Album Rating: 5.0
reading the paper now and its honestly just a gushing 5/5-type review. no sense of counterpoint or even historical analysis LOL i'm just like "boy oh boy this shit is gooooood". I was so depressed senior year :')
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Album Rating: 5.0
Class. What did you conclude mate?
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Album Rating: 5.0
definitely! As a kid who grew up in the 80's I didn't get a hand on the UK version until I got older, but I think I have one of those big box sets that come with both issues totally worth it.
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Album Rating: 5.0
"White Riot: Punk Ethics and Joyful Noise in The Clash (1977)" ends with a look at "police & thieves" and this is what I had to say
"The Clash are clearly interested in appropriating this struggle—the structural oppression of black people by the police, as well as the latter [did I mean former?]’s alignment with “thieves” in the street—and turning it into more material for their balance of an antisocial stance and pop craft. It’s even possible to argue for the inherence of racial insensitivity not just on “White Riot” but here, where Strummer and Mick Jones imitate the Jamaican reggae falsetto tradition in which Murvin worked: “Oh yeah-eah-eah-eah!” they sing as they twist their voices up high. It’s hard not to feel as if The Clash are pulling willy-nilly at strings that serve their fancy in the moment, and it’s easy to imagine the song being released into a very different climate with different levels of sensitivity to appropriation and structures of racial oppression were it the 21st century. The Clash, here and especially on London Calling, are liable to take from music around the world whatever they can get, and their interest doesn’t seem ethnomusicological as much as based on the pleasure they receive from appropriating different forms of music, and how that pleasure can be passed onto an audience—all the while feeding in a kind of antiestablishment pose through their appropriation of marginalized cultures. This kind of alacrity may not be to everyone’s taste, and it could be argued that The Clash’s various appropriations failed to secure for their sources a place in the musical canon or financial safety. Yet again we can step back from judgment and toward description, however. In this framework, the political mix-and-match of The Clash’s lyrics and influences is inseparable from the pleasure of their songwriting and production, leading to a mix of audience responses [what does this comprise?] which few other contemporaneous rock albums can be said to formally generate."
at that point I was depressed and alienated from academia and kept pushing the "ok but what about /aesthetics/" angle onto my papers, sometimes to deleterious effect but sometimes it probably made me a bit refreshing to my professors, cuz everyone I knew at my school was writing essays about how "REAR WINDOW (1954) UNDERMINES THE CLASS STRUGGLE" and stuff. still a lot of vagueness in the conclusion though: I was writing off the dome. I wrote every essay in college in a matter of hours and it worked better the first half of my time there than the second half (this was maybe the last essay I wrote?). by the time of graduation I was pretty much embarrassed by everything I had written
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Album Rating: 5.0
this album still rules though, thank god Analyzing it didnt lessen its appeal
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Album Rating: 5.0
You made a right pigs ear of it
D+
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Album Rating: 5.0
hahah yeah I agree. if you think /that's/ talking over the music tho you should see the papers of some of my peers...
I think the paper got an A- but it was the kind of fake A- that he'd give anyone to keep up with grade inflation (maybe?). great professor though, an amazing jazz trombonist named george lewis. he brought the saxophonist evan parker, who is the subject of an infamous review on this website, to class once
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Album Rating: 5.0
Doing a thesis on The Clash debut album and they say that the standards of education are falling.
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Album Rating: 5.0
I learned like four useful things writing that paper (which to be clear was just a paper for a class, not a Dissertation or thesis or senior project or anything like that): did you know that this was the highest selling imported album in the u.s. EVER until it got released there?
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Album Rating: 5.0
Fair enough on the paper and rightly so for the album. UK version has more bite.
48hrs is real deal.
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Album Rating: 5.0
yeah jettisoning that one is a shame
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Album Rating: 5.0
Cheats opening lines of ‘I get violent when I’m fucked up, I get silent when I’m drugged up. Wan’t excitement don’t get none I go wild’ is also exactly the sort of thing you want to hear when you’re 16.
Absolute classic.
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Album Rating: 5.0
every song is great, but I gravitate towards the less purely punk-y (?) ones if I had to bring a handful to a desert island: "remote control," "what's my name"
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Album Rating: 4.0
bobert have u ever read much on this? pretty interesting
https://www.lookleft.ie/2011/09/white-riot-a-journey-into-punks-racial-history/
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Album Rating: 5.0
nah I havent. its funny how much traction I tried to get out of simultaneously invoking and then shutting down the centrality/importance of politics/race in punk without really reading much of the material that would allow me to form an informed opinion
just watched a pretty good video on noise music and race by PBS tho, featuring a local artist I like a lot (dreamcrusher). i'll check out what you posted though!
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Album Rating: 4.0
https://thequietus.com/articles/27427-hex-enduction-hour-the-classical-the-fall-racist
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Album Rating: 4.0
funnily enough i found these while i was looking for information on albini one day hah
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Album Rating: 5.0
god I remember that interview with albini where he repeatedly said the bad word while impersonating odd future, who were like fuckin 20 years old or whatever. dumbass
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Album Rating: 4.0
that was especially bad yeah
other than that hes always seemed more like the reddit style self-professed intellectual who likes to toe the line before cowering behind "its just satire lol, muh freedom of expression"
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Album Rating: 4.0
back in his heyday i mean, who knows what the boomer thinks these days
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