El Músico, Director De Cine Y DJ Don Letts
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Conserve Water
YEAR ZERO: 1977-2017 THE CLASH @ TCD 21 OCTOBER 2017 EXAMINATIONS HALL, TCD DON LETTS Don Letts is a filmmaker, DJ and musician whose association with The Clash goes back over 40 years. As DJ at the Roxy, he is credited with introducing reggae to punk rock fans. A founding member of Big Audio Dynamite with Clash guitarist Mick Jones, he has released numerous compilation albums and directed a variety of films and documentaries. In 2003 he won a Grammy for his Clash documentary Westway to the World. He released his autobiography Culture Clash: Dread Meets Punk Rockers in 2007. JJuliUen TLemIpEle Nis a feTatuEre Mfilm,P doLcuEmentary and music video director. He started his career with the short documentary Sex Pistols Number 1 and went on to make feature length documentaries on the Sex Pistols, Dr. Feelgood, Dave Davies and Joe Strummer, as well as the movies Absolute Beginners, Earth Girls Are Easy, Bullet with Mickey Rourke and Tupac Shakur, and Pandaemonium. His film The Clash: New Year’s Day ’77 captured the moment when punk emerged into the mainstream consciousness. JOHNNY GREEN Starting out as a roadie for the Sex Pistols, Green became The Clash’s Tour Manager – his first ever show in this capacity was the Trinity College Dublin gig in 1977. He went on to tour the USA with The Clash three times, appears extensively in the Rude Boy film and is the author of A Riot of Our Own: Night and Day with The Clash recounting his experiences.. ROBIN BANKS Robin James Banks was a friend and confidante to The Clash throughout their career. -
“Punk Rock Is My Religion”
“Punk Rock Is My Religion” An Exploration of Straight Edge punk as a Surrogate of Religion. Francis Elizabeth Stewart 1622049 Submitted in fulfilment of the doctoral dissertation requirements of the School of Language, Culture and Religion at the University of Stirling. 2011 Supervisors: Dr Andrew Hass Dr Alison Jasper 1 Acknowledgements A debt of acknowledgement is owned to a number of individuals and companies within both of the two fields of study – academia and the hardcore punk and Straight Edge scenes. Supervisory acknowledgement: Dr Andrew Hass, Dr Alison Jasper. In addition staff and others who read chapters, pieces of work and papers, and commented, discussed or made suggestions: Dr Timothy Fitzgerald, Dr Michael Marten, Dr Ward Blanton and Dr Janet Wordley. Financial acknowledgement: Dr William Marshall and the SLCR, The Panacea Society, AHRC, BSA and SOCREL. J & C Wordley, I & K Stewart, J & E Stewart. Research acknowledgement: Emily Buningham @ ‘England’s Dreaming’ archive, Liverpool John Moore University. Philip Leach @ Media archive for central England. AHRC funded ‘Using Moving Archives in Academic Research’ course 2008 – 2009. The 924 Gilman Street Project in Berkeley CA. Interview acknowledgement: Lauren Stewart, Chloe Erdmann, Nathan Cohen, Shane Becker, Philip Johnston, Alan Stewart, N8xxx, and xEricx for all your help in finding willing participants and arranging interviews. A huge acknowledgement of gratitude to all who took part in interviews, giving of their time, ideas and self so willingly, it will not be forgotten. Acknowledgement and thanks are also given to Judy and Loanne for their welcome in a new country, providing me with a home and showing me around the Bay Area. -
The A-Z of Brent's Black Music History
THE A-Z OF BRENT’S BLACK MUSIC HISTORY BASED ON KWAKU’S ‘BRENT BLACK MUSIC HISTORY PROJECT’ 2007 (BTWSC) CONTENTS 4 # is for... 6 A is for... 10 B is for... 14 C is for... 22 D is for... 29 E is for... 31 F is for... 34 G is for... 37 H is for... 39 I is for... 41 J is for... 45 K is for... 48 L is for... 53 M is for... 59 N is for... 61 O is for... 64 P is for... 68 R is for... 72 S is for... 78 T is for... 83 U is for... 85 V is for... 87 W is for... 89 Z is for... BRENT2020.CO.UK 2 THE A-Z OF BRENT’S BLACK MUSIC HISTORY This A-Z is largely a republishing of Kwaku’s research for the ‘Brent Black Music History Project’ published by BTWSC in 2007. Kwaku’s work is a testament to Brent’s contribution to the evolution of British black music and the commercial infrastructure to support it. His research contained separate sections on labels, shops, artists, radio stations and sound systems. In this version we have amalgamated these into a single ‘encyclopedia’ and added entries that cover the period between 2007-2020. The process of gathering Brent’s musical heritage is an ongoing task - there are many incomplete entries and gaps. If you would like to add to, or alter, an entry please send an email to [email protected] 3 4 4 HERO An influential group made up of Dego and Mark Mac, who act as the creative force; Gus Lawrence and Ian Bardouille take care of business. -
The Clash and Mass Media Messages from the Only Band That Matters
