.

It was nearly impossible-until a stranger, a music fan, voluntarily offered to move their gear for free. So, with the help of an anonymous athlete using a van-possibly a Datsun-the band got their instruments to the hotel.

Greek newspaper journalists who cover music topics are not gods. Their cluelessness is legendary. I've said this many times. Here's another case:

At the cocktail event, the CBS director was talking with Cornwell.

A photographer snapped a picture, which appeared in a well-known paper under the caption: "The singer of The Stranglers, speaking with an elderly fan of…" (I've been told this; I didn't see it myself).

What nonsense is printed in the papers-especially about incidents they know nothing about.

The right-wing press tried to exploit everything they could and plastered it all over the front pages.

The pro-government press covered even minor things, while the left-wing press followed its own narrative.

Everyone tried to spin the story and blame the rockers.

Let's be cautious-because they'll happily scapegoat us when convenient.

The police focused more on maintaining warmth and providing water canteens than on catching the black-market woman selling drinks for 500 drachmas per can. The victims were mainly foreigners.

And the greatest victims? Probably The Stranglers. At least three fans had to be carried out unconscious for medical attention.

The Clash have promised to return in the autumn for a solo concert here.

The Two-Day Detail

Now that I'm writing this, the events have ended. I can offer a few general observations:

• As expected, the big three-The Stranglers, The Cure, and The Clash-were the best acts of the weekend and fully lived up to their reputations. I think seeing them on stage was a great experience.

• The biggest surprise-at least for me-was the backing band for Boy George. One of the most sophisticated and tight-knit ensembles I've ever heard.

• The biggest disappointment: Nina Hagen.

• The sound: fantastic.

• The organisation: very good. Yes, there were some errors, but overall the impression was positive.

• The biggest jerk: Boy George.

• Most bands stuck strictly to their setlists-only 3 of the 8 offered encores.

• The only bands that didn't come back out were Téléphone and Culture Club.

• All bands played a mix of old and new material.

Friday

(Téléphone, The Stranglers, Depeche Mode, Culture Club)

Shortly before the concert, I met Panousis and asked him what had happened with The Music Brigades and why they weren't taking part. I also asked whether the various rumours I'd heard-about censorship of their lyrics, payment issues, etc.-were true.

Jimbo denied that anything I'd heard was accurate.

T.P.: We held back from the start because we thought the concert was being run by some state-backed offices. Then we learned that several multinational companies-like Coca-Cola-had financed the event. Under those conditions, of course, we couldn't participate.

The first act of the two-day festival was Téléphone, a French band well-known at home and with several past hits. They played classic rock 'n' roll in French, and their compatriots in the audience gave them an enthusiastic response. Personally, I remained unmoved.

Still, they delivered better than The Stranglers. I hadn't felt that way about a show since seeing Dr. Feelgood-I was absolutely sure they'd be incredible.

When The Stranglers came on, that's when the trouble began.

Several thousand people were gathering outside the stadium, trying to force their way in. That led to scuffles and other minor incidents. At foreign concerts, you expect tsampatzides (ticket dodgers) to sneak in.

But in Greece, we completely ignore this kind of scenario in planning. There's always going to be a small portion of people who want to attend without paying. Others simply may not have had the 2,000 drachmas to spare.

What the newspapers wrote about it is nonsense.

If Greece really had as many anarchists as were claimed during the chaos, things would've gone very differently. And when the stadium is half empty-why shouldn't people come in?

Music shouldn't be a luxury. It should be accessible to everyone.

The organisers claimed they sold around 25,000 tickets for Day One. I think it was more.

And when they've already covered costs (and profits!) with state funding, multinational sponsorship, and advertising-radio, television, everything-why not let someone in who can't afford the 2,000 drachmas? (Note from Striggou: for reference, in summer '85, a Coca-Cola cost 50 drachmas, a pack of cigarettes 200-220 drachmas, a bus fare 15 drachmas, a vinyl LP-non-import-500 drachmas, and Pop & Rock magazine 150 drachmas.)

Depeche Mode went down well. Sure, their music may be repetitive, but David Gahan was a great performer. He really got the crowd going.

Culture Club, unfortunately, were a disaster. Not because of the music-but because of their frontman.

Boy George did everything wrong. Instead of calming tensions, he made them worse. No one-under any conditions-should attack the audience in the very first song.

But that's what he did. Boy George was aggressive. For the bottles that hit him-he alone was to blame.

I felt bad for the other musicians. They were perfect. A Black female singer tore through Your Love Keeps Lifting Me Higher-she was incredible.

But the show overall felt hollow. There was one member of the group-no idea who-whose voice was absolutely appalling. Whenever he opened his mouth, I just hoped he'd do anything other than sing.

I couldn't understand how a band with such talent-especially that Black vocalist-could let someone like him ruin it.

Saturday

(Talk Talk, The Cure, Nina Hagen Band, The Clash)

The second day began-and ended-without incidents or riots.

Talk Talk were good musicians, but their songs were boring. The singer tried to emulate Bryan Ferry's voice; he clearly idolises him.

I was afraid The Cure would dive into their old material-those depressing, meaningless tracks from past albums that sound like "the devil's mother crying."

To my great surprise, almost the entire set was rhythmic.

If you've ever relied on that kind of music, you'll know how complex and brilliant they can be. It was wonderful.

Nina Hagen, though-well, she came off angry. This kind of act is better suited to small, enclosed spaces full of pseudo-intellectual culture vultures-not an open-air festival.

I didn't like the show, nor the choice of songs. It sounded like a glam rock band. A poor adaptation of Ballroom Blitz by Sweet, and a brutalised version of White Punks on Dope by The Tubes.

Her bassist-an incredible Black musician-was perfect. But Hagen herself was trying to convince us she'd had a recent metaphysical experience. She's a liar.

All of this was a meticulously staged publicity stunt. She said some things, did others-nothing matched. Anyone who genuinely believed in such things wouldn't behave that way. The contradictions were glaring.

The Clash were the beginning and the end of everything.

There was a time when the greatest rock 'n' roll band in the world was The Rolling Stones. Now it's The Clash. No further comment needed. That sentence says it all.

Epilogos

Everyone was happy. No matter how demanding people may be, I believe we all enjoyed what we saw and heard.

Even the riots might have been avoided if the organisers had allowed people through after Téléphone, or if The Stranglers had played the second day instead of Talk Talk.

It makes perfect sense: a hardcore Stranglers fan might boo Culture Club on principle. It's philosophical.

They might not have cared to begin with-but once you've paid 2,000 drachmas, you're not just going to leave. That's the reality.

We're still immature when it comes to events like these.

Nobody really knows how to behave.

Nick Kontogouris

Day One: Téléphone, The Stranglers, Depeche Mode, Culture Club

As part of the celebration of Athens as the Cultural Capital of Europe-with a side of tzatziki and folkloric dance-the French agency Nouvelles Frontières organised this unique event, one of the most significant international music festivals ever hosted in Greece.

Regardless of intentions, politics, or backstage gossip, we had the chance to witness eight major names from the global rock and pop world across two days.

It was a mammoth festival-a seven-hour marathon each day under a blazing sun, filled with dust, thirst, fatigue, frustration, and occasional ecstasy.

The diversity of acts didn't harm the festival; on the contrary, the variety worked in its favour. Instead of being overwhelmed by the noise of many bands at once, the audience was immersed in one musical journey.

Each band told a story. Each performance was a living presence-not an abstract image, not just printed words.

Day One was poppier and lighter musically-though outside the music, the "rock stars" made their presence known again. The French Téléphone, the legendary Stranglers, the electro-pop Depeche Mode, and the superstar act Culture Club (their only European appearance that year) all took the stage.

But it was Day Two-the attack of the giants, the passionate charge of The Clash and The Cure-that left us speechless, sweaty, and reeling.

Let the journey begin: The enormous stage stretched the entire width of the track in front of the entrance, complete with a full sound system.

Above it, a massive screen displayed the onstage action (except during The Clash), as well as ads and music videos.

The turnout on the first day was lower than expected-though things escalated later when tsampatzides (freeloaders) clashed directly with the police in an attempt to enter the stadium.

The offstage events were grim: blood, fires, beatings, even shootings and injuries.

The causes? The high ticket prices, the arrogant "We are rock stars" attitude, the impatience of the youth, and the eagerness of the police to show force.

Once again, the yellow press jumped on the story the next day. Newspapers like Nation, which normally present themselves as guardians of tradition and culture, suddenly became very interested in rock.

But the truth is that these incidents do harm only to rock culture-and nothing else.

The crowd seemed genuinely eager for the start of the festival. That may be why Téléphone received such a warm reception when they appeared at exactly 6:07 PM. The zero hour had arrived.

Téléphone took the stage in full daylight. All four members-guitar, bass, drums-represent one of France's biggest rock names.

What did we see from Téléphone? A stylised rock sound, with a strong emphasis on hard guitar riffs.

Their stage presence was textbook rock-especially the drummer, who tossed his sticks in the air multiple times.

The sound was heavy, tight, and cohesive-but ultimately rigid and outdated.

As I said, the crowd treated Téléphone with polite indifference. They acknowledged the start of the festival but didn't get too excited.

Téléphone, standard-bearers of French hard rock, played around 10 to 12 songs in a 50-minute set and finished at 6:55.

After an hour-long break, the time had come for The Stranglers-whom the crowd was genuinely excited to see.

At 7:50, the stage was covered with a white cloth, and then out came the band-dressed in black, followed by a brass section (saxophones, trumpets).

They launched into Nice 'N' Sleazy, which now featured expanded brass arrangements.

But straight away, the problems were clear. The sound was bad-very bad. The mix had no body. The vocals were lost.

Next problem: The Stranglers played a set dominated by older songs-Hanging Around, Bitching, I Feel Like a Wog-which were completely ruined by the poor sound.

Their hits from the later period-Golden Brown, Strange Little Girl, European Female, Midnight Summer Dream, Skin Deep, No Mercy-were nearly unrecognisable.

And then the third issue: The Stranglers are dead on stage. Nearly motionless.

That might work in a studio, but live it felt clinical, detached.

Still, the crowd responded with enthusiasm-perhaps more to the myth and image of The Stranglers than to what they were actually hearing. (Honestly, Hanging Around sounded like mush-but people still loved it.)

Eventually, the atmosphere encouraged them into an encore, and they exited to loud applause.

We didn't agree. We thought The Stranglers were disappointing. Live, they were clinically dead.

Up until this point, Day One had been a letdown.

But then Depeche Mode appeared-outsiders, dark horses-and they lifted the entire evening.

I've written many times that I like Depeche Mode, and once again, they proved themselves on stage: fantastic sound, elegant lighting, a dynamic young frontman, and that romantic post-industrial pop sound that defines them.

You might say I'm overrating the performance-maybe that's because the earlier bands had failed.

But they really were a revelation. A genuine youth band with a mature sound, clearly on the rise.

Their music spoke to teenagers who think.

The singer's sensual gestures added to the experience, like mini pop vignettes. The rhythmic sound pulsed through our bodies.

They played hits like Shake the Disease, Blasphemous Rumours, Master & Servant, Everything Counts, and more.

For the encore, they returned with two older tracks: Photographic-still their best composition-and Just Can't Get Enough.

Depeche Mode gave the first standout set of Day One, even if they still ranked below The Cure and The Clash, who dominated Day Two.

At the end came the main attraction: the highly anticipated, ultra-eccentric Boy George and Culture Club.

They had many friends-and many enemies. But no one left. We all stayed-whether to cheer or jeer-as the harlequin superstar Boy George took the stage.

His reception around midnight was the hottest of all. Coins, bottles, and water bottles flew. Insults were exchanged-some quite outrageous.

Let's clear something up.

Either you don't like Boy George, that clever clown in a kimono and a lopsided haircut…

Or-more troubling-you're motivated by something else.

Because the main reason so many in the crowd attacked him was that Boy George was "kounistos," "a sister," and presented himself that way on stage.

That's not criticism. That's homophobia. That's fascism.

And I'm sorry to say: it came from the rock audience.

This is racism. This is fascism. I am deeply disappointed in the rock audience, which exposed its sexual hang-ups. Of course, none of this is the music's fault.

And here we come to a second, indisputable fact: Culture Club's band was fantastic.

They had two exceptional Black singers-one male, one female-pure class, backed by a tight and expressive brass section.

They performed new songs with strong roots in their earlier soul-style hits, culminating in Karma Chameleon and Do You Really Want to Hurt Me.

There's no denying it: Culture Club had real, valuable material.

Unfortunately, their performance was completely overshadowed by the conflict between Boy George and the crowd. He's no polished showman-he was clearly frustrated, though at times he laughed and mocked the audience.

As a result, the music took a back seat.

Still, one has to admit: Boy George is a smart, sharp bastard.

And with that, the first day ended. Tired and disappointed, we made our way home-hoping that Day Two would deliver what Day One didn't.

And it did.

Nick Bozinakis

Second Day: Talk Talk, The Cure, Nina Hagen, The Clash

We won't bore you with the festival PR nonsense that the organisers pushed-"The biggest festival in Europe," "Twelve hours of music," and other efforts to impress.

But I'll allow myself a few words about the organisation: Things went fairly well in terms of the stage, sound, and visuals.

Where the French organisers failed badly was with the stadium facilities.

There was one toilet. Five or six working taps. A single bar selling overpriced, lukewarm drinks.

Did no one think about mobile toilets or additional water points? Apparently not.

But let's move on from the logistics and talk about the music.

(And remember-when I point out these shortcomings, it's not from above. I was in the first rows with everyone else, suffering just as much. If you were looking for the "Press" section-forget it. Lost in action.)

The first band-Talk Talk-came on with a 45-minute delay. They started strong with the song Talk Talk, but the limits of their music quickly became clear.

I don't mean they were bad. Technically, they were competent-both as individuals and as a group. Their arrangements were often complex and well-played. Even singer Mark Hollis (yes, the same one who appeared in a video with Tom Petty) had a voice of remarkable tone.

But they chose a safe, bland pop palette. They played no new songs, which is usually a sign that a band has no future.

They're not photogenic like Duran Duran, and they don't sound especially forward-looking.

Still, they managed to warm up the crowd (as if the crowd needed warming) and even got an encore: It's My Life.

Next, again with a delay, came The Cure, around 8:40 PM.

Clearly, a huge portion of the crowd was there for them alone. The pressure at the front was immense as the familiar intro gave way to The Baby Screams, and the entire front section turned into a sea of heaving, dark-clad bodies.

The Cure had excellent sound and stunning lighting. Their heavy use of dry ice brought to mind Yes concerts (!)

To be honest, I came in with a strong bias against them. I've never been a fan of Robert Smith's voice-I find it grating and monotonous. (Though I'll admit, Three Imaginary Boys still gets play on my turntable.)

But I was swept up. Songs like Primary and The Walk were delivered with power, feeling, and precision.

I found myself clapping and shouting along.

The peak of the set was 100 Years, and the chaotic, truly psychedelic finale-a spiralling crescendo that turned into a kind of musical exorcism.

For the encore, they returned with Three Imaginary Boys and ended with a grand finale: Killing an Arab.

That track-one of The Cure's very best-took on a new urgency live. It felt more desperate, more dangerous, more vital than on vinyl.

When the lights cut out during The Walk, the band didn't stop playing at all. Only at the end did Smith speak: "What happened is a nemesis, because yesterday I killed someone... (pause)... We are in the city of gods, you see."

Who could have predicted that The Cure would be one of the standout acts of the entire festival? Certainly not me.

And who would have expected what came next from Nina Hagen?

Let's set the scene properly.

First, her four-piece band entered the stage and bowed. Then Hagen herself appeared-launching straight into a stunning barrage of verbal acrobatics.

A flying saucer (!) appeared behind her on stage, bobbing in space via synth effects, while she disappeared to change costumes.

Let me be clear: her musicians were outstanding.

The British guitarist was fast and precise (and clearly a bit unhinged). The Jamaican bassist ranged effortlessly from funk to punk to krautrock. Everything was spot on musically.

I have to talk about Nina Hagen's voice.

It soared up and down like an elevator-smooth, effortless, bizarre. (Yes, I know that's a weird metaphor, but what do you expect in August? Her vocal range was truly incredible-and anyone who was there knows it.)

But it wasn't just the voice.

She changed costumes at least ten times, each more ridiculous than the last-delighting a crowd that was eager for spectacle and ready to "learn everything," as they shouted.

But come on, my brothers-it's the music that matters. And musically, this was chaos.

A bizarre mash-up of styles: Rock (Ekstasy Drive), disco (New York), reggae (African Reggae), punk (My Way), and even cabaret (Beat It with bits of Carmen, for God's sake!).

