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London CT / NYC — The Aftermath” (World Wide Vandals)

Overview and purpose of the narrative

“The Aftermath” as a modernist, contemporary-history account of a subcultural collision between
New York street culture and London’s early anarchist infrastructure. It frames the story not as
an “industry” history, but as a genealogy of a concept—a cultural label and practice that evolves
across locations and decades.

It specifically traces continuity from the 1970s graffiti era in NYC to the UK’s radical street
distribution networks that develop and continue into the 1980s.

Answer to the opening question: “How many original Vandals left today…?”

This narrative responds to the question “How many original Vandals are there in the world music industry today?”
by implying the number is very few, if any, still operating—especially those still working “in the dark.”

“Originals” are defined as those who existed before the term “Vandals” was commodified by the British press.
Once mainstream media and institutions attempt to rewrite and capture/rename the movement its time to put the “record” straight.

From guerrilla identity to state/official record: why it has today became such an explosive issue

Movements often shift from a guerrilla entity (loose, autonomous, hard to track) to being treated as
something stored in “Government hangers” as commodities—meaning intelligence or surveillance
files (the text references Russia, China, and the US).that become tradeable .

This transition is described as a major turning point that makes the subject “explosive,”

Criminal vandal vs artistic vandal

A key distinction is emphasized: the “Originals” understood the separation between:

Criminal vandal (illegality as wrongdoing)

Artistic vandal (vandalism as cultural/artistic expression and identity)

W.W.V used the “Vandal” label as a shield for autonomy and as a stance of anti-capitalism.

England: Crass and the anarchist punk network

The first English band noted as being branded “of note” is Crass, described as a self-confessed anarchist group.

Hicky-D (also presented with variant name forms like “Drilladale-D-guerrilla ”) is described as being signed up to
Crass syndicated recording studios record distribution- SRD, serving as both a musician and artist record producer-
creator of the World Wide Vandal record label itself and producer
of the World Wide Vandals “LOGO” that appears on record labels and album sleeves,he is
the legal copyright holder of the wordage world wide vandals and the record label LOGOS.

Rebellion against punk and movement toward rap/dance

“H” is portrayed as someone who even rebelled against the punk movement itself. Another recurring phrase
in the text is the idea of keeping things “dark.”

He “gigged” and moved between recording studios and live jam sets. At some point, he is said
to have walked out on the entire live music scene, claiming it was boring being an anti-hero—became
heavily involved specifically with :

Rap

Dance music

The reasoning given is that the punk thing at this time was “running dry”, and “H” found a niche
in industrial house events referred to as “Raves”.

House parties and the “balance” between illegal and “in-house” control:

“H” aquired funding as he put it and money is described as accumulating easily through these events,
but the text stresses that extreme caution was needed at the time to maintain balance between:

Illegal activities

In-house affairs

legal/operational “workarounds” were used: invitations, guest players, gifting finance
to support hiring equipment, etc.

The implied argument is: organizing a private “bash” with invites and having costs covered
by welcoming attendees could remain framed as non-criminal under English Laws.

The narrative states the “chemical mixture was right” and the public demanded freedom to dance.

Promoters, mafia-style behavior, and Hicky-D’s strategic exit

It claims that many promoters would simply take the money and leave—some allegedly
turning into mafia business heads making “countless grands.””H” never wanted to travel along this road to
oblivion and fast tracked out again after achieving certain objectives.

“H” is said to have “jumped out just in the nick of time,” suggesting he anticipated the shift
from underground hustle into organized exploitation which was seen as a risky venture and
an extremists playground to avoid at all costs.

A legal detail is referenced in the article : “Giftef” (gifted) money,which under English law
can’t be confiscated, particularly in the entertainment business. The text frames this as
crucial protection, tying it back to the idea of residual private money rather than money
“acquired” in a way that could be seized.

“H” implies West End night clubs where controlled and under American influence filled with spys
and keeping your mind and finance together was a real war.

