Mark Andersen

This book would probably have gotten more stars if I was younger and/or had any sort of affinity with the punk scene. This is a thoughtful and thought-provoking commentary on radical action in the United States in the past few decades. While I think the audience Andersen is reaching out to is more idealistic and purist than myself, and some of his conclusions come off as kind of smarmy, I appreciated his overall message that we must be very critical (while not crippling ourselves) of the organizing, activities, and lifestyles we engage in as radicals and how that relates to society in general.

One of my only issues with this book was its treatment of the Weather Underground and the question of violence as a means of radical struggle. Andersen prefaces his discussion about violence with the thesis that "the fundamental question is what will work in practical terms". He then examines the tactics and actions of the Weathermen and the Weather Underground (battles with police, going underground, the botched military club bombing, and a series of clandestine bombings of other facilities). While I think his critique of the WUO is valuable for radicals today, he goes further and tends towards chiding them for what they did and seems to point out their actions as obviously wrongheaded. Monday morning quarterbacking weakens his arguments and does not help the author make his point.

Overall a solid book.… (meer)

Thorough book on the ending of the original lineup of the Punk band The Clash and the aftermath for the band’s remaining cofounder and vocalist Joe Strummer.
I really enjoyed this Socialist revisionist take on the band’s misfortune during 1984 and the related social upheaval in England during the same time.
The authors here are Socialists although they mischaracterize Joe Strummer as also a Socialist when he was more of a misguided idealist who tried to be socially conscious in his musical conception for the band. Strummer became a wealthy man and socially aware that his origins demanded certain allegiances to working class England. He was not so wealthy that he did what U2 did and move his trademarked assets out of the country to shell company tax havens.
The bulk of the book is made up of the reformation of the band after Topper Headon and Mick Jones were dismissed the intervening busking tour and the final album being produced. The final album sadly titled, “Cut The Crap” did not do well and was not promoted by Strummer. I don’t even remember ever hearing about the final album at the time and the songs were unremarkable in any case.
Strummer went on to record another album with a different group (Joe Strummer & the Mescaleros, Global A Go-Go). Mick Jones and Big Audio Dynamite made marked success with their albums but never the impact of the original Clash members. The book’s authors make constant reference to Sandinista! being a terrible album when it wasn’t. The impression given is that Sandanista! destroyed the band musically before it officially broke up.
John Lydon talks about The Clash’s social commentary and his own distaste for that type of song lyric writing. Lydon says in Anger Is An Energy that he was more interesting in undermining all Institutions and so taking up causes wasn’t so urgent as it was for Strummer.
At the moment there is a worldwide discussion on the merits of Socialism. It hasn’t worked anywhere and Socialists among the Unionists during the miners’ strike didn’t fare well either. The authors provide a skewed version of the role Reagan and Thatcher played on the downfall of the Soviet Union but the authors are entitled to their own Socialist history. Their history of The Clash is important not because the final Strummer, Simonon album was notable. It wasn’t. But because The Clash were an important band to follow The Sex Pistols, their anguished ending is worth noting for the energy they put into the creative music of 1980’s England. Strummer’s addictions and emotional disintegration at the hands of bystander Rhodes makes tough reading but will give fans insight into the complexity of some remarkable times.… (meer)

This was so unexpected. As much as it felt like wandering into an argument that I really didn't have an opinion about (how good is the last Clash record?) since I stopped caring about the band @ Sandinista, I loved the juxtaposition of what was happening with the band and British and American politics. I learned a lot and it relit my white hot hatred of Reagan - not that that pilot light ever really goes out.

I also really enjoy a good piece of grassroots history and this is surely it.

Well done!

Thanks to the Early Readers program at Library Thing for the book in exchange for a fair and unbiased review.… (meer)

This is not just another story about The Clash.

Mark Anderson and Ralph Heibutzki’s book chronicles the band’s downfall after Mick Jones and Topper Headon were ejected from the group in 1983. In addition, it also documents the economically depressed Great Britain when Margaret Thatcher was closing down the mines and steel mills.

The political narrative of the Miners’ Strike is profusely referred to throughout the book, but not necessary to understand the downward spiral of The Clash during 1982-86 when band manager Bernie Rhodes took complete control.

When the Clash City Rockers of yore became no more, Joe Strummer and Paul Simonon kept soldiering on with new recruits Nick Sheppard, Vince White and Pete Howard. All the young punks get to have their say about their auditions, going on tour in the U.S.A., busking in England, and finally being erased from any real contribution to the group’s final release in 1985, Cut the Crap.

Bernie Rhodes inspired the political punk philosophy the band embraced. He was instrumental in The Clash’s formation in 1976 and continued to be their manger until the end. Mick Jones was the music of the group up to the time of his exit. Strummer was the front man of The Clash and the book is a sympathetic portrait of him. It delves into his struggles, his personal grief and the pressures of family and being in the band. Strummer constantly self-criticized himself and questioned one’s purpose, which led to contradictions.

With Jones removed and Strummer doing soul-searching disappearing acts to Spain, Bernie Rhodes was the leader and discouraged the new members from any significant input.

Some consider Cut the Crap a Bernie Rhodes release. Critics and fans often dismiss it as a Clash record. It’s constantly omitted from the Box Sets and other collections. They say true talent always emerges in time. Perhaps this book may incite a newfound curiosity for the album, proving that lightning strikes not once, but twice.… (meer)