It was two full hours of audio kitsch.

And the lyrics? Naive political slogans, cheap mysticism, UFO babble, sexual innuendo-it was all there.

This woman is either completely crazy or playing us all. I tend to believe it's the latter.

That's why Nina Hagen's appearance was so bad-musically and visually.

The flying saucer? The bassist in a feathered Indian headdress-he looked like a member of Village People.

It was so terrible, it circled back to brilliant.

And that wasn't by accident. One member of the crowd even commented: "Disgustingly good." (sic)

Personally, I found the whole thing so bad-so bad in sound, lyrics, raps, and spectacle (see: Russian Reggae)-that it was oddly enjoyable.

But what else would you expect from someone twisted enough to enjoy Slayer?

What did they play for the encore? Ballroom Blitz by Sweet!

How could you not love Nina Hagen?

One final note to a certain part of the audience: Omonia is full of cinemas that play everything. Why not go there, enjoy yourselves, and leave us alone?

Back in 1985, I had the good fortune to see several major acts. Two of them were true experiences-the kind of concerts you carry with you for the rest of your life.

One was Deep Purple at Knebworth.

The second was The Clash on the second day of Rock in Athens.

It was my first time seeing the new Clash lineup. (And I say "new" not to confuse you-I'd never even seen the old lineup live.)

Naturally, I didn't know what to expect. Had The Clash become ghosts of themselves, happy to cash in on past glory?

Hell no.

Their entrance felt like a nuclear explosion.

From the very first moment, there was no question-The Clash were not going through the motions.

Joe Strummer sang like his life depended on it. Not because he likes to sing. Not because it's his job. Not for money.

Because he literally could not not sing.

That's what the real spirit of rock is- To play rock and roll because it's the only thing that can contain what's inside you.

And the energy pouring out of Strummer- It filled the stage. It reached beyond the stage. It was nuclear.

The three new members were young, wide-eyed. No doubt, just a few years ago, they were like us-pressed against the front row at the 100 Club, dreaming of being The Clash.

But now they were part of it-fully integrated, totally possessed by the band's spirit. And that spirit is what makes The Clash The Clash.

Then Paul Simonon stepped up to the mic to sing What's My Name.

If there's anyone who physically embodies the original rocker archetype-it's Simonon.

His movements, his stare, his swagger-it's all there.

Except he's not playing the role. Paul Simonon is that role.

Keith Richards, dig yourself a hole-because Simonon is coming for you.

And the songs?

A greatest hits barrage, played with intensity and urgency like no other act over the two days.

Want highlights? Here you go:

Tommy Gun, London Calling, Straight To Hell, Know Your Rights, Janie Jones, White Man In Hammersmith Palais-all delivered at lightning speed, bursting with raw power.

Not once did The Clash lose momentum. Not for a second.

You can only understand the greatness of The Clash when you see them live.

Only then do you grasp what they've meant over the last nine years. Only then do you feel how essential they still are-today.

Who cares if they haven't released a proper album since 1982?

The Clash are still one of the greatest bands of all time.

Their set was packed with hits, followed by seven encores-and the crowd still wanted more.

White Riot sounded like it had been written yesterday.

Maybe because it-and so many of their songs (Police on My Back, Spanish Bombs, etc.)-are more relevant now than ever.

And this is the point I want to make to those who dismiss The Clash as outdated:

In 1985, The Clash still matter.

They still have something to say. We still need them.

It may not be the Clash of 1977 anymore (and yes, I hear you-"What about Mick Jones?").

But you know what? That doesn't matter anymore.

It's good to know that in this twisted era we live in, there's still someone like old Strummer- Desperate. Angry at society. And yet still caring deeply about the things that actually matter.

Jesus… You can't imagine how beautiful that is.

Tracklist:

1. Intro (Master and Servant)

2. Something To Do

3. If You Want

4. People Are People

5. Leave in Silence

6. Shake the Disease (the highlight of the set-it was only the third time they'd ever played it live)

7. Blasphemous Rumours

8. Told You So

9. Master and Servant

10. Everything Counts (the performance was slower and surprisingly funny)

Encore: 11. Photographic 12. Just Can't Get Enough

-

Stathis N. Panagiotopoulos

Rock In Athens: 35 Years Since the Two-Day Event That Shook the Concert World (Ours)

CONCERTS - INTERNATIONAL

Kamasi Washington live at CT Theater: Smile, Drive and Fragmented Coolness

It was one of those moments in space and time where, rightfully, those who were present can proudly say, "I was there too." Rock In Athens was a remarkable and important event from every perspective for our concert life. And not just that. It was the second biggest festival in Europe that year, after the extravagant production of Live Aid (its European segment), which took place at Wembley Stadium in London, just a few days earlier (13/7), before the festival at the Panathenaic Stadium.

It was the festival where The Clash would appear live for the last time, before disbanding shortly thereafter. But first and foremost, it was a festival of compelling contrasts and unique moments for those who lived them - as time, and legend, has proven.

In 1985, Athens was the Cultural Capital of Europe. With the blessings of then Minister of Culture Melina Mercouri, the General Secretariat for Youth, the Ministry of Culture of France, and the French production company Nouvelles Frontières, on July 26 and 27, at the Panathenaic Stadium, Athens would experience a music festival unprecedented for the standards of the time.

And how could it not be, when the lineup included Téléphone, The Stranglers, Depeche Mode, and Culture Club (on the first day), and Talk Talk, The Cure, Nina Hagen, and The Clash (on the second day)? Even Mousikes Taxiarchies almost made it on stage, if Tzimis Panousis hadn't "backed out" at the last minute over the fact that the festival had a major sponsor in Coca-Cola...

Was it "Melina's festival"? A cultural event "with backing" and PASOK flavor? Was it the festival where young punks would see some of their idols, with memories still fresh from Operation Virtue and the Chemistry School occupation? The concert that would host everything from new wavers to casual passersby, both in the pit and the stands?

Was it the major concert event that opened a different, more consistent or more massive path for this country's concert life? Was it, in the end, a historic moment - for those it touched?

Maybe Rock In Athens was all of these things together - and much more. But better to let eight people who were there, and still hold vivid memories of Rock In Athens, explain why - exactly 35 years later…

Rock In Athens, A New Experience

Until 1985, major concerts by foreign acts in Greece could be counted on one hand. That is, until some of the biggest pop and rock names of the time appeared at the Panathenaic Stadium - and changed everything...

Rock In Athens, Part 2: A Breakthrough for the Many - and the Few

Thanasis Minas: Large, open-air festivals are, by nature, eclectic in the lineup of names. Rock In Athens was the first such "experience" in Greece. The audience was - and wasn't - ready for that diversity.

Manolis Kilismanis: Judging from the reactions during Culture Club's set, a part of the crowd wasn't ready.

Nikos Bozinakis: Essentially, it was the first rock festival in Greece. The three-day event at Sporting was for a niche, much smaller audience.

Giannis Petridis: It was way ahead of its time, especially when you consider the artists appearing at Europe's and America's biggest festivals over the last 10-15 years.

Stylianos Tziritas: Something like this was clearly unprecedented. Even the size of the production itself - the huge stage - was something we'd never seen before.

Thanasis Antoniou: It was experienced with feverish intensity by a not-insignificant portion of the audience who had been waiting for it like rain in the desert - I'm clearly referring to the punk community and fans of the new sound of that time: fans of new wave and post-punk. Another portion - perhaps the majority - experienced it as an exciting musical event, a bright "window" into the international music scene and an opportunity to meet the new sound of the West. Lastly, a small part of the audience experienced it as a summer festival free-for-all, a holiday, a celebration.

Nikos Petroulakis: I imagine people approached it with some skepticism. It wasn't something typical. Up to that point, concerts were by one, maybe two, artists, and they were usually similar in sound or attitude. So, naturally, you'd go see some things you liked - and some that didn't speak to you or felt irrelevant.

Stylianos Tziritas: Personally, I didn't find the eclectic lineup to be an issue at all. I think we've got a bit of a warped view of this in Greece. The festival's diversity in sound and color - even in the days leading up to it, before any discussions started - was something welcome.

Nikos Petroulakis: Many people had doubts about how the whole thing would turn out.

Thanasis Antoniou: No one was ready for its fire - but everyone proved absolutely ready!

Rock In Athens: A Turning Point

The concerts that came before in Greece had prepared the crowd for the two-day event that would change the live music landscape as we knew it.

Giannis Petridis: I think Greece's audience was slowly taking shape. Rock In Athens, and the names that had come just before it, helped form that audience and gradually got people into the mindset of how to attend a live concert.

Thanasis Antoniou: This specific festival happened to cover - musically, aesthetically, socially - a massive section of the crowd, in a country where audiences hadn't fully taken shape in the way we'd come to know later.

Stylianos Tziritas: Things started picking up after '83, but large-scale concert experience was still lacking (though not totally naïve anymore, for those following things). And we certainly hadn't seen a festival of that scale and logic before.

Thanasis Minas: Because of my age, I didn't get to see my beloved Rory Gallagher in Filadelfia, or The Police at Sporting. From what I know, those shows were often an excuse to fight with the cops. I started my concert-going with Bauhaus and Birthday Party/New Order (both at Sporting), where nothing major happened. Both concerts were amazing, but small in scope.

Giannis Petridis: What really struck me at one of those concerts - I can't remember which - was the crowd's reaction even during the encore; at first, they didn't know if the artists were coming back on.

Manolis Kilismanis: For me, the turning point was that three-day event at Sporting with Birthday Party, The Fall, and New Order. Different scale, of course. So yes, Rock In Athens was a real breakthrough - especially since people changed their holiday plans to avoid missing it.

Stylianos Tziritas: Maybe the scene was dry in numbers and Rodon hadn't opened yet, but the signs of a good upcoming live scene were starting to show.

Thanasis Antoniou: It's remarkable that all rock sub-communities experienced the same event as a "turning point," for different reasons perhaps. For the broad community of the new sound, it was indeed a breakthrough - in one two-day event, a perfectly representative brigade of the new sound came to Athens. For the even larger rock fan community, it was a two-day festival with some of the biggest names globally - and with The Clash, considered the greatest new band at the time.

As for the rest, it was simply the biggest live music event Greece had ever seen. For the first group - all of us who loved the new sound - even if it had taken place in a theater with 2,000-3,000 people, it still would've been a turning point. On the other hand, even if it hadn't been The Clash, The Cure, and Depeche Mode, but rather Survivor, Genesis, and Bryan Adams, it still would've been a major event for everyone else.

Giannis Petridis: It came as the culmination of the concerts that had preceded it. Like a vehicle had started and went on to make this incredible run in the following years, with concerts and venues like Rodon. Unforgettable things.

Nikos Petroulakis: The great turning point was also that we understood big bands are big on stage too. People finally got why some bands become huge and others don't.

Rock In Athens: The Crowd and the Press

The Audience of Rock In Athens

Or, to put it another way: Did everyone really fit in?

Nikos Petroulakis: The crowd was definitely a little bit of everything. Many came out of curiosity, some came for the vibe: beautiful, ugly, rich, poor, eccentric, mismatched, fitting - everyone was there because nothing like this had happened before.

Thanasis Minas: Rockers, teenage punks (like myself), leftist university professors (my sister - we went together), probably some pop fans, some undefined types…

Stylianos Tziritas: ...punks, Cure-heads, new wavers, plenty of neo-romantics, lots of freaks, almost no metalheads, nerdy types you could tell had consumed tons of music (a special category of their own).

Nikos Bozinakis: It was the joy of the clueless music lover - every kind of person imaginable… The entire "rock community" had come to see the "new" big names in rock music.

Thanasis Antoniou: From old-school rockers who listened to Cream and Barclay James Harvest, to shaved heads and mohawks. From girls in hot shorts to metalheads in denim jackets. Those who came just to accompany someone, those who couldn't come alone. Those who didn't really know what they'd walked into. Everyone was present - or more precisely, significant representatives from every known "tribe" were there.

Stylianos Tziritas: For the outliers (of every tribe), the pit was the only place they could truly be. There, you saw only people aged 16-25, while the stands had much older people (with a higher proportion of women). That was where the more curious observers were. People who did have record collections - but weren't fanatics.

Thanasis Minas: The vibe - especially on the second day - was electric.

Thanasis Antoniou: It included anticipation and intensity, a fair bit of posing from some, but also a prevailing sense of "freedom." In very few - as I later understood, speaking with people like Taxiarchis Liaskas - there was a sense of vindication, because he and a few others already knew how important what we were witnessing was. Not so much in commercial or ideological-political terms (re: The Clash), but purely in musical terms.

Manolis Kilismanis: *My impression was that everyone inside felt like one - until I told someone about a student band we had at the time and he looked at me with disgust because I was wearing bermuda shorts (it was boiling hot) and said condescendingly, "You play in a band?"

Giorgos Tourkovasilis: At Rock In Athens, I was forty years old. I didn't go with the twenty-somethings as a band fan, nor as a music critic. I was interested in capturing the youth of the era. And so, with a pass from Kostas Kavvathas and Argyris Zilos of the magazine Ήχος & Hi-fi, where I published essay-style texts, I managed to get into the Panathenaic Stadium carrying a camera - which was forbidden. My focus was on the new fans: how they dressed, how they spoke, what music they listened to, what they believed.

Rock In Athens in the Press

"The big event," "the bad youth," the coverage by Pop & Rock, and... the blunders of the newspapers.

Stylianos Tziritas: At first, the press as a whole presented it as a major event. Then they split - those close to PASOK framed it as a cultural oasis, while the traditional right saw it as a moral danger. After the first day's incidents, nearly everyone was talking about the "bad youth."

Nikos Petroulakis: It got publicity - let's not forget there were two Ministries of Culture behind it. There was no way it was going unnoticed. The press operated then much like it does today: one side said one thing, the other side said another.

Giannis Petridis: At the time, people at the newspapers were older and couldn't really understand what was going on. Eventually, it was covered more as an event and less about the fact that we were watching The Clash at that very moment.

Nikos Petroulakis: *There was no experience, and not everyone in the media was qualified. One of the era's best anecdotes was a newspaper photo showing The Stranglers with Rabinovitz, then head of CBS Greece, and the caption read: "The Stranglers with an elderly fan of theirs."

Thanasis Antoniou: The official, bourgeois press unfortunately limited itself to receptions with the artists, the scuffles outside the Panathenaic Stadium, and the "glow" of Minister Melina Mercouri, who, for certain papers, was clearly more important than the bands. That's all they knew - and all they wrote.

Manolis Kilismanis: On the first day of the festival, they handed out flyers from the conservative paper Vradyni, saying how close they were to the youth and other such nonsense. I was surprised when I read it, since that paper held extremely conservative views. The next day, after the clashes, their headlines talked about rockers wrecking everything and the like.

Rock In Athens: Media, Mayhem, and Music

Read Also: Stories from Rodon

Giannis Petridis: On the radio, I gave it as much promotion as I could.

Thanasis Antoniou: The music press of the time - namely Pop & Rock and Ήχος - covered it adequately, even bringing in top writers for the report. Despite some moaning from music scribes about specific aspects of the two days, the coverage was solid: know-it-all commentary with a touch of analysis, honest sweaty reporting with a bit of mythology.

Thanasis Minas: I vividly remember the coverage from the historic Pop & Rock. A multi-page feature, both backstage coverage and detailed reviews of the two days of the festival. Nikos Bozinakis likely wrote about the first day, and Nikos Kontogouris about the second. Both reviews were enthusiastic - especially regarding The Cure and The Clash.

Nikos Bozinakis: For me, the "coverage" of the festival wasn't really journalistic... I mean, I didn't see myself as a journalist. I was a 22-year-old kid who was going to the concert anyway. I got in for free and wrote about what I heard/saw/lived.

"[...] The crowd on the first day was smaller than expected but grew later as freeloaders fought hand-to-hand with the police to get in (sad events took place outside the stadium. Blood, fires, beatings, gunshots, injuries were the result. Causes: the seemingly expensive ticket, the 'we're rockers' attitude, the organizers' intransigence, the zeal of the police. And once again, the yellow press kicked in the next day, led by papers like Ethnos, which suddenly saw themselves as guardians of tradition and culture. Still, the truth is, these kinds of incidents only hurt rock)."

"[...] Maybe I overestimate Depeche Mode's performance because the previous acts failed. A genuine, youthful group, with a respectable sound - they proved their upward momentum."

"[...] The reception for Boy George around midnight was anything but warm. Coins and water bottles were hurled, obscenities were shouted - and some were pretty vile."