After legitimizing early house parties in the West End promotion scene it seemed a logical sequence ,
to leave the “slimelight” and return to organization.

He is portrayed as working inside of West End night clubs and music venues collecting enough
funding to start a new project – World Wide Vandals. The narrative claims the one place he couldn’t
“crowbar open” as much as he tried was the Marquee Club, described by him as an area :

Running under undercover cops and military-controlled influence

Influenced by yanks (Americans)

A figure is named: Paul Macavoy, described as a Scot”hedge” associated with a million
yankee dollars, who controlled operations “for a while.”

The text asserts a key insight by “H”: the “other half of the Americans” were “really running the town.”
The Marquee is described as heavily booked and tightly linked to the major record label promotion cycle
(bands playing briefly before stadium-level gigs).where by Q lazzarus and Richard Passfield were
as “H” put as MOB as you get...”H” worked with these promoters for at least a year.

“H” as an indie fast-track handle

uses the indie handle “H” and gains footholds in Camden Town’s indie scene, including venues/areas such as:

Hippodrome

Astoria

The narrative also mentions Oxford 100 and Marquee as part of a larger
“rock and roll and state control brigade.”

Other operational names appear as key operatives in West End London promotions
during the peak of radio/promotion networks like Centreforce radio and Sunrise mob:

Richard Passfield

Q Lazarus

“H” is described as having brief dealings setting up meetings and lining up venues for
“various types of Dance organizations.”

Meeting Ian Killminster and the “Jewish” music lawyer detail

“H” even ran into Ian Killminster on several occasions. Ian is described as real punk metal “ed” if ever,
and the text adds the detail that Killminster had himself a “Jewish” music lawyer.

includes a brief blessing/wry aside (presented as “Blesset are those…”),
implying admiration for those with legal protection or strategic counsel within the London west end mob.

Turning private money into record production and later Russia.
“H” was for ever moving on and realized his idealism was wasted in West End production and thought
best to use the financial gains to gain political protection working in Londons top clubs and venues
was merely a short term strategic plan to gain enough capital to start up the project he had been working
on privately for nearly a year – to create the most independent music label ever in England !

Once enough money was accumulated and early house party years were legitimized through West End promotion,
“H” is said to exit the “slimelight” and move back into organization.

The narrative claims he reinvested most private finance into record production and faced questions about
how a label—referred to as “world wide vandals” record label—came about.He uses part of the finance to pay for a trip to RUSSIA.

During an interview in Russia with press radio he explains his role teams with Russian acts in the Gorky Park recording studio.

quoted reaction: if they hadn’t gone there, it would be “pretty daft” to try calling themselves World Wide.

Purpose of releasing music and the Soviets “pledge”

The label release is described as being tied to the Russian visit, presented as a promotional act for the
existence/identity itself of World Wide Vandals, along with a pledge to the Soviets at the time.

“to be an eternal soldier” described as music and artwork exclusively found on Twetch and memo.sv, released “this year.” 2026

The text also includes a provocative/irreverent lyric snippet: “Baby aint my Scabi” followed by humor
and exclamation emphasis, and notes that it includes lyrics.

Back-to-basics reasoning and rejection of “holy” money-chasing

the reasoning behind the 2026 digital single release as:

Back to basics (yet again)

Need for real-world assets

A step back from “holy whail” and “finxs 1001 cat snatchers” (phrasing implies critique of exploitative
financial/brand-chasing schemes found in bases like Asia) seen to be a dangerous void to be avoided
at all costs in its present climate,although Female Asian music has collective ideology it doesn’t kinda
fit into vandalization par se,theres so many reference by these young women to Vandals and world wide vandal
that it presents a real concern...and lifes too short to be deliberating.

“H”- chinese music at the moment is one of the most motivating forces and there is still
musicians who have time for left/anarco based politicks.

W.W.V arent concerned or want to shape the face of music,and music itself is just a small part
of what the world wide vandals conception is about

The syndicated objectives are to increase Libertarianism and Freedom for everyone.