THE CLASH AND MASS MEDIA MESSAGES FROM THE ONLY BAND THAT MATTERS Sean Xavier Ahern A Thesis Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of MASTER OF ARTS August 2012 Committee: Jeremy Wallach, Advisor Kristen Rudisill © 2012 Sean Xavier Ahern All Rights Reserved iii ABSTRACT Jeremy Wallach, Advisor This thesis analyzes the music of the British punk rock band The Clash through the use of media imagery in popular music in an effort to inform listeners of contemporary news items. I propose to look at the punk rock band The Clash not solely as a first wave English punk rock band but rather as a “news-giving” group as presented during their interview on the Tom Snyder show in 1981. I argue that the band’s use of communication metaphors and imagery in their songs and album art helped to communicate with their audience in a way that their contemporaries were unable to. Broken down into four chapters, I look at each of the major releases by the band in chronological order as they progressed from a London punk band to a globally known popular rock act. Viewing The Clash as a “news giving” punk rock band that inundated their lyrics, music videos and live performances with communication images, The Clash used their position as a popular act to inform their audience, asking them to question their surroundings and “know your rights.” iv For Pat and Zach Ahern Go Easy, Step Lightly, Stay Free. v ACKNOWLEDGMENTS This thesis would not have been possible without the help of many, many people. -
O Álbum Sandinista!: Agenciamentos E Fronteiras Musicais Do Grupo the Clash1
Intercom – Sociedade Brasileira de Estudos Interdisciplinares da Comunicação XXXIX Congresso Brasileiro de Ciências da Comunicação – São Paulo ‐ SP – 05 a 09/09/2016 O álbum Sandinista!: agenciamentos e fronteiras musicais do grupo The Clash1 Herom VARGAS2 Universidade Metodista de São Paulo – UMESP Nilton CARVALHO3 Universidade Municipal de S. Caetano do Sul – USCS, São Paulo, SP Resumo O movimento punk inglês produziu rompimentos com o rock mainstream da indústria fonográfica, mas após algum tempo, sua estética se estabeleceu como fórmula cristalizada. No álbum Sandinista! (1980), a banda inglesa The Clash se afasta dessa rigidez musical ao movimentar-se para as fronteiras, em contato com outras culturas e seus agenciamentos textuais. Essa mudança é um aspecto fundamental na construção da linguagem híbrida do disco que difere dos moldes identitários do punk rock. Com base nos Estudos Culturais e na Semiótica da Cultura, este artigo visa demonstrar como o grupo propôs uma arte de fronteira musical e política com o chamado Terceiro Mundo, usando textos (dub, jazz, soul, hip hop, calypso) geradores de uma semiótica que difere do regime significante (DELEUZE; GUATTARI, 1995) do punk britânico. Palavras-chave: Sandinista!; The Clash; experimentalismo; hibridismo; punk. Introdução A participação do grupo inglês Sex Pistols no programa Today Show, do apresentador Bill Grundy, em 1976, foi um dos acontecimentos midiáticos que consolidou o punk rock britânico como movimento musical aparentemente caótico. Durante a entrevista, o guitarrista Steve Jones pronunciou a palavra “fuck”4, expressão desordeira que influenciou centenas de jovens a exibir nas ruas atitudes semelhantes e roupas rasgadas e mal assentadas para o padrão da época. -
Girl Problems a Slits Live Album and Liz Phair’S Latest Illuminate the Prejudices That (Still) Plague Women in Rock
30 CHICAGO READER | OCTOBER 21, 2005 | SECTION ONE Music THE SLITS LIVE AT THE GIBUS CLUB (SANCTUARY) LIZ PHAIR SOMEBODY’S MIRACLE (CAPITOL) Girl Problems A Slits live album and Liz Phair’s latest illuminate the prejudices that (still) plague women in rock. By Jessica Hopper t’s 2005 and one thing is island-tide jerk that would dis- clear: rock critics still have tinguish Cut is barely evident on I their heads up their asses Live—instead the band is melod- where “women in rock” are con- ic and surprisingly poppy. Viv cerned. Though there has been Albertine’s guitar playing is a some progress in the last decade staccato crunch, like someone or so, the plight of the female marching on ice, and the deeply musician is still very much a rooted rhythm section specializes plight. If it’s not the sexualizing in bounce. Ari Up’s German review it’s the backhanded refer- accent sneaks out from behind ences to talent or ability or the her crisp British e-nun-ci-a-tion speculation about whether the on her singsong shouts. She’s at artist is the one in control of her her most shrill only when heck- own image and ideas. The sort of ling the hecklers, sounding like a gender-suffused discourse spun Teutonic Bette Davis as she tells by music magazine journos and one, “Go back to Texas, cow- freelance flacks has as much to booooy.” In the span of 30 min- do with the fantasies we build up utes they bang out ten songs, around an artist as it does with then encore with two they’ve just the killer riffs on side B. -
PDF R.I.P.: Clash-Sänger Joe Strummer Tot :(