"We'd like to clarify a few things here. We don't particularly like Boy George either - that clever clown with the kimonos and the chopped-up hair. But on the other hand, we question the motives of those who threw those objects. Because the main reason was that Boy George was 'flamboyant,' 'queer,' and that's how he presented himself on stage. That's racism. Fascism. I'm very sorry for the rock crowd that unleashed its sexual frustrations."

- Excerpts from Nikos Bozinakis's report on Day 1 of Rock In Athens for Pop & Rock, Issue 90, August '85

The Performances of Rock In Athens

From The Stranglers' mistake during "Golden Brown", to the boorish behaviour directed at Culture Club, from the striking live set of the young Depeche Mode, to the thunderous arrival of The Clash - the performances of the two-day event passed instantly into legend.

Or not, for everyone…

Rock In Athens: The Clash, The Heat, The Hype

The Clash

Nikos Bozinakis: We were anything but prepared for the conditions we were going to face...

Stylianos Tziritas: The big problem inside the venue was the complete lack of infrastructure for something like this. I refused to use the toilets after hearing stories from the few who dared. I didn't queue for anything - and I was on the brink of total failure in terms of preparation for what someone needs at a festival under constant sun. I didn't bring a hat (no way I'd ruin the hair), there weren't plastic water bottles like today, it wasn't simple. That's why we went to the front rows where they'd spray us with water so we wouldn't dehydrate.

Nikos Bozinakis: Telephone was old-school (rock) that jumped onto the (wrong) bandwagon of new rock.

Nikos Petroulakis: The Stranglers were indifferent to me then, and still are.

Nikos Bozinakis: They were value for money... provided you didn't have high expectations and didn't "choke" on clichés.

Manolis Kilismanis: What I remember from The Stranglers is Cornwell's tragic mistake during the solo in "Golden Brown" (something Jean Jacques will never forget). I'd bought a ticket for my friend Dimitris, who was flying in from New York so we could see them together - he loved "Golden Brown", and he was furious at that mistake.

Nikos Bozinakis: Seeing Talk Talk in the middle of a blazing summer, at the intersection of pop and avant-garde, with the sun at full force... Who even cared?

Stylianos Tziritas: I had only one pack of biscuits in my back pocket - they crumbled, and I just ate the crumbs while Nina Hagen played, because I was starving. I'd only had half a sandwich, bummed off a slightly more prepared friend.

Nikos Bozinakis: Nina Hagen was a burlesque show at the level of Annita Pania.

The Stranglers & Nina Hagen

Manolis Kilismanis: *There were boos when Sgontzos introduced Depeche Mode, which turned into hysteria when Gahan started twirling in his pirate cape during "Something To Do."

Nikos Bozinakis: It was the standout performance of the whole weekend - they clarified what it means to be a big pop band with rock sound and attitude.

Nikos Petroulakis: At the time, Depeche Mode had only been a band for 3-4 years. They hadn't made their big break yet - it was just when they were starting to become well-known. Their stage presence was impressive. I was with them all weekend. We even went on a day trip to Hydra with Petridis and Zourgos, spent the day there. The most distant of them was Martin Gore. I got to know Alan Wilder well - we were around the same age and had a lot to talk about. They admired Daniel Miller of Mute, and believed everything they'd achieved was thanks to that saint of a man. They were very down-to-earth and happy.

Giannis Petridis: They were thrilled with their performance here. That appearance may have triggered the frenzy they later caused in Greece. Later, in Hydra, they were ecstatic. They were still just kids, just starting out, incredibly humble. Imagine - we took them there and no one recognized them. We took the regular ferry.

Nikos Petroulakis: In later years, I saw and met them many times, and their stage presence in Athens was nothing compared to the shows they did abroad. If we had seen them like that at the Panathenaic Stadium, I believe their popularity in Greece would have been much greater.

The Clash

Thanasis Minas: And of course, The Clash.

Manolis Kilismanis: Even if they were incomplete.

Nikos Petroulakis: Even though I consider them the second greatest rock band in the world, that night they completely let me down. I imagine that if Mick Jones had been there, the band would have been different. I didn't like how the songs were played - it wasn't the band I had loved. It was -1, +2 members. And a band is a band - it's not the same if one key member is missing. It's like the Stones without Richards or Jagger.

Thanasis Antoniou: *The entrance of The Clash was, for me, a form of "Apocalypse."

Nikos Bozinakis: The titans clashed in the marble arena of the stadium.

Thanasis Antoniou: After two days of heat, thirst, dust, standing, and waiting, I don't know where I found the strength to run down from the stands where I was lying down to catch my breath during the (endless) break before they came on. The intensity of the moment, the passion of anticipation, the sheer energy of being 18 - it all lifted me like a bird into the haze of the front rows.

Stylianos Tziritas: I cried during the first three songs by The Clash from sheer emotion - I think that says something.

Thanasis Minas: Joe Strummer in white with carrot-orange hair, the ever-moving Paul Simonon, eternal desperado, and the young guns of the band. "London Calling", "Guns of Brixton", "Janis Jones" and the then-new "This Is England", within arm's reach. A life-changing experience. Years later, during a radio interview Strummer gave me on Rock FM, I told him on air: "If it wasn't for The Clash, I would be a fucking lawyer." The Clash at Rock In Athens were pivotal to that.

Rock In Athens: Culture Clash and Catharsis

Depeche Mode

(See Part 5 for full section)

Culture Club

Nikos Bozinakis: The performance by Culture Club was the boldest stand against rock clichés and general ignorance/semi-literacy.

Stylianos Tziritas: The whole sad spectacle was a result of our lack of concert-going education and also a leftover from the 1970s feud between fans of mainstream music and fans of rock in general.

Thanasis Minas: Sexist brutishness… Let's not forget this was a time when even wearing something simple - like a basic earring - could get you singled out. Things had improved slightly since the "blackness" of the '70s, but still...

Giannis Petridis: *A portion of the audience was trying to prove their manhood. The next day, Giorgos Makrakis and I took Boy George on a small boat cruise, and we tried to tell him, "Don't be upset, it's not really like that…"

Stylianos Tziritas: I wasn't one of the ones who threw things, and I didn't feel any real aversion to them, but I'm ashamed I didn't have the courage to shout out against it. I'm sure if one person had started calling out the assholes, others would've followed.

The Cure

Manolis Kilismanis: The power went out right at the beginning of The Cure's set.

Thanasis Antoniou: I didn't know much about the band, but something told me they'd be interesting - and sure enough, as a "first-timer" (in my life), The Cure in 1985 was one of the most beautiful bands I've ever seen.

Thanasis Minas: *They were at their peak - chilling renditions of "A Forest" (what bass!) and "The Hanging Garden."

Nikos Petroulakis: I consider it one of the best concerts I've ever seen in my life. My jaw was on the floor - I couldn't believe what I was feeling. It was almost a metaphysical experience.

The Trouble at Rock In Athens

The steep (for the time) ticket price of 2,000 drachmas (1,200 for each day separately, 2,000 for both days, with some tickets for 500 drachmas on the second day after the backlash) led to tensions outside the stadium. Many of those who were inside, of course, noticed nothing and continued to be in a festive mood...

Nikos Petroulakis: Financially, things were better back then than they are now - but still, those two thousand drachmas for a ticket were a lot. I was inside the venue early (I was with Depeche Mode), and at some point I had to go out to meet the girl who was waiting for me. Then the riots broke out and thank God I had my pass with me and avoided the beating. These things always happened, and always will.

Stylianos Tziritas: As soon as I finished the Panhellenic exams in June, I worked for my uncle installing wooden floors and made good money - so the ticket was something I could afford for myself without worrying too much about the cost. I was inside both days. The riots of the first day, on the other hand, were kind of standard at concerts back then - it wasn't something unexpected.

Thanasis Antoniou: I wouldn't call it eventful, at least not for those who were inside early on. Even at the peak of the unrest outside the Kallimarmaro, the atmosphere inside was completely festive and relaxed; we weren't dealing with Rory Gallagher-style incidents like at Filadelfeia. As for the tense moments with Culture Club, they were so brief and limited to just a few dozen people that they can in no way characterise the entire two-day event. As I also write in the book, I personally didn't even realise it - back there, exhausted, worn out, and ecstatic as I was...

The Ticket to Rock In Athens

Thanasis Minas: The first day was eventful (I know because I took part!). The grove almost caught fire. But at some point an order was given to open the gates, and that was the end of it.

Manolis Kilismanis: Since I was inside early, I didn't notice anything except for the fires during The Stranglers. Obviously things went down, but I wasn't there to keep the myth alive.

Rock In Athens, 35 Years Later

The lingering taste of a truly "once in a lifetime" experience.

Nikos Petroulakis: What stays with me even now is the bitter taste of The Clash. It's my great regret. I went with so much anticipation and longing, but for me, it was a disappointment.

Giannis Petridis: I was thrilled. Because I saw that this festival - with the response it had - was laying the foundations for many great things to come.

Thanasis Antoniou: For me it was definitely one of the best weekends of my life - a journey into a dream - something etched into my memory to this day, and probably forever. Less than two years after that summer of 1985, I had in my hands my own fanzine, Entropia, with the aim of writing and sharing with friends what I was hearing on records and seeing live - what I was learning by talking with musicians and labels - without the interference of professional journalists and publishers. Today, 35 years later, I still do it, with less effectiveness maybe, but with the same passion. Is that a small thing?

Thanasis Minas: Rock In Athens was a semiotic and sonic rock myth.

Manolis Kilismanis: Unforgettable - if I had grandchildren, I'd talk to them about it all the time.

Thanasis Antoniou is a journalist, founder and publisher of the music fanzine Entropia. He is one of the expert contributors to Giorgos Tourkovasilis' book Rock In Athens '85 - Photographic Impressions of a Sonic Myth.

Manolis Kilismanis has published his first book titled Sto Chorio (In the Village) and contributed a short story to the anthology Pandimia (Pandemic), both released by 24 Grammata Editions.

Thanasis Minas, when not reading books, is behind the microphone of Inner City Blues on Sto Kokkino, every Saturday and Sunday, 20:00-22:00, on 105.5 FM.

Nikos Bozinakis covered Rock In Athens for Pop & Rock.

Giannis Petridis, in 1985, was working at Virgin Records. Then, as now, he takes us on air Apo tis 4 stis 5 (From 4 to 5).

Nikos Petroulakis, also at Virgin Records in 1985, now presents Confessions of a Vinyl Addict on Sto Kokkino, every Saturday and Sunday, 22:00-00:00.

Stylianos Tziritas contributed as a specialist collaborator to the book Rock In Athens - Photographic Impressions of a Sonic Myth. Apart from that, he moves around - and within - sound in every possible way. You can read him on mic.gr, hear him on Sychnotiki Symperifora alongside Haris Symvoulidis on Sto Kokkino, every Saturday and Sunday, 16:00-18:00, as well as on MAS, and you'll also find him behind the A Man Out of a Man label.

Giorgos Tourkovasilis photographed Rock In Athens. His book Rock In Athens - Photographic Impressions of a Sonic Myth ( Rock In Athens - Φωτογραφικές Αποτυπώσεις Ενός Ηχητικού Μύθου )was published in December 2018 by Sto Perithorio Editions. We thank him for the generous provision of photographic material, as well as Dimitris Argyropoulos, who made the process much easier.

THE SPIRIT OF ÉLIXIR

LE MONDE Thursday, July 11, 1985 Page 13 Le Monde ARTS AND ENTERTAINMENT Rock in Athens

Make way for rock, for the first time, in Athens' ancient stadium, July 26 and 27; and, on July 13, a date in Brittany.

THE SPIRIT OF ÉLIXIR

THIS summer, the company Roxane, in co-production with Nouvelles Frontières, is organizing two festivals with prestigious line-ups (1): Rock-Scène, in Guehenno (Morbihan), and Rockin'Athens 85, in the ancient stadium of the Greek capital. For the first, on July 13, they expect twenty-five thousand people. In Athens, where it's a first, they'll need forty-eight thousand people per day, July 26 and 27, in a stadium that can hold seventy thousand, in order to cover the cost of the operation-nearly 6 million francs.

Behind these large-scale events is the story of a small festival (Élixir) that grew outside the traditional circuits, the story of amateurs who dove into the adventure out of love for music and, along the way, learned as they went.

In 1978, while a student in Brest, Gérard Pont created a fanzine and organized small French chanson concerts. One after another, he achieved four successes. Meanwhile, Pierre and Jean-Paul Billant, who had formed a non-profit association and suffered a few failures, proposed creating a festival. Why not? It was at least worth talking about. Around a table, they'd regularly dream aloud-we'll have Neil Young, we'll bring in Genesis... the Pope. Only, to do that, they'd at least need the contacts. In the end, Pierre Billant returned from England with contracts that, if not ambitious, at least matched their means: John Martyn, Bert Jansch, Gwendal, and a few others of the same ilk. Folkies struggling in their own countries who agreed to play without being paid upfront.

Next, they needed a location. A bit older, bearded and affable, René Tréguer spoke Breton and knew how to convince the farmers. People still thought they were mad, and several towns turned them away. On an empty field, they had to build a small village, bring in water and electricity, set up an enclosure, a stage, toilets (they were even required to separate boys from girls on the grounds).

Élixir, the first edition, took place July 14-15, 1979 in Irvillac, near Landerneau, in Brittany. They expected three thousand people-eight thousand came, without any promotion or media support. For two days, it was a state of grace-the organization was rough, but no one backed out. We could've flopped, remembers Gérard Pont, but it was so bold, so spontaneous that even the amateurism worked in our favour. It was the green light for a second edition, held the following year in Plonéour-Trez, in Finistère. With Donovan and Murray Head as headliners, Élixir widened its reach and drew twelve thousand people-still with no advertising.

The same volunteer team returned (though the original handful of friends had grown into a hundred). Gérard Pont ran a bookstore in Rennes, René Tréguer taught physics, Pierre Billant was a farmer (soon becoming the only full-time staff). They only met during the three months leading up to the festival, each keeping their role from year to year. For Anglo agents, though still hard to convince, the name Élixir was no longer unknown.

In 1981, America came especially from the United States to play Plomodiern. With acts like Inmates, Wilko Johnson, Hazel O'Connor, the rock tilt of the festival sharpened and reception improved-the site overlooked the Bay of Douarnenez.

Sixteen thousand people attended. The Élixir team needed to shift gears. With attendance capped by lack of promotion, they went to Paris to pitch their line-up and seek sponsors. As good provincials showing up, admits Gérard Pont, we had no idea who to talk to. TF1 agreed to film the event, and the national press covered it. Élixir 1982 in Saint-Pabu featured an ambitious yet low-cost line-up. Joe Jackson, then on the rise, only asked for 40,000 francs. Same with Jimmy Cliff, Reggae Night. Steve Hackett of Genesis, Randy California (back from Spirit), Moon Martin, filled out the top of the bill in front of nearly twenty-five thousand people daily.

The next year wasn't as lucky. Encouraged by success, the Élixir crew got overconfident. Within two days, they staged two festivals: a chartered plane flew the bands from Guehenno, in Brittany, to Toulouse. While they knew their home turf, elsewhere they had no experience. Their mistake was delegating logistics to a local team. They didn't know the story, laments Gérard Pont, for them, it was just a cash machine. Without being on-site to sign cheques, budgets were quickly overrun. Though budget overruns weren't fatal-sixteen thousand came to Guehenno-only three thousand tickets were sold in Toulouse, far short of the five times that needed to cover costs. The line-up was expensive: Simple Minds, Joe Cocker, Gregg Allman, The Stranglers, King Sunny Adé, etc. The 200,000 francs in reserves didn't cover the 1.2 million francs shortfall.

CLASH HEADLINE THE BILL

Even if we bombed, says Gérard Pont, it was worth it to see the last concert of The Undertones-they broke up right after. I kept a tape. It's superb. That passion is what sets Élixir apart. Unlike many French festivals whose organizers vanished into the wild, they didn't go bankrupt and kept repaying creditors. With help from Nouvelles Frontières, they returned to Saint-Pabu in 1984. The team brought in a financier, a manager, and a technical lead. Because they always paid bands, overseas agents renewed their trust. Nina Hagen, The Stray Cats, Ian Dury, The Alarm, OMD, Fela, and others filled two days with over sixty thousand attendees. The finances were nearly balanced again.

That's when Jean-Paul Claudon, from Nouvelles Frontières-the travel agency-had been looking for years to expand into an area matching its clientele... and, incidentally, helping sell travel-floated the idea of a festi-rock in Athens. As before, the Élixir team (now called Roxane) were reluctant, but when pressed, they went to see if it was feasible.

