The 1978 Clash parody that launched a punk institution

mekons

Looking back at ‘Never Been In A Riot’, the 1978 debut single by The Mekons that parodied and criticised the message of The Clash’s debut single ‘White Riot.

By Ben Forest

Overstating the importance of The Clash on the punk landscape of the 1970s is a virtual impossibility; for many people, Joe Strummer’s outfit embodied their ‘the only band that matters’ tagline in every aspect of their existence. It is worth noting, though, that not everybody was quite so bowled over by the output of the London outfit.

A couple of hours up the M1, in the musical haven of Leeds, one group of art school students were so perturbed by The Clash’s debut single ‘White Riot’, in fact, that they took it upon themselves to launch a response, in doing so sparking one of the most enduring outfits of the punk and post-punk age: The Mekons. Source: The 1978 Clash parody that launched a punk institution

For those whose memories have been destroyed by youthful glue-sniffing or pogoing accidents, ‘White Riot’ was an often misunderstood track by the Strummer-Jones songwriting partnership. In essence, the song bemoans the complacency of white working-class people, who are not as readily prepared to stand up against their oppressors as the Black population – “Black man got a lot of problems, but they don’t mind throwing a brick”. 

While probably well-meaning, the sentiment of the song is more than a little naive. After all, white people in London weren’t being subjected to horrific racist abuse, institutionalised oppression, and police brutality on a daily basis. Even still, the single had a far more noble aim than many people gave it credit for at the time, with some misguided audiences assuming that the band were calling for race riots.

Luckily, The Mekons were intelligent enough to understand that Strummer and the band weren’t calling for race riots, but that didn’t mean they were any less offended by the track. According to Kevin Lycett, the band thought the song’s sentiment of “I want a riot for us poor downtrodden white people” was nothing short of offensive, and so they decided to write a satirical response to the song, in the form of ‘Never Been in a Riot’. 

An endearingly DIY recording detailing a bloke who has, as the title suggests, never been in a riot or done much of anything else, the single lays bare the phoney machismo present throughout a lot of the early punk scene, as well as the rather naive message of that Clash single. 

Within only one minute and 46 seconds, The Mekons had established the entirety of their sonic manifesto, arguably in a much more effective manner than The Clash had done with their own debut single.

‘Never Been in a Riot’ was The Mekons’ very first release, and it earned the Leeds band an immediate cult following, spurred on by the fact that it was listed as single of the week in the New Musical Express at the time, even if it was never in any danger of breaking into the singles charts. From there, the outfit’s reputation only seemed to grow, and the follow-up single ‘Where Were You?’ remains an indisputable classic of the early post-punk period. 

Today, bordering on half a century later, The Mekons are still going strong with upwards of 25 albums under their belts and an audience that has largely followed them through that extensive discography. Right back at the beginning, though, it all started with a parody of The Clash.

Source: https://faroutmagazine.co.uk/1978-clash-parody-launched-a-post-punk-institution/

Kathy Burke meets Joe Strummer in Little Crackers’ Better Than Christmas

By Johnny Foreigner

I knew actress Kathy Burke mainly for her brilliant performance in the 1997 film Nil By Mouth, when she played a battered woman terrorized by her brutish husband (played with equal brilliance by actor Ray Winstone.) As comedienne, Bates also played “Magda” on  AbFab, and delivered a hilarious line in Sid and Nancy – “John got beaten up by fascists.” (wonderful!)

When I came across this great short biopic from 2010 about a young London schoolgirl (Ami Metcalf portraying a teenaged Kathy Burke) meeting her rock n’ roll hero Joe Strummer – it left me wanting to see the rest of the series. IMDB describes Little Crackers as “a series of short comedy-dramas with a Christmas theme, written by British artists recalling moments from their childhoods.”

