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R.I.P.:
JOE STRUMMER As wished
by Antonino D'Ambrosio, editor of
Strummer was prolific, profound and influential. One is left to imagine, as with Lennon, where he was headed since he left us so young. For me, what makes Strummer the quintessential punk musician is that punk ideology was a way of life for him. That meant challenging himself both politically and musically in a radical way. Each Clash album built upon the previous one, creating a higher standard for punk in the process. In London Calling and Sandinista! you find an artist unwilling to compromise but willing to release work that challenges his listeners. But he was also simply human. He had his dark period, after the demise of the Clash, a time he described as going from “Hero to zero.” But he emerged from that to work with the Mescaleros, more dedicated to advance peace and justice than ever before. This sensibility is the foundation that he built all of his music on. He channeled his outrage into songs that would motivate those who would listen. Yet it’s not only the political that makes Strummer's work so clearly about peace and justice. His openness to cultural influence was radical. For this reason, he covered the greats: Junior Murvin's "Police and Thieves," Bobby Fulller's “I Fought Law,” Toots and the Maytals' “Pressure Drop.” Classic protest songs that offer us hope for something better. Strummer continued in the tradition of artists like Dylan, Lennon, Jara, Veloso, Sosa and others unwilling to ignore what was happening around them. He expressed outrage toward censorship, and the intentional exclusion of multicultural voices and radical politics in global culture. Indeed, a great deal of his work takes sharp aim at imperialism, globalism and racism. His balls are needed now more than ever. He described the current state of music as one ruled by “demographic fascists.” Strummer showed that you can remain committed to social justice, peace, and human rights and still create work that resonates within popular culture, work that turns passive spectators into active participants. Some of Strummer's fellow punkers felt that politics had no place in music -- which is itself a political position. The Ramones went so far as to argue that if rock was going to be political, it should be right-wing if not fascist. So when you saw Strummer and the Clash taking the lead in support of the H-Block protests in London, organizing against Margaret Thatcher or Reagan’s covert activity, you realize what a bold and important step it was. This is a man whose final song, “46664: A Long Walk to Freedom,” was a tribute to Nelson Mandela. Not many artists are willing to take the safest of political stances. With the current state of the music industry, it’s increasingly difficult to speak out politically. Looking to Strummer as an artist for change -- one who saw in his work a responsibility to affect political and cultural change -- gives us hope. And that is what I hope Let Fury Have the Hour does -- provide hope and inspiration. |
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