With backing from Nouvelles Frontières, well-established in Greece, and Élixir's credibility with bands, the project quickly took shape. Melina Mercouri, the culture minister, gave her approval. There was concern about elections and a possible government shakeup, but plans were too advanced and some bands had already been paid. She granted access to the ancient stadium of Athens, site of the first modern Olympic Games. A five-person crew began work on-site; over 300 would be hired locally during the festival. Six semi-trailers would haul in the stage and sound system, rented from England.

There, as here, people learned by doing. Promotion relied mostly on press and word-of-mouth. Dire Straits, for instance, played to thirty thousand people with no posters. The Greek Ministry of Culture insisted on Culture Club, Rod Stewart, and a local band. Rod Stewart won't come-Clash will headline one night. Unable to use their name in European ads by contract, promoters had to call them a mysterious guest star. In France, the Ministry of Culture requested a French group-it'll be Téléphone. Due to the heat, concerts will start in late afternoon and be shown live on a giant video screen.

Two weeks earlier, Rock-Scène will be held as a one-day event to avoid the rucksack-and-tent image. If all goes well, by September, Gérard Pont may have to choose between books and gigs. ALAIN WAIS.

★ROCK-SCÈNE, July 13 in Guehenno (20 km from Vannes): Clash, Leonard Cohen, Depeche Mode, Spear of Destiny, Joan Armatrading, Ramones, Midnight Oil, Toots and the Maytals. Price: 150 francs, transport arranged by Nouvelles Frontières. ROCKIN'ATHENS 85, July 26 with Culture Club, Depeche Mode, Talk Talk, Téléphone, Brigades Musicales; July 27 with Nina Hagen, The Cure, The Stranglers. Package tickets (170 francs) and charter flights available via Nouvelles Frontières. Tel: 273-25-25. (1) The Athens event (held for European Music Year) is supported in Greece by the Ministry of Culture and Sciences, the Secretariat for Youth and Sport.

GASSIA

1985: Mohawks at Half-Mast

August 27, 1985 - Athens: The Final Concert

Headlining the Rock Scène festival in Brittany, The Clash-for what would be their last concert in France-failed to make much of a splash.

It was Saturday, July 13, 1985. All eyes were on Wembley Stadium, where the rock world had gathered for Bob Geldof's Live Aid charity concert.

Still, in the small village of Guéhenno, Joe Strummer arrived with his new gang, and they cut quite a figure.

There were five of them now. Strummer and the band's manager had just recruited two new guitarists via a classified ad in Melody Maker. It would take that much, after all, to replace Mick Jones.

The vibe was, let's say, broadly hippie. People waited patiently, listening to Leonard Cohen.

But about ten minutes before the show, things got tense. Photographers were summoned backstage.

Strummer had styled himself a mohawk and was wearing a T-shirt for the upcoming album, Cut the Crap.

"Save some film, guys," he told the photographers. "Toots & the Maytals are on after us." Strummer was proud to be sharing the bill with the man behind Pressure Drop, a track The Clash had been covering since the spring of 1977.

Kosmo Vinyl, their manager, climbed onstage: "You little shits, the band you're about to see is the greatest motherfucking rock'n'roll band alive, etc."

A strange moment. It didn't quite feel real. The original Clash never needed that kind of intro. They just hit the stage and lit it on fire.

That night, the band played straight and loud-no gimmicks, no downtime.

After two hours, caked in sweat and dust, sunburnt from the afternoon, it felt like we were punks on holiday. In Brittany.

The following Monday, Libération ran the headline: "Guéhenno Satisfaction." There was truth in that.

Six weeks later: a change of scenery.

Athens. Sweltering heat.

Tickets for Rock in Athens were steep. The country had just undergone a mid-summer cabinet reshuffle (you have to admire the nerve), and the locals were convinced the festival was being paid for with their taxes.

They wanted in for free.

On the first night, the broke and angry crowds stormed the box office. While The Stranglers played The Raven, a car burned outside the gates. Police charged.

From the top rows of the ancient Panathenaic Stadium, the view was magnificent.

The next day, The Clash were headliners. It was a furnace.

The city was ready. The concert would be free.

That afternoon, Téléphone earned warm applause when Jean-Louis Aubert sang a verse in Greek. The Cure played an excellent set.

Just before The Clash took the stage, the gates opened-and the lumpenproletariat proudly surged into the arena.

There must have been around 60,000 people. The atmosphere: pure celebration.

The Clash played roughly the same set as they had in Brittany-only louder.

Three guitars and one bass across the front created a solid wall of sound. They played like bulldozers.

By this point, The Clash weren't sexy anymore. They weren't even a gang.

They were a massive concrete mixer. Curtain.

Things moved quickly after that.

News broke that their planned September concert in Paris was cancelled.

Two months later, I ran into one of the band's two ex-guitarists in the London Underground. His mohawk had faded. He was busking with an acoustic guitar, singing Bob Dylan's The Times They Are A-Changin'.

The times were changing. No doubt about that.

-R.B.

Boy George will get 15 million!

Leonard Bernstein.

The lion’s share of the 45 million drachmas to be paid out to the seven rock bands and to Nina Hagen for their performances today and tomorrow at the Panathenaic Stadium goes to the “wild” Boy George, frontman of Culture Club. Specifically, the eccentric darling of European youth, with his heavily made-up, feminine face, will receive 15 million drachmas for his two-hour appearance.

Nina Hagen, who will perform on Saturday, will receive 10 million, and the remaining 20 million will be shared among the six other bands.

Boy George, intent on creating yet another myth around his presence—which is “felt” wherever he goes, since he looks nothing like anyone else—changed his arrival time three or four times yesterday so that the “annoying” journalists and photographers wouldn’t greet him at the airport.

According to the French organisers of the rock festival in Athens, he was bothered by the incidents that occurred the day before with photographers and Nina Hagen’s entourage during her arrival at Elliniko Airport.

And speaking of Boy George—the star of tonight’s opening festival evening—here’s what you should know: he is 24 years old, and grew up in Eltham, a neighbourhood in southeast London.

Irish. He is Irish, born to a builder father and a housewife mother. The family includes five boys and one girl.

School years were tough for Boy George, as even then, his appearance, clothing, and hairstyle were “shocking.”
Eltham Green School had to place him in a class for “problematic” children, and eventually expelled him.

Boy George drifted through all sorts of nightclubs—punk clubs, mixed scenes with homosexuals—while also working as a clothing seller and then at a supermarket, until he began collaborating with a small nightclub in Soho, where the art-world underworld gathered.

The current line-up of Culture Club formed in 1981, and Boy George began to dominate entire magazine spreads.

Still, whether the Panathenaic Stadium will be full tonight is doubtful. As of last night, many tickets were unsold. In fact, many people believe they’re sold out and aren’t even trying to look.

Roughly 30,000 tickets have been sold for each night. But the stadium holds 50,000 people.

Tonight, alongside Boy George, will appear Téléphone, Depeche Mode, and The Stranglers.
Tomorrow, headlined by Nina Hagen, the programme includes The Clash, The Cure, and Talk Talk.

The ticket costs 2,000 drachmas for both nights, or 1,200 drachmas for one.

To ensure the safety of the thousands of spectators, special measures will be taken by 1,500 police officers, who will be stationed throughout the venue.

To prevent incidents or accidents, re-entry will be forbidden—whoever leaves won’t be allowed back in.

The show is expected to last more than five hours.
Mr George is set to appear at midnight.

Page 14 - LE MONDE - Mardi 30 juillet 1985

culture - FESTIVALS - À ATHÈNES

Le rock sans frontières

Athens. The first day of the Rock in Athens 85 festival, held on July 26 and 27 in the ancient stadium of the Greek capital, was marked by violent skirmishes between police forces and spectators trying to enter without paying. Quickly overwhelmed by the situation, the police-though numerous-panicked and responded to provocation. Never breaching the stadium interior, the clashes turned into street battles until the arrival of a special intervention unit.

To prevent further disorder, authorities gave instructions on the second day to let demonstrators in. In effect, several thousand people benefited from an open-doors operation. For Christian Pinot, managing director of Nouvelles Frontières, the festival organiser, the incidents worried the authorities more than they deserved: "They didn't want to seem repressive. It became a political issue we weren't meant to judge, but we paid the price." By Sunday, it was still too early to assess results, but it seemed unlikely the target of 48,000 passes (as forecast in Le Monde, July 11) had been met to offset a budget exceeding 6 million francs.

At best, Nouvelles Frontières hoped to break even through secondary revenue (bars, sale of filmed concerts to TV stations, and travel packages: from France alone, nearly 1,000 special festival flights were sold, 1,500 in Italy and as many in Germany). At worst, the loss would be offset by media coverage-said to be substantial in Europe, but also in the USA and Canada, both of which covered the event.

The French travel agency sees rock as both a market and a mission, and is inclined to continue such ventures-even if it's unsure about repeating one in Greece. Still, the festival was a failure for a prestigious line-up that, on paper, promised a much larger draw.

Headlining the first night, Boy George, lead singer of Culture Club, likely experienced the most painful moment of his career. Booed throughout his set by much of the crowd, he was bombarded with tomatoes and cans-likely thrown by the same troublemakers allowed in for free (in this sense, the authorities bear artistic responsibility). A champion of ready-to-listen pop with charming hits, Boy George can be pleasant and entertaining with his audience. But faced with hostility, he became pathetic and ineffective. His playful strutting, ironic androgyny, and colourful rebellion dissolved into whining and awkward self-justification.

Téléphone, threatening to cancel due to being treated dismissively (their fee barely covered their crew, and they lacked the working conditions of other groups), nonetheless fulfilled their contract by opening the festival. To an audience unfamiliar with them, they were well received.

From our special correspondent

The next day, at the same time (6 PM), Talk Talk performed to general indifference. We'll pass quickly over the otherwise well-received sets by Depeche Mode on Friday and Nina Hagen on Saturday. For the former, it was radio success, standardised creation, and flashy staging. For the latter, a kind of undefined legend, whose vulgarity, gimmickry, and arrogance seem untouchable.

The Cure and The Clash

The real event was created by The Cure, at nightfall on the second day-with their dusky atmosphere, progressive builds and breaks, shivers, taut guitars, and dramatic tension. There is in these Englishmen an extraordinary dignity, perhaps born of severity, a force you take full in the chest, which, in a kind of asceticism, finds feeling-a tense white soul-that invites dancing.

Late into the night, The Clash closed the festival in a blaze of adrenaline. The new line-up (three guitars, one bass, one drum kit), still awaited on record for more than two years, led their rock battle-raw and defiant. Urgent as they hadn't been in ages, part posturing (Paul Simonon, bassist), part militant (Joe Strummer, singer-guitarist), taking the stage by storm, they brought the whole stadium with them.

Though widely acclaimed, The Stranglers had the misfortune of playing the day before in full daylight-always a sap on spectacle and energy. Ironically, for a band with a reputation for incidents, the hostilities began while they were on stage-unaware of the chaos outside. Yet the festival, held in Athens, European Music Capital of the Year, was also the bold work of defenders of a musical Europe.

For Jean-Jacques Burnel (their bassist, who has produced bands across EEC countries), the idea of a European rock shouldn't be a cultural stew that, once again favouring British bands, causes others to lose identity. "We must not alienate the regional importance of groups in a global concept. After all, Téléphone, barely known outside France, may sell more records at home than any other group at the festival. The outlines of 'European rock' remain blurry-and that's fine. It's a matter of atmosphere, a way of doing and thinking about music different from the Americans. Our rhythms are less marked; our roots are less in Black music and more in European aesthetics-Satie, Debussy, Ravel. Melodies matter."

Though France was represented by Téléphone, and Germany by Nina Hagen (originally scheduled Greek band Brigades Musicales was cancelled), European rock remains largely the realm of British musicians. After Live Aid and despite Athens' semi-failure, 1985, the European Year of Music, has undeniably belonged to international rock.

ALAIN WAIS

ATHENS 85 AMA. VIOLENCE AT THE FESTIVAL

Riots, fires, savage beatings By Giannis Kanellakis

It was mayhem last night outside the Panathenaic Stadium. While inside, the stands danced with thousands of rock fans who had come for the Rock Festival, outside was a scene of brutal violence.

Hundreds of young people who couldn't get in because they had no tickets clashed with hundreds of police officers guarding the stadium. The riot squads (MAT, MEA) were called in.

Beatings... with music The clashes began at 8:45 PM. From that moment, for half an hour, it was rock music and fistfights, with The Stranglers playing inside. Police used batons.

Blood was spilled, shots fired by police, Molotovs hurled by youths, and dozens of civilians and police were injured and taken to hospital by ambulance.

Cars were burned, others vandalised-including band vehicles outside the stadium. Barricades were set up. The railings police had installed to restrain the uncontrollable youths were destroyed.

The police didn't even allow them near the stadium perimeter. That was the order. The flood of young people was poised to storm the stadium.

From early on, they shouted: "Let us in or we'll burn it down. Tickets are too expensive. We have no money." One Molotov set fire to the grove beside the stadium, which was quickly extinguished by fire crews.

Police escalated measures. Some youths chanted: "This ticket will become a grave." The police commander informed HQ of the situation.

Tensions boiled since afternoon. The crowd outside, denied entry, began throwing empty bottles and cans at police.

At 8:40 PM, police called some youths from the front lines to enter. They opened the makeshift railings, let them in, then closed them again and beat them: "We had our eye on you," two officers said.

That was the spark. Hundreds more charged at the police as they tried to push them back from the stadium.

A police officer, leading a squad, shouted: "Who poured oil on the fire? Why did you provoke them? They'll burn everything now!"

The space outside the stadium became a battlefield. From the front seats inside, dozens of youths watching the clashes chanted: "Cops, pigs, murderers!", "MAT and MEA for a new Greece!", "This ticket will become a grave!"

Police were pelted with stones, which they threw back. At 9:20 PM, Deputy Minister of Culture (responsible for Youth and Popular Education), George Papandreou, arrived.

Accompanied by his wife and advisors, he demanded an immediate briefing. On his first day in office (he was sworn in that day), he showed great concern. His mere presence changed the atmosphere. He was briefed by Arkoudeas, and within minutes, had contacted other officials.

By his order, the gates opened and everyone was allowed in. People shouted: "Long live our Minister!"

Some youths approached him, including Emm. Manousakis, Chr. Viasalis, Evangelia Katsoulidi and others:

"Minister, the police fired at us. They used batons, metal rods, crowbars. They threw stones. They beat us badly. Please guarantee we won't be attacked again."

From that point on, the night became all music, no violence.

PHOTO: **LEFT: A beaten youth writhes on the ground.
PHOTO: BOTTOM RIGHT: A car engulfed in flames. BOTTOM LEFT: Aid for an injured police officer.**
PHOTO: A wide view of the festival (right). A young woman in punk attire (left).

The Stranglers turned up the heat

The Panathenaic Stadium was boiling in the afternoon sun, but the crowd-mostly youth-had begun taking positions early for Rock Festival '85.

The two flanks of the stadium were packed, and a 40-metre stretch in front of the main stage was filled. The area was flanked by two two-storey speaker towers. Thousands waited for the first band.

What stood out was the colourful, eccentric attire: punks with red-green hair, shaved sides, black-clad girls with spiky hair and lace gloves, boys with painted lips and neck chains. One young tourist in a bikini was seen on the field. Many were half-naked due to the heat.

At 6:10 PM, the French band Téléphone opened with a relatively light rock set, sparking the crowd-especially those standing and clapping in rhythm.

The video screen above the stage was quite small, as was later evident, for showing close-ups of the performers.

Téléphone's set lasted 50 minutes. During the gap before The Stranglers, threatening "waves" of youth gathered outside, demanding free entry. (Earlier, cars heading toward Hilton Hotel were blocked on Vasilissis Konstantinou Ave.) Police added barriers and reinforcements.

But the clashes could not be avoided (detailed in side columns).

At 8 PM, The Stranglers appeared-dressed in black, explosive in their movements and sound. They raised the energy, with the crowd engaging more intensely with their hard-edged sound.

George Papandreou provides the solution

On his first day as Deputy Minister of Culture (Youth and Public Education), George Papandreou made a decisive move.

Upon learning that violence was unfolding outside the festival, he rushed to the scene. Clashes were ongoing. He demanded updates from Arkoudeas, requested an end to the violence, and asked whether there were injuries or damages.

The crowd outside demanded entry.

Papandreou worked with reporter Giannis Kanellakis to devise a solution. A youth committee of five was formed, consulted, and informed that the gates would soon open-"Enter peacefully," they were told. Many didn't believe it.

"Minister, this is the first time we've seen something like this. Thank you for caring," they said.

At 10:30 PM, the gates opened. Everyone entered, cheering with Papandreou.