gothic.at / Tratsch r.i.p.: clash-sänger joe strummer tot :( Slave / 23.12.02 14:38 r.i.p.: clash-sänger joe strummer tot :( <a href="[fm4.orf.at]; target="_blank">[fm4.orf.at]; fiend / 23.12.02 14:44 Re: r.i.p.: clash-sänger joe strummer tot :( London calling to the faraway towns Now that war is declared-and battle come down London calling to the underworld Come out of the cupboard, all you boys and girls London calling, now don't look at us All that phoney Beatlemania has bitten the dust London calling, see we ain't got no swing 'Cept for the ring of that truncheon thing The ice age is coming, the sun is zooming in Engines stop running and the wheat is growing thin A nuclear error, but I have no fear London is drowning-and I live by the river London calling to the imitation zone Forget it, brother, an' go it alone London calling upon the zombies of death Quit holding out-and draw another breath London calling-and I don't wanna shout But when we were talking-I saw you nodding out London calling, see we ain't got no highs Except for that one with the yellowy eyes The ice age is coming, the sun is zooming in Engines stop running and the wheat is growing thin A nuclear error, but I have no fear London is drowning-and I live by the river Now get this London calling, yeah, I was there, too An' you know what they said? Well, some of it was true! London calling at the top of the dial After all this, won't you give me a smile? I never felt so much a' like Anomalie / 23.12.02 14:46 Re: r.i.p.: clash-sänger joe strummer tot :( ja, auch vorhin auf fm4 gehört :-( Didi_Disko / 23.12.02 20:07 Re: r.i.p.: clash-sänger joe strummer tot :( 1 / 3 gothic.at / Tratsch r.i.p.: clash-sänger joe strummer tot :( -:o( Weiß eigentlich irgendwer woran er gestorben ist? Anonymer Benutzer / 23.12.02 20:23 Re: r.i.p.: clash-sänger joe strummer tot :( > Weiß eigentlich irgendwer woran er gestorben ist? hier der pressebericht: Joe Strummer, the leader of legendary Seventies punk band The Clash, has died, aged 50. -
Cultural Victimization in Participants of the Punk- Rock, Hip-Hop and House Subcultures
Cultural victimization in participants of the Punk- Rock, Hip-Hop and House subcultures Niels Hoogstraten, 486500 Supervisor: Prof. dr. Antony Pemberton Master’s thesis Victimology and Criminal Justice Tilburg University July 10th, 2017 Contents 1 Introduction ..................................................................................................................................................................... 6 1.1 Method ...................................................................................................................................................................... 7 1.2 Thesis structure.................................................................................................................................................... 7 2 History of the Punk, Hip-Hop and House subcultures globally ............................................................... 9 2.1 History of Punk ..................................................................................................................................................... 9 2.1.1 Rebellious attitude .................................................................................................................................... 9 2.1.2 The first Punk band .................................................................................................................................. 9 2.1.3 The emergence of the American punk scene................................................................................ 9 2.1.4 The emergence of the English -
Identification with the Black Other in the Life of Joe Strummer and the Punk Music of the Clash
“Who am I? Where are We? Where do we go from here?”: Marxism, Voice, Representation, and Synthesis Abstract Recently Kim (2008) and Chua (1998) have warned critical accounting researchers of the dangers involved in oral history research in accounting involving a privileged researcher(s) and a cultural or racial “other”. The end result of this research often is that the researcher gets a promotion and a pay rise whilst the others remain in the same position that they were in before the research. These warnings are extremely important and should be the source of much personal reflection and even agonizing on the part of those researchers that do this type of research. However, I argue that Kim‟s negative tone, whilst justified in a polemic, should not discourage researchers to the extent that they shy away from compassionate explorations of topics involving the other in favour of “safer” capital markets or other mainstream accounting research. Those researchers writing from a Marxist perspective will continue to see the primary source of exploitation as the capitalist production process and its extraction of surplus-value from the workers without payment. This does not mean that such researchers somehow “ignore race” although some types of racist acts Marxism finds hard to explain satisfactorily. To illustrate these arguments, I present a case study of the legendary 1970s punk musician and philosopher Joe Strummer of the Clash to suggest how a compassionate and authentic individual can meaningfully and boldly address issues of the other and the exploitation that they face within a Marxist framework. The maturation and increased sophistication of Strummer‟s lyrics by 1978 suggest that young artists (and researchers) need to be permitted the opportunity to make mistakes and to grow as part of their own existentialist personal journeys. -
