JEANIE JEAN: STILL NOT FUCKING DEAD
Written by Madelaine Jones
“We are not dead. We are here. And we are ready.”
Photographer Jeanie Jean is a familiar face among the UK’S underground venues. A self-professed “late bloomer”, Jeanie’s pilgrimage into the underground, initially intended as a healing journey, has blossomed into a documentation of the resilience of UK subculture and the new generation taking up the helm.
A continuation of her last book, NOT DEAD VOL 2: DIY, The Power of Gigs, A Diary, documents the UK’s DIY Punk, Rock and Indie scenes. Exploring the grassroots venues, community spaces, and people that support and revive the underground subcultures that continue to form the basis of the UK’s thriving music and cultural scenes.
We spoke to Jeanie about the inspiration behind the project, her own experiences in these scenes, and the future of the UK underground...
How do you think growing up outside of London but immersed in the underground influenced your work?
I didn't really start going to rock gigs until I was about sixteen, I was such a late bloomer. I'm going to more gigs now in my mid 30s than I was back then! I went to more rock clubs than bars. My friend and I were part of the Scene Kid era, and we used to go to this place in Bexleyheath called Sushi which was Rock Bar downstairs where they'd play a lot of Emo, Indie, Pop, Punk and 80s music. Pint at Wetherspoons then straight off to Sushi. I guess that kind of had an impact on me because we were that generation that was part of the big Indie/Myspace/Emo whirlwind with music, fashion and culture. It's the constant regret of not documenting it enough on camera that always reminds me to take it everywhere I go. Anything could happen.
If we fast forward, the influence really happened when I was working on Volume 1 which was centred around taking portraits of different subcultures. That alone started off on a very harrowing experience during the pandemic. I talk about it very openly now, but I sadly lost my mum and grandma in the space of five months and it initially was a distraction to help get me through the grieving process. It was only meant to be temporary until I had healed, but it gradually blossomed into this ongoing pilgrimage that has no signs of slowing down any time soon.
Do you think there’s too much emphasis on London as the ‘cultural hub’ for the underground?
You'll see in the book how London is the core for a lot of grassroots venues and events, from SPIT to Loud Women, to SoYoung to Monster Queen and Slimelight. But I know there's many cities in different parts of the UK that have very influential DIY scenes. Brighton has the iconic Garageland Promotions that's been putting on underground gigs since 2010. Hulme Loonies who go around capturing the most chaotic parties in Manchester and Hulme. Manchester also has Riot Garden Collective which was where I discovered The Red Stains, Pink Suits and The Menstrual Cramps who are some of the most iconic queer punk bands I've ever seen. Shamefully I'm still yet to document the DIY scenes in Bristol where Shitty Futures Presents is based, the gigs they've put on are supposed to be legendary! France has Noize Magazine who are popping up more and more over the UK putting on events also. What a time to be alive!
Do you think this revival of the underground across the UK is a response to the post pandemic social climate?
Definitely. I've always said since the pandemic there's been this tidal wave of creativity and subculture. There seemed to be this long lull or hush between 2017-2019 but since 2022 it seems everyone is now in a band or putting on events!
Social media - as much as it terrifies me - has played a huge role in promoting DIY/underground events. Lockdown was especially crucial for younger people discovering different subcultures as well as gig which I think is fantastic. That said, Lockdown I feel has also been responsible for the gradual rise of print zines and mags, about time too!
Which subculture(s) are you most attracted to artistically or personally?
Punk and the Skinhead scene will always have a special place in my heart on an artistic and personal level. From day dot they were a huge part of my childhood. From my Dad I grew up with Ska, Two Tone and Oi Punk and from my Mum I thrived on The Sex Pistols, The Buzzcocks and Poly Styrene. The love has never gone away since.
How do you think the communities around these subcultures have changed in the wake of the pandemic and an increasingly digital world?
I love how diverse the age ranges are now in all subculture communities. New generations blending in with the generations that were part of the first ride, I didn't see that so much in my teens. Going back to your previous question, even in the digital world subcultures are thriving just as much as ever. On TikTok and Instagram there's young people discovering New Romantic, Punk, Emo, I've even spotted some Scene Kids floating about the place when I'm on my way to a gig. They've found their community.
NOT DEAD VOL.2 focuses on underground venues and their punters; what do you see as the biggest threat to these venues today?
It's not just grassroots music venues under threat, it's skate parks being tarmacked one by one into oblivion or being transformed into padel courts.
There's also the massive threat of Working Men's Clubs with three quarters of them in the UK closed down in the past 50 years. Since 2010 over 1200 Youth clubs and centres have closed down - all due to funding cuts, soaring rents and bills and property development.
All of these venues and spaces are about one thing; community. We saw the ordeal Moth Club went through and how quickly residents, non-residents, artists and high-profile bands rallied together to save it. We're now seeing the same thing happen with Digbeth in Birmingham and Brixton Market. We've had enough of it. All these hubs mean the world to communities and they need protecting.
If you could shoot one historic gig what would it be?
I have a few. Ziggy Stardust's final gig, The Slits when they played at The Vortex in 1977, Rock Against Racism in Victoria Park, and this is more of a festival but Tribal Gathering from in the mid 90s looked absolutely mental. To shoot The Chemical Brothers and The Prodigy there would have been a dream.
What have been your favourite new bands since starting the project?
Oh god don't make me do this haha!
I'll be frank. All the bands in the book have been absolutely wonderful. To give some examples, Split Dogs, Snatch, Rat Hole, The Molotovs, Meryl Streek, Upchuck, Wine Lips, Death of Guitar Pop and the list goes on!
What’s the biggest difference you see in these venues today compared to when you first started going to gigs?
There's less of them now.
What’s your favourite venue?
Honestly I really don't have a favourite but I'd say my top 3 in no order are......
Nope I keep changing my mind, they're all good!!! Each venue I've snapped at has held a special memory. What I will say is whenever I'm at these places it no longer feels like work now but more like rocking up to your mates house where you can relax, have a chill then shoot a cool band.