Photoreporter from 'E' Injured

By Giorgos Filippakis

Fourteen police officers, many youths, and photographer Kostas Georgopoulos of "E" were injured during the clashes between anarchists and police in front of the Panathenaic Stadium during the rock concert.

Right after the concert began, a group of 300 anarchists tried to enter without tickets.

Across from the stadium were another 1,000+ youths, also without tickets.

Arkoudeas, head of the police unit, requested that organisers open the gates to defuse the situation. They refused-reason unknown.

Then the anarchists attacked the police, injuring 14 officers.

They retreated with clubs and chains, moving through Leoforos Olgas, reaching Leoforos Amalias, and headed toward Panepistimiou Street, smashing shopfronts along the way:

Hotel Grande Bretagne, Floca patisserie, Tzanes jewellery, Agricultural Bank, Commercial Bank, a food shop, and the Bank of Crete.

They also smashed car windows, including two police vehicles (EA-11019 patrol car, EA-10542 bus).

Kostas Georgopoulos, the photographer, was injured in the head while working. He was taken to Geniko Kratiko Hospital, where he received treatment.

The injured officers included Deputy Inspector Georgios Dovolos, and constables Alexios Xenos, Spyridon Paschos, Michalis Matsakos, Gerasimos Panakoulias, Apostolos Patas, Panagiotis Tasopoulos, Ioannis Mathioudakis, Vasileios Papadias, Pantelis Dikaioulias, Kostas Psifakis, Dimitrios Kelainos, Leonidas Antonopoulos, Athanasios Bletsas.

All were hospitalised at the 401 Military Hospital, and late that night, visited by Deputy Minister of Public Order, Thanasis Tsouras.

ATHENS 85 AMA. BIA ΣΤΟ ΦΕΣΤΙΒΑΛ

UNDER THE HARD SOUNDS OF ROCK: MOLOTOVS AND BEATINGS

British Band 'The Stranglers' Impress Amidst Chaos

At yesterday's Rock Festival at the Panathenaic Stadium, there was no need for staged scenes of violence to accompany the music-as is often demanded by the bizarre sensitivity of hardcore fans of the genre. Instead, real scenes of violence were offered organically, including numerous injuries to police and civilians, dozens of damaged cars (one of which was completely burned), and heavy material damage to shopfronts in central Athens. It seems all this served as a general rehearsal. And since the festival would continue today, the Police had to take further precautions.

It's worth noting that during the clashes, a group of police officers, trapped by attackers outside the Panathenaic Stadium, resorted to firing their weapons four to five times into the air!

The incidents began gradually around 8 PM when 200-300 anarchist youths tried to enter without tickets. The police presence-alongside private security-blocked them. The youths started throwing stones and bottles, and the officers, lacking riot gear, retreated and became trapped among advertising boards.

The anarchists hurled Molotov cocktails-one igniting Volvo license OK 6280, which was entirely destroyed. There was a momentary risk of the fire spreading to the nearby grove, potentially causing panic inside the stadium. Thanks to the Fire Department's swift response, the fire was contained.

INJURIES

The riot police (MAT) then arrived, pushing the anarchists toward the Olympic Pool area and later into central Athens, where the group caused more damage. Specifically, they smashed windows at Floca café (Panepistimiou), banks (Attica, Crete, American Express, Commercial Bank), a grocery shop near Korai, and several other stores.

In the confrontations, the following were injured:

• Inspector Ntovolos

• Officers Alex. Xenos, Spyr. Paschos, Mich. Matsakos, G. Dikanoulias, K. Psofakis, M. Kelainos, D. Antonopoulos, Geras. Panakoulas, Apost. Pattas, Pan. Tasopoulos (taken to the 401 Military Hospital)

• Officers Io. Mathioudakis and Vas. Papadakis (taken to Emergency Services)

Many civilians were also injured. By late evening, only one young woman had been arrested, her name undisclosed.

At 9:30 PM, Deputy Minister of Culture George Papandreou arrived at the scene and requested to speak with Public Order Minister Ath. Tsouras via police radio to coordinate actions.

Half an hour later, Culture Minister Melina Mercouri, accompanied by Deputy Minister Sifis Valyrakis, also arrived.

CONTINUED ON PAGE 3

MELINA

No Alibi, No Excuse for the Ticket...

Three waves of security checks yesterday for rock fans A car is engulfed in flames. It was the first "victim" of the clash

Beatings With Music

Report by: G. Kanellakis, K. Diavolitsis

Those who believed the two-day Rock Festival would be explosive were not disappointed. In the end, it was beatings with... music.

The demand by hundreds of "freeloaders" to hear music without paying, combined with the usually charged atmosphere of such events, sparked the clashes the night before last. The fighting lasted about an hour during the performance by The Stranglers. The first assault by punks around 8:30 PM was repelled. But soon after, a group of police officers, forced to chase them down, took the beating of the year.

Among them was K. Georgopoulos, photojournalist for "E", who was struck on the head with an iron pipe.

This was followed by brawls and chases around the Stadium, resulting in 14 injured officers, two destroyed private cars, and a Molotov-induced fire in the Ardittos grove.

Yesterday, the Ministry of Culture issued a statement condemning the violence and those responsible.

"The major rock concert at the Panathenaic Stadium," it stated, "demonstrates the Greek youth's right to experience new trends in modern music. It is absolutely justified for a high-cost artistic or athletic event to require a ticket."

"In such cases, the demand for free entry stands in stark contrast to the sense of fairness of those who paid. The ticket cannot be used as either a pretext or an alibi for inciting such events."

"Such incidents do not reflect the youth's desire for pluralistic and alternative entertainment, nor the government initiatives that support and implement it."

Police control was extremely strict. Bags, purses, and other items carried by rock music fans were thoroughly inspected.

Everyone-men and women-underwent three body searches. One girl with a ticket in hand was not allowed to enter because she wore a belt with a large buckle.

"Take off the belt to pass," police told her. This incident nearly escalated into a full confrontation.

Boys and girls carrying plastic water bottles underwent what was essentially a "holy inquisition."

"What's in the bottle?", "Why did you bring it, there's water inside the Stadium," were among the questions officers posed. All bottles were sniffed to determine whether they contained water or alcohol.

Strict police measures were in place around the Stadium. Traffic police managed vehicle flow, avoiding congestion in the nearby streets.

Officers removed motorcyclists, and tow trucks cleared illegally parked cars near the venue.

As time passed, crowds swelled at the entrances to the Panathenaic Stadium. By late evening, no major incidents had been reported, except for minor misunderstandings between citizens and police.

The flames of vandalism defined the two days of rock. This was largely due to how harsh police were toward the public.

Many youths who were in no hurry to enter the Stadium got lucky. Those caught trying to bring in soft drinks or alcoholic beverages, and who failed, gave them to people outside to avoid waste.

Some officers instructed them to destroy the drinks, but young kids quickly became the recipients.

Thus passed the afternoon with its colorful festivities, though how the evening hours would unfold remained uncertain.

Yesterday was also the most high-profile day artistically. Appearing in order were the pop band Talk Talk, the psychedelic new wave group The Cure, Nina Hagen, and the explosive Clash.

See more in the report on page 48.

ROCK: WHAT HAPPENED INSIDE AND OUTSIDE THE STADIUM

On four color pages, Eleftheros Typos delivers a full account of the rock fiesta, covering everything that happened over the two explosive days at the Panathenaic Stadium-both inside and out (see pp. 12-13, 24-25).

Amid reports of beatings, Molotovs, and chaos, the newspaper details a youth-fueled rebellion during the highly anticipated Rock in Athens Festival. While international acts like The Clash, The Cure, and Nina Hagen captivated the audience, outside the venue hundreds clashed with police, demanding entry without tickets.

The riot police, overwhelmed by the situation, used batons and tear gas, while protesters retaliated with rocks and firebombs. One vehicle was completely incinerated, and many others vandalized.

Amid the mayhem, Deputy Minister George Papandreou intervened directly, ordering the stadium gates to open and defusing tensions. A moment hailed as "unprecedented state responsiveness" by those let in.

The article highlights contradictions in state policy: calls for modern cultural engagement clashed with inadequate preparation and harsh enforcement. Still, the music persisted-defiant and unifying.

Pages 12-13 - unreadable - wanted ****

FIRE OUTSIDE THE STADIUM AND IN THE CENTRE OF ATHENS

Rock Explosion Fires, Injuries Boy George did not impress

The Stranglers Bon Paris In the Centre

Report by: Athina Glinou Sarrigi, Ntadoui Stefanou, Gioukakis

Pages 24-25 - unreadable - wanted ****

They Forced Their Way In - The Freaks Entered at Will

Chaotic Retreat by Mercouri and the Police They Had a Blast

What Nina Hagen Said Melina Mercouri gives statements to Greek and foreign journalists

"The newspapers are to blame," declared the organisers

A moderate conclusion to the super rock fiesta 50,000 spectators attended on the second day

HEATWAVE

Thermometer Yesterday: 38°... Today: 39°... Greece is Roasting

FAINTINGS IN THE STREETS ADMISSIONS YESTERDAY FOR CARDIAC & RESPIRATORY ATTACKS

Temperatures reaching 40°C tomorrow across Greece. The heat index continues to rise with predictive warnings from EMY for more record-breaking highs.

In Athens yesterday, thousands fled the smog-choked city in search of relief. Hospitals reported a surge in patients suffering heatstroke and breathing problems. Similar scenes were witnessed in Thessaloniki.

UNHINGED ROCK: HAGEN-CLASH

Four full pages for the youth of 2001 → pp. 24-25-26-27

ARTS SECTION - Monday, July 29, 1991

HAGEN-CLASH Ignite Fires in the Stadium!

After the failure and clashes of Day One, Saturday Night Delivered Intensity and Pulse, Thrilling Rock Fans

By Anthi Kasimati & Ekstratos

Following the chaotic and much-debated first day, which ended in confusion and scattered violence, the second night brought back confidence.

Fans returned to Athens, gathering at Zappeion from midday. Conversations buzzed among the crowd. On Friday, The Clash avoided media and public contact, hiding away backstage. In contrast, The Stranglers embraced fans, signing autographs and posing for photos.

The division between supporters of the two bands was clear: one camp applauded The Clash for their intense, tight set; the other praised The Stranglers for their accessibility and warmth.

Crowds surged toward the front, creating minor disturbances. Police presence was firm but restrained, intervening only when absolutely necessary.

The Second Day

Anticipation soared. Fans arrived early, seeking the best spots. Memories from Day One still lingered in the air. Debates raged over which band had triumphed. Excitement was high for the remaining lineup.

26 ARTS NINA HAGEN - THE CLASH set the Stadium on fire CONTINUED FROM PAGE 25

…as part of the events of "Athens - European Capital of Culture." Rarely have Athenian arts publications, so well-travelled in "artful" hardships, come into contact with what is most vibrant and high-quality in the contemporary music scene. Not even Georgios Averof, with all the cheerfulness that distinguishes benefactors, could have imagined that the Stadium he offered to Athens would become one vast marble - and yet somehow warm - embrace for thousands of young people who simply sought to connect with the sounds of their time.

Because what else did this colourful crowd truly want, among which - after Friday's damaging incidents - a few hotheaded garntasoni, some self-styled anarchists, sprouted "seeds of unrest" and pockets of disorder? It's true that rock concerts are noisier than… gymnastics demonstrations. Even middle-aged, peaceful fathers seemed to understand that, as they patiently waited for their children outside the Kallimarmaro.

Contrary to those who believed that the previous day's events would drive many away, the crowd began arriving again on Saturday from early morning. Thus, Talk Talk, who began their concert with a forty-five-minute delay, found themselves performing before full stands. The setlist - rigid despite the entire sound system - did not particularly stir the crowd, confirming once again how difficult a live performance can be.

Not so, however, for their compatriots The Cure, who quite literally stunned everyone with their amazing presence. Without lights and armed only with their music, they impressed, and it would not be an exaggeration to call them the surprise of the day.

But the audience's connection remained cerebral. The genuine contact was restored with the appearance of Nina Hagen. The "Virgin of Rock", in a pandemonium of sounds and colours, proved just how great a singer she is.

She didn't leave a single spot of the stage untouched, changed outfits five or six times, sang in every known musical genre, and finally invited us all to a party being thrown in her honour in New York. She even offered to... Well, yes! That's what enthusiasm looks like. …fly some of us there in her personal spaceship.

Unique in intensity and stage presence, she ignited a stadium lit up by thousands of lighters raised in appreciation.

And it was this performance by Hagen that foreshadowed what was about to happen. For that what's next, awaited for years, the majority had gathered at the concert.

The appearance of The Clash was worthy of one of the world's top rock bands. Their first song was played in a natural fog created by… a welcoming flare! Watching them - as Kallimarmaro shook with singing and dancing - you understood why they said rock and roll will never die. You felt that if it's not exactly a...

…way of life, it's definitely the musical resistance to one.

Their leader, Joe Strummer, didn't take long to jump off the stage to get closer to the crowd. Surely, at that moment, like a true Brit, he must have cursed the French organisers for not giving him… enough cable to reach the last row of a stadium that was worshipping him, making him feel like South London had been relocated to… Mets.

On Saturday at the Stadium, beyond the tattered clothes and the "weird" haircuts, the chains, safety pins and every kind of accessory, there was something more. It was the anxiety of a crowd, of a youth that walks "normally" among the "respectable" of our society. The anxiety of whether it might be lost inside the plastic safety and the self-satisfied loneliness of a consumerist society.

"THEY LET THEM IN WITHOUT ASKING US"

The French organisers stated at a Saturday press conference at the Stadium that they opposed the ministerial decision which allowed free entry to around 15,000 people. Christian Linot, Vice President of Nouvelle Frontière, said: "We witnessed that the event was a great numerical and artistic success. The incidents were caused by 100 individuals."

Around 9 p.m., a few dozen people provoked clashes with Security forces near the Stadium. These individuals even went so far as to set fire to a car. Fortunately, order was immediately restored thanks to the composure of the responsible police officers, even though their numbers were insufficient.

A ministerial decision then permitted free entrance to several thousand people, without the organisers being consulted. Furthermore, we regret that most newspaper headlines focused more on the incidents outside the Stadium - which were not significant.

Nouvelle Frontière and Rock in Athens '85 have no involvement in the internal political disputes currently happening in Greece.

ODDITIES FROM THE CONCERT… FROM THE STANDS

On both days of the rock concert, Melina Mercouri appeared at the Kallimarmaro, accompanied by Jules Dassin and some friends. Smiling, she declared that she really likes good music, but within fifteen minutes - by the time Depeche Mode began singing - she vanished from her seat. Perhaps she too felt the sense of entrapment, along with the 35,000 others, as the Stadium lights didn't go out and the loudspeakers didn't announce that the incident had definitively ended…

On Saturday, she went to Kaminiá to meet Nina Hagen, where the famous press briefing also took place: - "I'm very happy to have come to Greece." - We love you, Melina…

She even managed to persuade the organisers to let her down into the stadium so the crowd could surround the stage, enter, and hear Nina Hagen and The Clash.

The "Miraculous" Screen

Heavily advertised by the organisers was the screen set directly above the stage, in front of the bands. A "miracle" screen through which - according to their claims - we were supposed to watch video clips.

Untitled: Melina and the Other One The bands and the image were meant to be of great fidelity… In the end, of course - the picture was brilliant, the videos had nothing to do with the overall vibe. Springsteen was applauded, Wham were booed, and everyone laughed at the reassurance that "everything is fine with Coca-Cola", even as riots raged outside…

• The Stadium's soft drinks were anything but refreshing. The prices were fiery, just like their contents.

Trap-doors

• Several times bottlenecks formed at the stadium gates, especially on Friday when free entrance was permitted. No order at all! People pushed each other, two or three even fell to the ground, risking being trampled. Some women screamed… Alas, Gate 7 hasn't taught us anything.

From Within

• The young men hired by the organisers for crowd control took themselves way too seriously. One could even say many of them were extremely rude, cursing and arguing openly when journalists asked questions. They snubbed the police, believing that protecting citizens was their job.

Beauty Before All…

• Thankfully there was that pipe used to sprinkle the thirsty and over-excited fans standing under the massive stage for hours. Still, even there problems arose - as we all know, hair effects vanish when wet. So those with elaborate hairstyles wrapped themselves in T-shirts to protect their looks. Beauty before pain…

Calm Down, Everyone!

• One of the worst moments for those in the stands who understood what was happening came when police stormed towards the Stadium - during the Friday riots - trampling branches and planks. The dimmed lights, the patchy loudspeaker announcements, and the shouting created a suffocating panic, a sense of entrapment.