By Vivien Goldman
PERFORMERS The Clash By Ira Bobbins — e j b — ITH THE SUDDEN the point of punk so hard that it death o f Joe stuck. Forever. Loads of young Strummer on toughs have professed them H jle c e m b e r 22, selves ready for whaddya-got re Wi t 02, the story of the Clash final bellion, but the Clash didn’t just ly came to an abrupt end. In fact, Sell and succumb to chaos; the the Last Gang in Town, as they Clash lived it. Full time. For sev called themselves in a song, had en years the band made huge cre packed it in some twenty years ative leaps, despite (more likely earlier, drained of the high ideals thanks to) the entropy, much of and united purpose that had fu it self-induced, of its existence. At eled some of the most fervent, a time when the record industry exhilarating and provocative was still dubious about, if not rock & roll ever made, No mat downright hostile to, punk, the ter. What the Clash consistent Clash - Joe Strum ly showed willful mer (vocals, gui disregard for the tar), Mick Jones Strangeness of its (guitar, vocals), position: Paul Simonon + The band’s (bass, vocals! and third British sin alternating drum gle, “Complete mers Nicky “Top Control,” was a vi per” Headon and tuperative 1977 Terry Chimes - achieved was far attack on CBS Records for releas greater than what it left on tape ing the Clash’s second 45. or burned in the memories of + A year later, the group those who saw the band on shelved punk for th|Ifingle stage. -
Cameron M. Weber 168 21 St. #1C Brooklyn, NY 11232 (202) 531
Cameron M. Weber 168 21st St. #1C Brooklyn, NY 11232 (202) 531-1281 Email: [email protected] Blog: www.cameronweber.blogspot.com Economics site (includes vita and bio): www.cameroneconomics.com “Cameron Weber is an economics student living in Brooklyn, NY” Punk Rock and Liberty Review of Film/DVD, Punk: Attitude, directed by Don Letts. Fremantle Home Entertainment, 2005, 89 minutes. Many of us who grew up in the 1970s and 1980s (the post-Baby Boom, pre-Generation X generation) became politically aware through the music of punk rock. Most famously I guess would be the Sex Pistol’s song “Anarchy in the UK”, but many Americans of my generation became aware prior to the Pistols arrival, and disintegration, on our shores. Punk: Attitude is the latest film by Don Letts, a black British DJ and filmmaker whose London flat was a hang-out space for the group of UK kids who would later form politically-aware bands, influenced by the reggae music Letts would spin, and is a well- made history of punk rock music. Libertarianism (which is after all no more than being politically and economically aware) and punk music go hand-in-hand. Punk was a rebellion. In the U.S. it was a musical and artistic rebellion against a staid and monopolistic music industry and a decimated (overtaxed and urban-decayed) ‘downtown scene’ in New York City in the mid-1970s. When punk was picked-up in the UK a year or so after New York, it continued the New York do-it-yourself (entrepreneurial) aesthetic, but combined this attitude with its own rebellion against life on the dole in the English cities. -
Uncovering Alice Bag: an Alternative Punk History Emily Macune
Claremont Colleges Scholarship @ Claremont Scripps Senior Theses Scripps Student Scholarship 2019 Uncovering Alice Bag: An Alternative Punk History Emily Macune Recommended Citation Macune, Emily, "Uncovering Alice Bag: An Alternative Punk History" (2019). Scripps Senior Theses. 1242. https://scholarship.claremont.edu/scripps_theses/1242 This Open Access Senior Thesis is brought to you for free and open access by the Scripps Student Scholarship at Scholarship @ Claremont. It has been accepted for inclusion in Scripps Senior Theses by an authorized administrator of Scholarship @ Claremont. For more information, please contact [email protected]. Macune 1 Uncovering Alice Bag: An Alternative Punk History By: Emily Macune SUBMITTED TO SCRIPPS COLLEGE IN PARTIAL FULFILLMENT OF THE DEGREE OF BACHELOR OF ARTS Professor Jennifer Friedlander Professor Carlin Wing Professor Martha Gonazlez December 14, 2018 Macune 2 Punk is not pretty. It is not easy to listen to, but it is also not supposed to be. The scratchy distortion and loud noise that is punk is the soundtrack to a lifestyle, a rebellion. In a lot of punk songs, the electric guitars are central to the final mix, often drowning out the vocals, and then, when you actually can hear the vocals, they are so scratchy and distorted that they might as well be another whiny electric guitar. Punks aren’t trying to be aesthetically pleasing; they want to be different and they want to be noticed. The bands that are considered to be the pioneers of punk, ex. The Ramones, Sex Pistols: the founding fathers of punk, if you will, were fueled by anger. In London, as Margaret Thatcher rose to power, implementing her new economic ideas, several poor young white men found themselves out of work.