Crock of Gold: A Few Rounds with Shane MacGowan

Blur: The Best Of is a greatest hits compilation album by English Britpop band Blur, first released in late 2000 and is the final Blur album by Food Records. It was released on CD, cassette tape, MiniDisc, double 12" vinyl record, DVD and VHS. The CD album includes 17 of Blur's 23 singles from 1990 to 2000, plus non-single, "This Is a Low". A special edition of the CD version included a live CD. The DVD/VHS version contains the videos of Blur's first 22 singles. The album, which has had enduring sales, hit number 3 in the band's native UK in the autumn of 2000, while denting the US charts at number 186. The cover is by artist Julian Opie. The painting of this Blur album can be found at the National Portrait Gallery in London, England. The album's cover bears some similarity to that of Queen's 1982 Hot Space.

A tongue-in-cheek "behind the scenes" look at the Comic Strip comedy club in the early 1980s, which gave rise to 'The Comic Strip Presents'

Director Julien Temple presents a unique insight into the tradition and transgression of Christmas. Featuring interviews and 70s archive, framing the Sex Pistols’ last UK concert with Sid Vicious, for the children of striking firemen in Huddersfield on Christmas Day 1977.

Director Julien Temple's film celebrates Canvey Island's Dr Feelgood, the Essex R 'n' B band that exploded out of the UK in the prog era of the early Seventies, delivering shows and albums that helped pave the way for pub rock and punk.

Jazzin' for Blue Jean is a 20-minute short film featuring David Bowie and directed by Julien Temple. It was created to promote Bowie's single "Blue Jean" in 1984 and released as a video single. The film depicts the adventures of the socially incompetent Vic (played by Bowie) as he tries to win the affections of a beautiful girl by claiming to personally know her favorite rock star, Screaming Lord Byron (also played by Bowie).

A brand new take on the most transformative force in British popular music history.

As the front man of the Clash from 1977 onwards, Joe Strummer changed people's lives forever. Four years after his death, his influence reaches out around the world, more strongly now than ever before. In "The Future Is Unwritten", from British film director Julien Temple, Joe Strummer is revealed not just as a legend or musician, but as a true communicator of our times. Drawing on both a shared punk history and the close personal friendship which developed over the last years of Joe's life, Julien Temple's film is a celebration of Joe Strummer - before, during and after the Clash.

Julien Temple's second documentary profiling punk rock pioneers the Sex Pistols is an enlightening, entertaining trip back to a time when the punk movement was just discovering itself. Featuring archival footage, never-before-seen performances, rehearsals, and recording sessions as well as interviews with group members who lived to tell the tale--including the one and only John Lydon (aka Johnny Rotten).

A modern retelling of the Samson and Delilah story. A super roadie fights evil bouncers stopping a rock and roll crowd from having a good time. He then falls foul of an evil wench who seduces and cuts his hair in order to take away his strength.

London: The Modern Babylon is legendary director Julien Temple's epic time-traveling voyage to the heart of his hometown.

A rather incoherent post-breakup Sex Pistols "documentary", told from the point of view of Pistols manager Malcolm McLaren, whose (arguable) position is that the Sex Pistols in particular and punk rock in general were an elaborate scam perpetrated by him in order to make "a million pounds."

Following the success of the 1979 show and the financial benefits accruing to Amnesty from the spin-off movie, TV special and record albums – Cleese, Lewis and Walker planned the next show to be a more spectacular event. Cleese focused on broadening the comedic talent to be presented at the show. In addition to the Amnesty show stalwarts drawn from the Oxbridge/Monty Python/Beyond The Fringe orbit, he invited newcomers such as Rowan Atkinson’s colleagues from the BBC TV show Not the Nine O'Clock News including Pamela Stephenson and Griff Rhys Jones; comedian Victoria Wood and regional comic Jasper Carrott. Lewis secured a return appearance by Billy Connolly and a debut appearance by "alternative" comedian Alexei Sayle who Lewis had recently discovered and was managing. Building on the success of Pete Townshend's 1979 appearance Lewis recruited other rock musicians to perform at the 1981 show including Sting, Phil Collins, Eric Clapton, Jeff Beck, Donovan and Bob Geldof.

A tough, Jewish ex-con just released from prison crosses a powerful drug dealer and former prison rival in his return to a life of crime.

A longform video that showcases the British pop group ABC, using songs from their album "The Lexicon of Love" to tell a spy-caper story of how the unsuspecting lead singer, Martin Fry, is duped into fronting the band because of his striking resemblance to another man associated with espionage. Will he stumble onto the deception before it is too late for him?

There'll Always Be an England' - named after Vera Lynn's stirring intro music - was recorded on Saturday, November 10th and captures the energy and excitement of the band and the crowd. The whole of the classic 'Never Mind The Bollocks' album is performed, together with a mixture Pistols cover versions, b-sides and even an impromptu crowd sing-along of 'I Do Like To Be Beside the Seaside'.

Julien Temple's wartime documentary parody "Punk Can Take It" (1979) - a theatrically released promo for the UK Subs, complete with narration by BBC voice-over veteran John Snagge - paints a glorious picture of England in a punk rock "identity crisis". Punk morale was higher than ever before. Punks were fused together not by fear, but by a surging spirit of revenge, immortality, and the courage never to submit or yield. This proved that punk won't go away and that punks themselves are becoming younger and nastier everyday. They have no time for the precarious thrills of nostalgia nor for its trivial rules.