• The organisers' profits must have been huge. Tickets issued numbered around 80,000, and expenses including artist fees reached 45 million drachmas. If, as we read, each minute of advertising cost 1.4 million drachmas, then the riots cost the organisers absolutely nothing.

"I'll Come Back"

London, 29 Boy George is willing to return to Greece to give another concert. He said so to reporters yesterday upon arriving at Heathrow Airport in London.

Nevertheless, the famous singer expressed his disappointment over the incidents that took place during the concert and stressed that it wasn't the Greeks but a few individuals who always create trouble.

"Bottles and bricks won't stop me. I'd go back on stage wearing a helmet," he said, laughing.

26 ΤΕΧΝΕΣ ΝΙΝΑ ΧΑΓΚΕΝ - ΚΛΑΣ άναψαν φωτιές στο Στάδιο

ΣΥΝΕΧΕΙΑ ΑΠΟ ΣΕΛ. 25

…εκδηλώσεων «Αθήνα - πολιτιστική πρωτεύουσα της Ευρώπης». Σπάνια τα τόσο ταξιδεμένα σε «έντεχνες» δυσκολότητες αθηναϊκά καλλιτεχνικά έντυπα, ή επαφή με ό,τι πιο ζωντανό και ποιοτικό διαθέτει η σύγχρονη μουσική σκηνή.

Ούτε ο Γεώργιος Αβέρωφ μ' όλη την ευθυμία που διακρίνει τους ευεργέτες θα μπορούσε να φανταστεί ότι το Στάδιο που προσέφερε στην Αθήνα θα γινόταν μια τεράστια μαρμάρινη κι όμως κάπως ζεστή, αγκαλιά για χιλιάδες νέους, που απλώς ζητούσαν να συνδεθούν με τ' ακούσματα της εποχής τους.

Γιατί τι άλλο ήθελε στ' αλήθεια αυτό το πολύχρωμο πλήθος, ανάμεσα στο οποίο, μετά τα βλαβερά επεισόδια της Παρασκευής, κάποιοι θερμοκέφαλοι γκαρντασόνοι, ορισμένοι βιοτέχνες της αναρχίας, ορισμένοι βλαστάρησαν «εστίες αναταραχής» και θυλάκες ανωμαλίας;

Είναι αλήθεια ότι οι ροκ συναυλίες έχουν περισσότερη φασαρία από τις... γυμναστικές επιδείξεις. Αυτό έδειχναν να το καταλαβαίνουν και οι μεσήλικες φιλήσυχοι πατεράδες, που υπομονετικά περίμεναν τα παιδιά τους έξω από το Καλλιμάρμαρο.

Αντίθετα λοιπόν, μ' όσους πίστευαν ότι τα γεγονότα της προηγούμενης μέρας θ' απωθούσαν πολλούς, η προσέλευση του κόσμου άρχισε και το Σάββατο από νωρίς το πρωί. Έτσι, οι Talk Talk, που ξεκίνησαν με τρία τέταρτα καθυστέρηση τη συναυλία, βρέθηκαν μπροστά σε γεμάτες εξέδρες. Το πρόγραμμα, κλειστό παρά όλο το σύστημα του ήχου, δεν συγκίνησε ιδιαίτερα, επιβεβαιώνοντας για άλλη μια φορά το πόσο δύσκολη υπόθεση είναι μια ζωντανή εμφάνιση.

Δεν έγινε όμως το ίδιο και με τους συμπατριώτες τους Cure, που στην κυριολεξία καθήλωσαν τους πάντες με την εκπληκτική τους παρουσία. Χωρίς φώτα και με μοναδικό όπλο τη μουσική τους, εντυπωσίασαν και δεν θα ήταν υπερβολή να τους θεωρούσαμε την έκπληξη της ημέρας.

Η σχέση όμως του κοινού παρέμεινε εγκεφαλική. Την ουσιαστική επαφή ήρθε ν' αποκαταστήσει η εμφάνιση της Νίνα Χάγκεν. Η «Παρθένα του Ροκ» μέσα σ' ένα πανδαιμόνιο ήχων και χρωμάτων, απέδειξε πόσο μεγάλη τραγουδίστρια είναι.

Δεν άφησε απάτητη σκηνής απάτητη, άλλαξε ρούχα 5-6 φορές, τραγούδησε όλα τα γνωστά είδη τραγουδιών και τέλος, μας κάλεσε… όλους σ' ένα πάρτι που δίνεται προς τιμήν της στη Νέα Υόρκη. Προσφέρθηκε μάλιστα να...

Ε, ναι! Αυτές είναι ενθουσιασμός

Μεταφέρθει και μερικούς με το προσωπικό της διαστημόπλοιο. Μοναδική σ' ένταση και σκηνική παρουσία πυροδότησε ένα Στάδιο κατάφωτο από χιλιάδες αναπτήρες που άναβαν σ' ένδειξη επιδοκιμασίας.

Κι ήταν αυτή η εμφάνιση της Χάγκεν που σε προϊδέαζε για το τι θα γινόταν μετά. Γι' αυτό το μετά που το περίμεναν χρόνια, μαζεύτηκαν και οι περισσότεροι στη συναυλία.

Η εμφάνιση των Κλας ήταν αντάξια ενός από τα κορυφαία ροκ συγκροτήματα στον κόσμο. Το πρώτο τους τραγούδι το 'παιξαν μέσα στο φυσικό ντεκόρ καπνού της… Φωτοβολίδας υποδοχής!

Βλέποντάς τους κι ενώ το Καλλιμάρμαρο δονούνταν πια ολόκληρο τραγουδώντας και χορεύοντας, καταλάβαινες γιατί είπαν πως το ροκ εντ ρολ δεν θα πεθάνει. Ένιωθες πως αν δεν είναι το...

Ίδιο ένας τρόπος ζωής, είναι σίγουρα η μουσική απόκρουση ενός τέτοιου. Ο αρχηγός τους, ο Τζο Στράμερ, δεν άργησε να πηδήξει κάτω από τη σκηνή για να έρθει πιο κοντά στο κοινό. Είναι σίγουρο πως εκείνη την ώρα σαν γνήσιος Βρετανός θα βλωστήμησε τους Γάλλους διοργανωτές που δεν του 'χαν… αρκετό καλώδιο για να γυρίσει μέχρι και την τελευταία κερκίδα ενός Σταδίου που τον αποθέωνε, κάνοντάς τον να νιώθει πως το νότιο Λονδίνο είχε μεταφερθεί στο… Μερτς.

Το Σάββατο στο Στάδιο, εκτός από τα πορδάλια ρούχα και τα «περίεργα» κουρέματα, τις αλυσίδες, τις παραμάνες και τα κάθε είδους αξεσουάρ, υπήρχε κάτι ακόμα. Ήταν η αγωνία ενός κόσμου, μιας νεολαίας, που κυκλοφορεί «κανονικά» ανάμεσα στους «σοβαρούς» της κοινωνίας μας. Η αγωνία μήπως και χαθεί μέσα στην πλαστική ασφάλεια και την αυταρέσκη μοναξιά μιας καταναλωτικής κοινωνίας.

«ΤΟΥΣ ΑΦΗΣΑΝ ΝΑ ΜΠΟΥΝ ΧΩΡΙΣ ΝΑ ΜΑΣ ΡΩΤΗΣΟΥΝ»

Οι Γάλλοι διοργανωτές δήλωσαν σε συνέντευξη Τύπου, που έδωσαν το Σάββατο στο Στάδιο, ότι αντίκεινται στην υπουργική απόφαση που επέτρεψε την ελεύθερη είσοδο σε 15.000 περίπου άτομα.

Ο Κριστιάν Λινό, αντιπρόεδρος της Νουβέλ Φροντιέρ, είπε: «Είμαστε μάρτυρες ότι το θέαμα είχε μεγάλη αριθμητική και καλλιτεχνική επιτυχία. Τα γεγονότα τα δημιούργησαν 100 άτομα».

Στις εννιά περίπου το βράδυ μερικές δεκάδες άτομα προκάλεσαν επεισόδια με τις δυνάμεις Ασφαλείας κοντά στο Στάδιο. Αυτά τα άτομα έφθασαν μέχρι του σημείου να κάψουν ένα αυτοκίνητο. Ευτυχώς η τάξη αποκαταστάθηκε αμέσως χάρη στην ψυχραιμία των υπευθύνων αστυνομικών οργάνων, παρότι ο αριθμός των αστυνομικών ήταν ανεπαρκής.

Μια υπουργική απόφαση επέτρεψε στη συνέχεια την ελεύθερη είσοδο σε αρκετές χιλιάδες άτομα, χωρίς να έχουν ρωτηθεί οι οργανωτές.

Εξάλλου λυπούμεθα για το γεγονός ότι οι περισσότερες τίτλοι των εφημερίδων έδωσαν περισσότερο βάρος στα γεγονότα που συνέβησαν έξω από το Στάδιο και τα οποία δεν ήταν σημαντικά.

Η Νουβέλ Φροντιέρ και το Ροκ ιν Αθήνς 85 δεν έχουν καμιά σχέση με τις εσωτερικές πολιτικές προστριβές που συμβαίνουν αυτή τη στιγμή στην Ελλάδα.

ΠΑΡΑΛΕΙΠΟΜΕΝΑ ΤΗΣ ΣΥΝΑΥΛΙΑΣ… ΑΠΟ ΤΙΣ ΚΕΡΚΙΔΕΣ

Και τις δύο ημέρες της ροκ συναυλίας εμφανίσθηκε στο Καλλιμάρμαρο η Μελίνα Μερκούρη μαζί με τους Ντάσεν και μερικούς φίλους της.

Δήλωσε χαμογελώντας ότι της αρέσει πολύ η καλή μουσική αλλά μέσα σ' ένα τέταρτο - την ώρα άρχισαν να τραγουδούν οι «Πέπες Μοντ» - εξαφανίσθηκε από την θέση της. Ίσως, ένιωσε και αυτή το αίσθημα του εγκλωβισμού, μαζί με τους 35.000 κόσμου, καθώς τα φώτα του σταδίου δεν έσβησαν και τα μεγάφωνα δεν ανακοίνωσαν ότι το επεισόδιο έχει οριστικά λήξει…

Το Σάββατο πήγε στα Καμίνια να συναντήσει τη Νίνα Χάγκεν, όπου έλαβε χώρα και η περίφημη διάλεξη…

- «Είμαι πολύ ευτυχισμένη που ήρθα στην Ελλάδα». - Σ' αγαπάμε Μελίνα…

Κατόρθωσε όμως να πείσει τους διοργανωτές να κατεβεί στο στάδιο για να παρακολουθήσει, ώστε να μπορέσει ο κόσμος να της περικαλύψει το στάδιο, να μπει και ν' ακούσει τη Νίνα Χάγκεν και τους «Κλας».

Η… «θαυματουργή» οθόνη Πολυδιαφημισμένη ήταν από τους διοργανωτές η οθόνη, που είχε στηθεί ακριβώς πάνω στη σκηνή, μπροστά από τα συγκροτήματα. Μια οθόνη «θαύμα» μέσα από την οποία παρακολουθούσαμε - σύμφωνα πάντα με τα λεγόμενά τους - βίντεο κλιπ, τα κλιπάκια.

άτιτλον: Η Μελίνα και η άλλη

Τα συγκροτήματα και η εικόνα θα είχε μεγάλης πιστότητας... Τελικά βέβαια - η εικόνα ήταν θαυμάσια, τα βίντεο-κλιπ άσχετα με το όλο κλίμα. Χειροκροτήθηκε ο Σπρίνγκστιν, αποδοκιμάσθηκαν οι «Γουάμ» και όλοι γέλασαν με την διαβεβαίωση πως «όλα πάνε καλά με κόκα-κόλα», την στιγμή μάλιστα που τα επεισόδια έξω λύσσαγαν...

• Τα αναψυκτικά του σταδίου μόνο... αναψυκτικά δεν ήταν. Οι τιμές τους καυτερές όπως και το περιεχόμενο.

Πόρτες - παγίδες • Πολλές φορές δημιουργήθηκε αδιέξοδο στις πόρτες του σταδίου, ιδιαίτερα την Παρασκευή όταν επετράπη η ελεύθερη είσοδος. Καμιά τάξη! Ο ένας έσπρωχνε τον άλλον, δύο - τρεις μάλιστα έπεσαν κάτω με κίνδυνο να ποδοπατηθούν, κάποιες γυναίκες τσίριξαν... Αλίμονο, η «Θύρα 7» δεν μας έχει γίνει μάθημα.

...Εκ των ένόντων • Οι νεαροί που είχαν προσληφθεί από τους διοργανωτές για την περιφρούρηση το είχαν πάρει πολύ επάνω τους... Θα μπορούσα μάλιστα να πω πως ήταν πολλοί απ' αυτούς αγενέστατοι αφού έβριζαν και διαφωνούσαν επιδεικτικά στις ερωτήσεις των δημοσιογράφων. Σνόμπαραν την αστυνομία, θεωρώντας ότι η προστασία των πολιτών ήταν δική τους υπόθεση.

Μπρος τα κάλλη... • Πάλι καλά που υπήρχε και εκείνος ο σωλήνας με τον οποίο καταβρέχαν τους διψασμένους θερμόαιμους οπαδούς που στέκονταν κάτω από την τεράστια σκηνή ώρες. Βέβαια και εκεί υπήρχαν προβλήματα, μία και οι γνωστοί, τα διάφορα εφέ για τα μαλλιά φεύγουν όταν βραχούν. Έτσι οι πολύπλοκα κτενισμένοι τυλιγόντουσαν με μπλούζες και μπλούζες για να μην χαλάσουν οι κομμώσεις τους. Μπρος τα κάλλη τι είναι ο πόνος...

Ψυχραιμία παιδιά!

• Μία από τις χειρότερες στιγμές για το κοινό που βρισκόταν στις κερκίδες και είχε κάποια αντίληψη των γεγονότων, ήταν όταν αστυνομικοί όρμησαν προς το στάδιο - την ώρα των επεισοδίων της Παρασκευής - πατώντας κλαριά και μαδέρια. Τα σβηστά φώτα, οι κάποιες κλειδώσεις από τα μεγάφωνα, οι φωνές, δημιούργησε ασφυκτικό πανικό, αίσθημα του εγκλωβισμού.

• Τα κέρδη των διοργανωτών πρέπει να είναι τεράστια. Τα εισιτήρια που κόπηκαν είναι περίπου 80.000 και τα έξοδα και οι αμοιβές των καλλιτεχνών φτάνουν στο ποσό 45.000.000 δραχμών. Εάν, όπως διαβάσαμε, το κάθε λεπτό διαφήμισης κοστίζει 1.400.000 δραχμές, τα επεισόδια για τους διοργανωτές δεν κόστισαν απολύτως τίποτα.

Θα ξανάρθω

Λονδίνο, 29.

Ο Μπόι Τζορτζ είναι διατεθειμένος να ξανάρθει να δώσει συναυλία στην Ελλάδα. Αυτό δήλωσε ο ίδιος προς τους δημοσιογράφους, φθάνοντας χθες στο αεροδρόμιο Χίθροου του Λονδίνου. Παρ' όλα αυτά, ο διάσημος τραγουδιστής εξέφρασε την απογοήτευσή του για τα επεισόδια που σημειώθηκαν κατά τη διάρκεια της συναυλίας και τόνισε ότι δεν ήταν οι Έλληνες αλλά ορισμένα άτομα που δημιουργούν πάντα προβλήματα.

«Δεν με σταματούν τα μπουκάλια και τα τούβλα. Θα ξανέβγαινα στη σκηνή φορώντας κράνος», είπε γελώντας.

Top Left Cluster (2-page spread)

Sex and drugs κατά υπουργείο

Sex and drugs against the ministry An article apparently criticising government censorship or cultural policy in relation to the punk/rock movement.

Η συναυλία, η εξουσία και η εξουσία

The concert, the power, and the authority Commentary piece reflecting on the cultural and political power of rock concerts and their symbolic resistance.

Top Center (TA NEA - Black & White Page)

Απόψε τα μεσάνυχτα βγαίνει ο Μπου Τζωρτζ

Tonight at midnight Boy George comes out Preview article for Culture Club's performance, possibly noting the flamboyant presence of Boy George and the anticipated crowd reactions.

Οικονομικές διακοπές στην Αθήνα για τους νέους

Affordable holidays in Athens for young people Promotional side piece connecting the festival to tourism and budget travel for youth.

Top Right (TA NEA - Music & Riot Coverage)

Ξύλο μετά μουσικής

Beatings with music A dramatic headline referring to violent incidents during the festival-likely clashes between police and fans.