Here’s how Kathy Burke the Writer sums up her Little Crackers “Better Than Christmas” mini biopic:

Kathy Burke turns 16 in two days and is about to leave school after sitting one final exam. Kathy’s passion is music and she dreams of being a writer for the NME where she’ll interview the likes of Paul Weller and Johnny Rotten. As Kath and her friend Mary celebrate their freedom, they’re stopped in their tracks by an almost unbelievable vision. There, in front of them, are The Clash. While an awestruck Kathy clutches her now-autographed NME, her hero, Joe Strummer, offers her some life-changing advice.

Kathy Burke meets Joe Strummer in Little Crackers’ Better Than Christmas

By Johnny Foreigner

I knew actress Kathy Burke mainly for her brilliant performance in the 1997 film Nil By Mouth, when she played a battered woman terrorized by her brutish husband (played with equal brilliance by actor Ray Winstone.) As comedienne, Bates also played “Magda” on  AbFab, and delivered a hilarious line in Sid and Nancy – “John got beaten up by fascists.” (wonderful!)

When I came across this great short biopic from 2010 about a young London schoolgirl (Ami Metcalf portraying a teenaged Kathy Burke) meeting her rock n’ roll hero Joe Strummer – it left me wanting to see the rest of the series. IMDB describes Little Crackers as “a series of short comedy-dramas with a Christmas theme, written by British artists recalling moments from their childhoods.”

Here’s how Kathy Burke the Writer sums up her Little Crackers “Better Than Christmas” mini biopic:

Kathy Burke turns 16 in two days and is about to leave school after sitting one final exam. Kathy’s passion is music and she dreams of being a writer for the NME where she’ll interview the likes of Paul Weller and Johnny Rotten. As Kath and her friend Mary celebrate their freedom, they’re stopped in their tracks by an almost unbelievable vision. There, in front of them, are The Clash. While an awestruck Kathy clutches her now-autographed NME, her hero, Joe Strummer, offers her some life-changing advice.

 

 

The Siren Sound of the Clash’s ‘London Calling,’ 40 Years Later

Released in 1979, the Clash’s third album changed everything—punk rock, the band that made it, and the fans who worshiped it. Decades later, its rich, eclectic, propulsive sound hasn’t aged a minute, and its messages are as urgent as ever.

By Elizabeth Nelson

“Every Cheap Hood / Strikes a Bargain With the World”

Guy Stevens, the Clash’s hand-picked producer for their pivotal third LP, a double album titled London Calling, was not happy with how the band was performing. So he applied the Guy Stevens method: He charged out of the control room and began a violent assault on the space where the group was attempting to get through the song—thrashing his limbs, dancing wildly, and screaming in their faces. They reacted with a combination of rage and horror and disbelief: Imagine trying to cut a track while some fully hysterical nutter is 5 inches in front of you, all brandy breath, spit, and bile. After all this was done, Stevens announced: “It’s a take!”

The Clash’s first two LPs, 1977’s self-titled debut and 1978’s Give ’Em Enough Rope, thrilled critics and galvanized a large and loyal following. Now it was up to them to consecrate their standing as the biggest band in the world, or at least “The Only Band That Matters,” a nickname they had self-applied. Brimming with talent, energy, and esprit de corps, the Clash sensed they were close to something monumental—a commercial breakthrough and a masterpiece. They had material to spare and an unbreakable date with destiny. They just needed someone to bring it all together, to bring it out of them. They sorted through their options. And then they hired Guy Stevens.

“I’m So Grateful / To Be Nowhere”

It starts in Camden, by the Thames, waters rising, alarms at full blaze. It starts at the end. An apocalyptic event, another kind of destiny. World War II and the bombing of Britain and the economic shudder of the empire through its shaky postwar years and the rise of the right and the shadow of the Cold War and the memory of the Aberfan disaster. Everything, it seems, is in those two chords. London is drowning and the Clash are … ambivalent? Stalwart? Maybe the word is prepared. Prepared for death or the feral future of life in the aftermath of utter catastrophe.

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