MENNA: Ούτε θλίψη, ούτε χαρά. Ερωτευμένοι στρατιώτες στις ραχούλες...

MENNA: Neither sorrow nor joy. Soldiers in love on the hills... A poetic or philosophical column reflecting on youth, rebellion, or love in the context of the concert or wider 1980s culture.

Middle Left (Poster and Schedule)

Rock in Athens 85

A festival flyer with full line-up:

Center (Magazine with Cure cover)

ΟΣΟ ΠΕΡΙΣΣΟΤΕΡΑ ΞΕΡΟΥΜΕ ΤΟΣΟ...

The more we know, the more... Possibly a Cure profile or philosophical editorial reflecting on fame, music, or knowledge.

Center-Right (TA NEA / ΝΙΝΑ ΧΑΓΚΕΝ)

Τα μάτια μου είναι όμορφα γιατί είναι κι η ψυχή μου

My eyes are beautiful because my soul is beautiful too A quote from Nina Hagen, suggesting an interview or personality profile with spiritual or artistic themes.

Far Right (TA NEA - NINA again)

Τους... δόνωσε η Νίνα και τα έβγαλε όλα

Nina rocked them... and bared it all Refers to Nina Hagen's theatrical and provocative performance-likely both vocally and in terms of wardrobe.

Bottom Left (Red Schedule)

This appears to be a TV or radio schedule or possibly a setlist publication. The title is unclear due to image quality.

Bottom Center (TA NEA - Crowd coverage)

Μπουκάλια οι θεατές - βρισιές ο Μπου Τζωρτζ

The audience threw bottles - Boy George replied with curses Coverage of chaos during Culture Club's performance, with fans throwing objects and Boy George responding verbally.

Bottom Right (TA NEA - Major Feature)

Η μεγάλη στιγμή της ροκ

The great moment of rock Main retrospective or event summary, treating the concert as a landmark cultural event in Greek history.

Ο Π. Παπανδρέου τίμησε την Αθήνα

P. Papandreou honoured Athens Likely refers to a government figure supporting or recognising the cultural program.

Τραυματίες, φωτορεπόρτερ της TV

Injuries, TV photojournalists Refers to clashes or injuries sustained during the festival, possibly to press personnel.

Top Row (Mixed sources: articles, reviews, previews)

Μικρές σκέψεις και περιπλανήσεις από το "Ροκ Φεστιβάλ"

Small thoughts and wanderings from the "Rock Festival" Reflective commentary from an attendee or journalist, capturing impressions and atmosphere.

Σούπερ-Απολογισμός!

Super-Summary! Wrap-up feature on the event-likely giving high ratings or commentary on the best acts.

THE CURE

Profile on The Cure, with a detailed account of their performance and place in the festival.

Ροκ φιέστα στο Στάδιο

Rock fiesta at the Stadium General article on the vibe and happenings inside the Panathenaic Stadium.

Μπιν Χέιζ - ροκ αθλητές

Ben Hayes - rock athletes Potentially a reference to performers pushing physical limits or a fan story featuring rock-star endurance.

Bottom Section (Full newspaper pages)

Απόηχοι από διήμερο φεστιβάλ στο «Καλλιμάρμαρο»

Echoes from the two-day festival at the Kallimarmaro Introductory line to a comprehensive festival review in TA NEA.

Το ροκ και η ... χαμένη επανάσταση

Rock and the... lost revolution A philosophical or critical opinion piece questioning whether rock still holds revolutionary power.

Οι «ΚΛΑΣ» έκλεψαν την παράσταση

The Clash stole the show Headline praising The Clash as the most impactful performers of the event.

Ποιοι άναψαν χτύπησαν τον φωτορεπόρτερ της «Ελ.»

Who lit it up and assaulted the "Eleftherotypia" photographer Refers to violent incidents targeting a press photographer during or after the concert.

ΦΘΑΛΑ ΓΕΓΟΝΟΤΑ ΣΕ ΜΙΑ ΑΘΩΑ ΦΙΕΣΤΑ

Ugly incidents at an innocent fiesta Dramatic reporting on riots or disorder linked to the event, possibly outside the stadium.

Ο ΓΙΑΝΝΗΣ ΚΑΛΑΪΤΖΗΣ

Yiannis Kalaitzis Likely a cartoonist or columnist reflecting on the festival from a satirical or cultural angle.

ARTS & LETTERS

Nina Hagen By F. Apergis

The eccentric Hagen fled to Crete to avoid Greek photojournalists

Dozens of journalists, photographers, record label employees, PR reps, and curious onlookers formed a sweaty, suffocating circle last night around the already-crowded Hilton pool.

At the centre stood a striking woman, heavily made up, enduring the endless flashbulbs and relentless questions. She was used to it. How could she not be, as one of the most popular singers in the world? This was Nina Hagen, just back from a week-long vacation in Crete, now in Athens to appear tomorrow at the Panathenaic Stadium, as part of the two-day rock marathon beginning in just hours.

"I am who I am"

Boldly painted, her large, beautiful eyes made even larger with heavy shadow, her full lips weighed down with thick lipstick, and her face pale white, as if she'd avoided Crete's harsh sun. She wore deliberately fake, cheap earrings-plastic hoops from which dangled images of Jesus and Mary-and a shiny, low-cost jumpsuit. Nina Hagen fully embodied the public image she had so carefully crafted over recent years.

Still, she resisted definition:

"I won't describe myself. I won't categorise myself. And you shouldn't either. I am who I am. You'll understand that when you see my concert. Maybe then you'll understand who you are too."

She repeated it two or three times:

"To know me, you have to see at least one concert."

She relaxed only when she stopped speaking about herself.

"I like Athens," she said, less defensive now. "This concert will be a beginning for me-a trial run for my tour that starts now. But what I liked most was Crete. There, I found peace."

Someone asked, "What is peace to you?" She answered:

"I can't explain what peace is. I just try to live it."

Another complimented her eyes:

"You have beautiful eyes." She replied seriously: "I have beautiful eyes because I have a beautiful soul."

Soon, her tone became more metaphysical:

"Is my daughter here? My daughter is everywhere, like me. We are all united with the universe-like Christ and the Virgin Mary."

When asked about the Berlin Wall, the East German singer quipped:

"It's a great place to paint graffiti."

Future Plans

Speaking of upcoming projects, she shared that she planned to sing works by Weill and Brecht, and perform Carmen accompanied by a symphony orchestra.

"Will it be a rock version?" someone asked.

"I won't say what it will be. Like I said, I don't like labels. You'll hear it and you'll understand."

The conversation ended there. It had been intense, rushed, and at times verbally combative-on both sides.

But far more tangible was the aggression from Hagen's entourage, and from Hagen herself, an hour before she appeared. They cursed at a reporter who approached her room and shoved a photographer. Her handlers assured everyone that the backstage behaviour was nothing like the front-stage performance.

Left: Nina Hagen with her daughter, Cosma Shiva. Right: The singer performing live.

The Stranglers Arrived in Athens Yesterday

The Most Hardcore Anti-Celebs Have Landed

The last time The Stranglers visited Athens, the capital descended into mild... chaos. But when the band arrived yesterday afternoon at Elliniko Airport, they looked nothing like the all-black-clad punk group of back then-who, after the mayor cut the power to prevent their concert, retaliated with their fans by disrupting the coastal discos in protest. That ultimately led to Hugh Cornwell being hauled into overnight custody, taking responsibility for everyone's actions!

Undoubtedly the most fiercely anti-celebrity of all the stars who have arrived in Athens in recent days for the rock festival, the ever-popular Stranglers, with their fresh new sound, were approachable, pleasant, even modest. They made no effort whatsoever to dodge the flashes.

Though worn out from their journey, and despite saying they'd rather "take a shower before surrendering unconditionally to the photographers," it only took a polite "please" for them to play along.

Do you know how popular you are in Greece? - Popular? Us? In Greece? We're not... popular anywhere. - Of course you are. And if you don't already know it-you'll find out over the next two days of the festival. - Bah, I think you're just saying that so we'll smile for the camera!

The band and their crew then rushed off to their hotel, where a reception was held last night in honour of all the artists performing in the festival.

As for tonight, The Stranglers, Talk Talk, and Telephone will enjoy the charms of Athens nightlife at a seaside disco in Voula.

In fact, The Stranglers got a literal taste of Athens by night-in Kavouri, no less. Specifically, the ever-resourceful Dinos Tavridis and the flamboyant DJ Manos Pamakarios "guided" them through the world of fresh seafood. According to… reliable sources, all four of them were licking their fingers.

Eleni Papageorgiou

ARTS & LETTERS

Nina Is in Heraklion

The eccentric Hagen fled to Crete to avoid Greek photojournalists

They couldn't quite hide her properly, and so as soon as she arrived at the airport the night before last, the flashbulbs burst-and infuriated her.

We're talking about the legendary Nina Hagen, in Greece to perform in the mammoth concerts on July 26 and 27 at the Panathenaic Stadium.

After her "bodyguards" removed the paparazzi with "polite force," she changed her plans and flew to Heraklion, Crete, where she'll rest until Tuesday. Then she'll return to rehearse for the Rock Festival.

A diva of rock, with an explosive voice forged in the underground of West Berlin, rebellious punk, Nina Hagen is simply indescribable-a life full of adventure and motion.

Born in 1955 in East Berlin, she was only 21 when, following her adoptive father Wolf Biermann, she crossed into West Berlin. Though one of the top students at the "Studio for Musical Entertainment," she carved her musical path through her own bands, like Automobil and Fritzens Dampferband.

From West Berlin to London, she encountered the all-female rock band The Slits, sparking her ever-growing interest in the punk movement.

Her Career

Returning to Berlin, her career took shape after a chance encounter with Bernhard Potschka, former guitarist of Lok Krenzberg. Soon joined by Manne Praeker, Herwig Mitteregger, and Reinhold Heil on keys, they formed the Nina Hagen Band.

No one expected their success. German rock had a new star. Interviews, TV appearances, photo shoots-one after another.

Then suddenly Nina declared: "I'm leaving."

Without caring about her signed contracts, she left for the Netherlands, appeared in Cha Cha, a film by Herman Brood, and soon recorded "Unbehagen," which became an international hit-selling 600,000 copies in Germany alone.

Despite her success, Nina remained provocatively unpredictable. Always tied to the underground and experimental film, in 1980 she starred in "Portrait of a Drunken Woman" by Ulrike Ottinger.

Soon after, she turned up in New York with Frank Zappa's manager Bennett Glotzer, where she wrote "NunSexMonkRock", penning all the lyrics herself.

But beyond musical prowess, Nina learned how to electrify and mesmerise audiences, pushing them to frenzy in her live shows-lessons learned in the Berlin cafés where her career began.

Her performance at the Rock Festival in Rio launched a global tour spanning Canada, South Africa, Japan, Australia, and Hungary-and now Athens, where she'll present her latest work, Ekstase.

Her Loves

What does she say about her past loves and her daughter?

Her great passion, David Bowie, she now only dreams about-"Coco's manager won't let me near him!" she says.

On Earth, she's in love with Robbie, of unknown details. About their bond she quips:

"Most people find their other half in the 4th dimension. I met mine right here, on Earth."

Nina Hagen also has a four-year-old child, of unknown paternity, who accompanies her on tour. From her "crib," she watches her mother's shows, running straight into her arms as soon as the set ends.

The Hagen family-mother and daughter-have been truly on the road, living out of suitcases, as tours keep them hopping between luxury hotels and cities across the globe.

PHOTO: The Eccentric Nina Hagen

The Stranglers Arrive on the 25th

On the morning of Thursday, July 25, The Stranglers will be in Athens.

They'll be the first major group to mount the massive stage rising inside the Stadium.

Arguably the most historic band of the entire festival, Hugh Cornwell, Jean-Jacques Burnel, Dave Greenfield, and Jet Black began their career in 1975 in a village in Surrey, UK.

Early on, they supported Patti Smith on tour. By 1976, they'd played over 200 shows around London.

They arrive in Athens with a team of ten technical specialists, who will coordinate with ENTEC's technicians during their nearly 2-hour concert.

They're set to perform on the first day, having refused to share the bill with The Clash.

The Stranglers. Talk Talk. Telephone.

Rock in Athens 1985

BEHIND THE SCENES OF THE FESTIVAL

The big moment had arrived. The famous two-day festival was part of the celebratory events for the declaration of Athens as the Cultural Capital of Europe, and some of the most well-known names of the European new music scene were set to make a strong showing.

For us "journalists", the two-day event turned into three days of exhaustion, rushing, and stress, because from Thursday at noon the festival coverage began and it ended on Sunday at noon. On top of all that, I was tasked with every kind of job you could imagine.

So, during the week of the festival, the invited guests began arriving in Athens from various parts of the world. First and foremost was Hagen, who went straight to Crete for a holiday. I imagine she must have felt at home there, given the island's strong German presence. On Thursday night, she returned to Athens, and the company's representatives who went to welcome her-along with her manager and her bodyguards-attacked the journalists. As I write this tonight, let's just say: not even close.

That same day, the Stranglers, Depeche Mode, and Telephone arrived. As for the others, no one knew anything. The Clash stated that they would arrive on Saturday afternoon, because they didn't want to see any of their peers. You see, in their camp, pouting and egos are not allowed.

The Greek bands.

And since I mentioned Greek bands, the Mousikes Taxiarchies, who were meant to represent the youth of the music scene, at the last minute announced that they were withdrawing from the festival. I found out the reasons, but I'll try to get in touch with Tzimakos to learn the full truth. I hope that before I finish this article, I will have managed it.

Also, in the advertisements placed in foreign magazines, in most of them the name Clash was nowhere to be seen. The big group was listed as a guest group because they did not want their name to appear on the same lineup as Culture Club.

So, in the days leading up, the agent of David Bowie, who had come to Patmos for a vacation, that fact was published in all the newspapers - it gave hope to many that perhaps the successful artist would make an appearance on the stage of the Panathenaic Stadium.

On Thursday night, the organisers Nouvelles Frontières, Roxane, and Theatro Technis invited all the executives of the music business to a cocktail party held at the pool of the Athens Hilton hotel, in honour of the artists participating in the festival.

Journalists from magazines and newspapers, music producers, representatives of record labels, known and unknown figures from radio and television, talented and talentless artists (of all kinds and categories) rushed to pay tribute to the invited guests. Only, the invited guests didn't manage to appear. Among all these, a small group from the Stranglers, Telephone, and Hagen mingled with the crowd and spoke with those who, naturally, recognised them.

Artists (of all kinds and categories) rushed to honour the invited guests. Only, the invited guests didn't manage to show up. Among all these, a small group from the Stranglers, Telephone, and Hagen mingled with the crowd and spoke with those who, naturally, recognised them.

The tragicomic part of the entire reception was this: Many of the journalists, mainly from the mainstream press and general-interest magazines, when they saw someone with unusual clothing, assumed it was an artist and bombarded them with questions. One of them even introduced Greenfield of the Stranglers, and after chatting with him for a while, asked a colleague: - Is he in Depeche Mode?

Hagen's reception was akin to Reagan's. Hundreds of camera flashes went off, everyone rushed toward her, and she, dressed like a frigate, strode straight to a particular spot that reeked of television coverage.

Elsewhere on the floor, J.J. Burnel and D. Greenfield were quietly watching all the commotion. Soon after, members of Telephone came down as well, while Hagen's bassist-clearly irritated (I don't know why)-was cursing under his breath.

Her manager, a real bitch who bit dangerously, once the formalities were over, made sure to whisk her away.

After the cocktail party, late at night, there followed an afterparty at a well-known nightclub in Glyfada. In one corner, we spotted Hugh Cornwell of the Stranglers. Someone in our group made the introductions, and we struck up a conversation. The simplicity of these people off-stage is admirable. We talked about many things for about half an hour. Then I left him so he could speak with his manager.

Before I move on to the events of the two festival days, I'd like to add a few things I heard, saw, or found out.

Because up until the eve of the festival not enough tickets had been sold - some people (I'm not sure exactly who) - came up with the idea of spreading the rumour that Bowie would be appearing on at least one of the two days. This deception of the public was helped along by a well-known radio presenter, who rushed to broadcast this imported rumour. Information from his show, without me verifying how true it is or not.

The Clash arrived the same day as Talk Talk at the airport.

Wanting to keep their arrival time absolutely secret, they didn't even notify the company representatives. The latter were left scrambling on their own to find a vehicle to transport their instruments-something that was exceptionally difficult at that hour.

The solution came when a private individual spontaneously volunteered to transport the gear to the hotel. He was a hospitable stranger who was into music, used his pickup truck-probably a Datsun-and was an enormous help to the group.

The Greek journalists of the daily press who cover music for newspapers and magazines were truly shameless. Their ingratitude will go down in legend. I've heard dozens of stories; here's one someone told me again: At some point during the cocktail party, the director of CBS was speaking with Cornwell. A photographer captured the moment and the photo was published in a well-known newspaper with the caption: "The singer of the Stranglers chats with an elderly fan…" (That's what I was told-I didn't see it myself.)

The nonsense and stupidity written by the newspapers-especially about the incidents-are beyond words. The right-wing papers tried to exploit the issue as much as possible, and the reporting was biased everywhere.

The liberals treated the event as secondary news, and the left-wing press stuck to their usual line. Everyone, in their own way, seemed to be trying to convince us that all the chaos and mishaps were the fault of the rockers (or rokades, as they call them), as if soon they'll be blaming us for the wildfires too, the way things are going.

The police worked hard to keep the beasts and the firehoses going rather than check out that mass-cracked concession stand that was selling soft drinks (brace yourself...) for 300 drachmas a can. Mostly foreign and mostly miserable.

I imagine most of the victims came from the Stranglers' camp. At least three of their roadies were carried out unconscious from the concert area for first aid.

The Clash promised to return in the autumn for a solo concert here.

THE TWO-DAY EVENT IN DETAIL

Now that I'm writing the following, the performances are over. So I can make a few general observations:

- As we all expected, the three big bands - Stranglers, Clash, and Cure - were the best anyone could hope to see today, and they fully lived up to their reputation. I believe it was a tremendous experience to see them on stage.

- The biggest surprise - at least for me - was the band accompanying Boy George. One of the tightest, most cohesive bands I've heard to date.

- The biggest disappointment was Nina Hagen.

- The sound was fantastic.

- The organisation was very good. Of course, a few mistakes were noted along the way, but the overall impression was positive.

- The biggest jerk was Boy George.

- All the bands started and finished on time, and only with the third act did I expect mistakes, but we enjoyed the setlist and the humour.

- The only bands that made no impression were Telephone and Culture Club.

- All the well-known acts played both old and new songs.

FRIDAY: THE TWO-DAY EVENT OF TELEPHONE, STRANGLERS, DEPECHE MODE and CULTURE CLUB

Just before the concert started, I met with Tzimakos and asked him what exactly had happened that led to Mousikes Taxiarchies not participating. I also asked him how true the various rumours were that had been circulating until then, especially about possible censorship of their songs by organisers, etc. Tzimakos denied that what I had heard was true.

T.P.: We didn't participate and we withdrew because, at first, we thought that the concert had been taken on by a few organisational offices with some state funding. Then we found out that various multinational companies-like, for example, Coca-Cola-had financed this whole thing. Naturally, under those conditions, we couldn't collaborate.

The first day of the two-day festival...

Telephone, a French band, quite well known in their home country, where they've had hits from time to time. They played standard, classic rock - the flow of songs was in French. Their compatriots who happened to be in the crowd gave them a hero's welcome. Personally, they left me indifferent.

I was more than compensated by the Stranglers. I hadn't felt that way since that Dr. Feelgood concert. I was absolutely certain they would be fantastic!

Along with the Stranglers came the trouble. Several thousand people who had gathered outside the Stadium tried to get in, resulting in clashes, minor injuries, and other questionable incidents. At no concert abroad do they let in the rabble-rousers. But in Greece, where we have genuine ignorance about how events should run, it's expected that there'll always be a small percentage of attendees who want to watch without paying. Some might not have 2,000 drachmas to spare.

What the newspapers wrote is nonsense. If we really had as many anarchists in Greece as those who caused the breach, things would be very different. Besides, when half the Stadium is empty, why shouldn't they come in to watch? Music shouldn't cost money. It should be free for the people.

The organisers claimed that they had issued only a small number of tickets for the first day. They reported around 25,000. I believe the number was much higher. After all, when you've already covered your costs - profits from state funding, multinationals, advertising, and radio and TV coverage - why shouldn't someone who doesn't have 2,000 drachmas be allowed to attend?

In the end, with various feelings of melancholy, the incident ended and those who were outside got in through lucky breaks - just as the set by the Stranglers, the act they wanted to see, had already finished.

Depeche Mode were a hit. Their music may have been monotonous, but David Gahan was superb - a real showman. He got the crowd on its feet.

Culture Club were the great losers. Unlucky because they have an idiot as a frontman. The audience that jeered hasn't gotten over certain issues, condemning them with boos. Boy George, as the frontman, instead of trying to defuse the situation, made the divide even worse. No musician in the world, under similar or even worse circumstances, attacks the audience from the very first song.

Boy George was aggressive, foul-mouthed, and provocative. He alone is responsible for the bottles he took to the head - no one else.

I was saddened because the fallout affected the other musicians, who were blameless. A Black singer who covered "Your Love Is Keeping Me Higher" was incredible. And yet he paid the price along with the rest for the antics of the countess.

A band like that - I wonder why they don't get rid of that frontman whose voice is terrible. It would be better if he opened his mouth to do something else rather than sing. I imagine a band like that, with the Black singer as the lead - what they could actually offer.

SATURDAY

(THE DAY OF TALK TALK, CURE, NINA HAGEN BAND and CLASH)

The second day began and ended without incidents or unrest. Talk Talk are good musicians, but they write deadly boring songs. The singer tries to energise the crowd with a voice like Bryan Ferry's. It seems the latter is his big idol.

As for The Cure, I feared they would start performing those depressing, meaningless tracks from their latest albums - the kind where "the devil weeps for his mother." To my great surprise, nearly their entire set was rhythmic. If they're satisfied performing at that level, it shows how great a band they are. They were wonderful.

Nina Hagen irritated me at some point. Her show is ideal for closed venues full of pseudo-intellectuals - not for an open-air festival. I didn't even like the show. Not even the song selection. I had the impression I was listening to some glam rock band. A terrible cover of Ballroom Blitz by Sweet and a butchering of White Punks On Dope by The Tubes. Their Black bassist was perfect.

Besides, Hagen herself - who tries to convince us she had some recent metaphysical experience - is a liar. It's all a well-orchestrated publicity stunt. She said certain things and did things that no one who truly believed in such experiences would ever do. Her words clashed with her actions.

The Clash were the beginning and the end of it all. Once upon a time, the greatest rock 'n' roll band was The Rolling Stones. Today, it's The Clash. No further comment. That statement says it all.

EPILOGUE

Everyone was satisfied. No matter how demanding one might be, I believe they would have been pleased with what they saw and heard.

Even the riots could have been avoided if the organisers had let people in after Telephone, and if the Stranglers had played on the second day instead of Talk Talk. It makes perfect sense that a fan of the hard-edged Stranglers would boo the commercial Culture Club. It takes a bit of philosophy. Those who weren't interested could have left - which would've been the best thing to do. But when someone has paid 2,000 drachmas for a ticket, it's not easy to walk away.

I've said it before - we lack maturity. No one knows how to behave at events like these.

Nikos Kontogouris

**DAY 1:

TELEPHONE, STRANGLERS, DEPECHE MODE, CULTURE CLUB**

As part of Athens' celebrations as European Capital of Culture - garnished with plenty of tzatziki and folkloric dance troupes - this festival was organised by the French company Nouvelles Frontières. A unique event in our country's history, and one of the most important foreign music festivals in all of Europe.

Regardless of motives or intentions, choices or rumours, we had the chance to witness, in two days, eight well-known and sometimes significant acts from the world of rock and pop music. A festival-marathon, a 7-hour marathon each day, with heat, blazing sun, dust, noise, exhaustion, and alternating moments of disappointment and ecstasy.

The contrast in the line-up names didn't work against the festival - on the contrary, it provided relief through its pluralism. A contrast that translated to the audience flooding the stadium not so much for the bands themselves, but for the event as a whole. A fairy tale was becoming reality - the heroes of each attendee were about to appear in front of them; finally, they would be a tangible presence, a living being, and not just abstract photos or printed quotes.

The first day - more pop and mild in musical terms (because outside of that, the "rockers" still made their presence felt) - featured the French band Telephone, the well-known Stranglers, the electro-pop Depeche Mode, and the superstar Culture Club (in their only European appearance this year).

This is the day we'll be covering - and it's a shame, because the second day's overwhelming assault by the warrior-giants Clash and the passionate Cure left us stunned and drenched in sweat.

So let's begin our journey.

The enormous stage stretched across the entire width of the field, just in front of the entrance, along with its sound equipment. Above it, a screen projected what was happening on stage (with the exception of the Clash) along with advertisements and music videos.

The crowd on the first day was smaller than expected, only to grow later with the entrance of the freeloaders who fought hand-to-hand with the police to get in. (The events that took place outside the stadium were unfortunate.) Blood, fires, beatings, gunshots, injuries - that was the result.

Regrets: the phenomenon of overpriced tickets, the stance of mainstream rock conservatives, the inflexibility of the organisers, and the overzealousness of the police. And once again, the yellow press went into action the next day, led by newspapers like Ethnos, who played the role of guardians of tradition and our civilisation. Still, the fact remains: such incidents only harm - and harm only - rock.

The crowd seemed eager for the festival to begin, and perhaps that was the reason for the warm reception of Telephone at exactly 6:07. Zero hour. They had arrived. Telephone, under daylight, stepped confidently onto the stage. A four-piece band (guitars, bass, drums) - a major name in rock in France.

What did Telephone present to us? A solid, sculpted rock sound with emphasis on the classic principles, leaning toward the hard-edged tone of hard rock. A clear presence, tied firmly to the fundamentals of a rock band, with dedication to a form that at times matched the rhythm of their ensemble.

A serious sound - strong and compact - but representative and unmistakably clear. As I mentioned earlier, the crowd welcomed Telephone with sincere enthusiasm, marking the beginning of the festival. Telephone, pioneers of hard rock, played for about half an hour: their set began at 6:07 and ended at 6:55.

After about an hour's break, it was time for the band most people had been waiting for to appear on stage: the Stranglers, who were greeted with excitement. At 7:50, the stage was covered in a dark veil, and one by one, they emerged rhythmically into the light.

With them came a team of technicians (perhaps also production staff). They opened with Nice 'n' Sleazy, which they reworked with the addition of horns.

First observation: the sound was crystal clear. Very clean, the system was full-bodied, and the vocals too.

Second observation: the Stranglers played many of their songs - Waltzinblack, Strange Little Girl, Golden Brown, Nice 'n' Sleazy, I Feel Like a Wog - completely reworked, and all their tracks, decade-spanning hits, were presented in altered forms. Golden Brown, Strange Little Girl, European Female, Midnight Summer Dream, Skin Deep, No Mercy - all now marked by missteps.

Third observation: the Stranglers live are simply minimal. The buzz didn't last two hours - it barely made it through half an hour. They seemed to only function in the studio.

The crowd appeared to greet the Stranglers with enthusiasm, showing that they hadn't done their homework and were swept along. For example, Strange Little Girl came off like a farce, yet the audience cheered it as if it were a triumph.

Meanwhile, outside, the incidents escalated. Overall, the atmosphere worked against the Stranglers, who fizzled out and exited to applause. I'll disagree and say that the Stranglers were a disappointment - and as for the live performance, it was clinically dead. Disappointed so far...

Rest of the article is missing WANTED ****

Page 5

Nina shook them… and they stripped everything off

NO INCIDENTS ON THE SECOND DAY OF THE FESTIVAL

Without serious incidents, with several thousand more spectators and greater enthusiasm, Saturday's second concert of the Rock Festival took place.

The same eccentric and colourful individuals who had attended the first concert gave, the day before yesterday, a clear display of improved behaviour.

"THE WORST ANARCHISTS"

"If they fear legal repercussions, they calm down," said foreign correspondents. They attributed Friday's incidents to the worst anarchist elements in the country, who had come from Thessaloniki, Volos, and Larissa. After Boy George's departure, they returned to London.

There were also scenes of admiration or rejection toward the stars of rock who performed at the Panathenaic Stadium.

From early Saturday afternoon, thousands of people - rockers and more restrained fans - gathered in front of the stages, in the stands, and in the inner arena of the Stadium, enduring the 40-degree heat like true festival veterans.

Of course, the difficulties were not absent. There was about an hour's delay due to technical issues, according to the organisers.

The two or three headline acts of the second night - led by The Clash - managed to stick to their two most famous hits, "Rock the Casbah" and "London Calling."

It was clear that out of the entire lineup across both days, the performance by Nina Hagen sparked the most enthusiasm.

Photographers captured her half-naked, in moments of ecstasy, singing barefoot, sitting on the stage floor.

Ecstatic from Nina Hagen's voice - or is it Nina herself who is ecstatic?

Report by: GIOTA SYKKA - EVA BITHA Photos: DIMITRIS KALOPSIS - DIMITRIS DANOPOULOS

ΤΑΜΕΙΑ

TICKET LOCATIONS
ΦΕΣΤΙΒΑΛ ΑΘΗΝΩΝ, Σταδίου 4
ΚΛΑΥΘΜΩΝΟΣ
NOUVELLES FRONTIERES, Φιλελλήνων 14, τηλ. 3224.432
ΟΜΟΝΟΙΑ, υπόγειος σταθμός ΗΣΑΠ
Ζαχαροπλαστείο Κοραέλλης, Σόλωνος 72, τηλ. 3641.794
POP ELEVEN, Πινδάρου 14
ΘΕΑΤΡΟ ΤΕΝΤΑ, Συγγρού 103, τηλ. 9218.818
ΠΕΙΡΑΙΑΣ, Δημοτικό Θέατρο
ΓΛΥΦΑΔΑ, Κεντρική πλατεία
ΑΙΓΑΛΕΩ, πλατεία Εσταυρωμένου
ΚΗΦΙΣΙΑ, πλατεία Πλατάνου

ΕΠΑΡΧΙΑ (PROVINCES)

ΘΕΣΣΑΛΟΝΙΚΗ: Δίλμπερης, Αριστοτέλους 8, τηλ. 233.255
Πάτσης, Τσιμισκή 29, τηλ. 231.805
ΠΑΤΡΑ: Στόλας, Κορινθού 224, 274.321
ΛΑΡΙΣΑ: Ρερή, Ρούσβελτ 6, τηλ. 252.182
ΗΡΑΚΛΕΙΟ: Pop-Rock, Έβανς 11, 225.604
Nouvelles Frontieres, Επιμενίδου 8, 289.413
ΣΕΡΡΕΣ: Μπιρτζίκης, Δημοτική Αγορά 8
ΔΡΑΜΑ: Αλατζάς, Ι.Μ. Αλεξάνδρου 23
ΞΑΝΘΗ: Κερασίδης, Β. Κωνσταντίνου 3
ΒΟΛΟΣ: Κωνσταντινίδης, Ερμού 183
ΒΕΡΟΙΑ: Ελευθεριάδης, Κεντρικής 86
ΡΟΔΟΣ: Χαρίτος, Ικάριας, Βασ. Σοφίας 20
ΚΑΛΑΜΑΤΑ: Βούρνας, Αριστομένους 82
ΤΡΙΠΟΛΗ: Ταλούμης, Βασ. Κωνσταντίνου 18
ΡΕΘΥΜΝΟ: Γαληνός, Καλέργη 8
ΧΑΝΙΑ: Σταθόπουλος, Πλατεία Αγοράς 4
ΓΙΑΝΝΕΝΑ: Κωτσής, 28ης Οκτωβρίου 10
ΚΟΡΙΝΘΟΣ: Μπονάτσος, Κολοιάτσου 40, τηλ. 0741-26.224

(REPEATED IN ENGLISH)

(Identical entries, retyped with minor name formatting differences; includes repeats of above)

SERES: Biritzikis, Dimotiki Agora 8
DRAMA: Alatzas, I. M. Alexandrou 23
XANTHI: Kerasidis, V. Konstantinou 3
SALONIKI: Dilberis, Aristotelous 8
SALONIKI: Patsis, Tsimiski 39
LARISA: Reri, Roosevelt 6
VOLOS: Konstantinidis, Ermou 183
VERIA: Eleftheriadis, Kentrikis 86
RHODOS: Charitos, Ikaris, Vas. Sofias 20
PATRA: Stolas, Korinthou 224
KALAMATA: Vournas, Aristomenous 82
TRIPOLI: Taloumis, Vas. Konstantinou 18
IRAKLIO: Pop-Rock, Evans 6
RETHYMNO: Galinos, Kalergi 8
HANIA: Stathopoulos, Plateia Agoras 4
GIANNENA: Kotsis, 28 Oktovriou 10
KORINTHOS: Bonatsos, Kolaitsou 10