text:
The Witch
This entry was posted on May 8, 2016, in Drama, English, Horror, Thriller and tagged Anya Taylor-Joy, Athan Conrad Dube, Axtun Henry Dube, Bathsheba Garnett, Ellie Grainger, fear, Harvey Scrimshaw, Julian Richings, Kate Dickie, Lucas Dawson, paranormal, Ralph Ineson, Robert Eggers, Sarah Stephens, Sundance, supernatural, the witch review, Wahab Chaudhry, witch. Bookmark the permalink.	19 Comments
Vampire Owl :: I once had a chance to talk with the Northern Witches. After that, I haven't been interested in watching movies like these.
Vampire Bat :: Oh! What did they tell you?
Vampire Owl :: I am not really sure. But I guess I heard it as boomerang, blah blah and abracadabra.
Vampire Bat :: Are you sure that they were not the sirens?
Vampire Owl :: Well, as you are asking, now I am not quite sure.
Vampire Bat :: This is a movie which has 90% rating at the Rotten Tomatoes. Why would you want to bring this while we are going to watch this movie?
Vampire Owl :: There is something about the witch, the lich and the rich that I don't like.
Vampire Bat :: You mean the itch sound.
Vampire Owl :: It is exactly what they provide me with.
Vampire Bat :: We are such socialist vampires, aren't we?
[Gets three cups of tea with potato chips].
What is it about? :: In this story set in the seventeenth century, William (Ralph Ineson) and his family are banished from a Puritan plantation in New England; his wife Katherine (Kate Dickie), elder daughter Thomasin (Anya Taylor-Joy), son Caleb (Harvey Scrimshaw), and twins Mercy (Ellie Grainger) and Jonas (Lucas Dawson). Katherine later gives birth to the fifth child, a boy that vanishes while Thomasin plays with him. Katherine blames Thomasin for the disappearance, and spends most of her time in prayer and grief. Meanwhile, Caleb and Thomasin go for hunting, and the former goes missing. Once again, Thomasin is blamed, and at the same time, the twins say that the black goat, Black Phillip speaks to them. The events only get stranger as the presence of evil in the forest is ascertained. Is there a Witches' Sabbath coming up?
The defence of The Witch :: There are the usual kind of horror movies which use the jump scares to claim that it is worthy of a fine position in the genre – there is the noise and the sudden appearance of the scary face; but The Witch denies the same, and goes not with such familiar scary stuff; instead it goes on to use the mood and the setting to its advantage without trying to make sure that the audience is scared at one exact moment – it tries to create something for which the result will different for everyone, at different points of the movie. It is something bigger than what is seen or heard as part of the regular horror practice, for it goes directly into one's mind. The elements of mystery go right through the movie too, as we are to keep guessing till that ending, which makes things very clear – that is cent percent the success for this flick.
Claws of flaw :: There is no denying the fact that The Witch is quite a slow movie; it drags in between, and has the characters not doing enough to pick up the pace when they could have done the same. The movie also doesn't use the image of the witch to its full advantage, when it could have done a lot more with it; the same can be said about the final pact which is too quick to go through. There is the absence of the terrifying imagery which could have been added at some point to do justice to the genre to which The Witch belongs. A lot of people will feel that this is not their kind of movie either, and that is understandable because a lot of fans will surely be looking for something else; for The Witch is a nightmare that feels real within its environment, and it is not the horror flick that arrives with an unparalleled desire to bring the fear into the viewers.
Performers of the soul :: With Robert Eggers making his directorial debut with The Witch, the movie has gathered a lot of appreciation from the critics, and the performances surely has a lot to do with it. Anya Taylor-Joy is amazingly good in this movie. She goes through the situations of her character in the movie in such a way that we never feel that she hasn't been seen in a big role in any flick before. There is certain transformation going on with her character, and this is not really among the best roles to play, but she nails it here. Ralph Ineson plays the next significant character in a lot realistic and believable manner too. Kate Dickie has her moments here too. The two characters which steal the show otherwise, are the witches of the forest and the black goat.
Soul exploration :: The movie's focus is on faith, not just on God, but also on each other. Almost everyone in this movie has problems with the same, as the same thing just goes on to break into smaller and smaller pieces as the movie progresses further. It is something that is ready to crumble into dust, and we see that on the faces of the characters. There is the lack of trust that is present, and it develops into something worse. It is the case of unfair judgment that makes things worse, and in the end, leads to the final fall – randomly judging others is a kind of tradition that goes back a long time, right? Due to the same, there are moments when one realizes that it is not God or Devil who are responsible for this fall, and neither is it some witch, for it is themselves and that they can blame in the end.
How it finishes :: The Witch will never be the usual horror movie for you. It is still the variety in horror that we have all wished for. The movie could have surely been better, but the experience that it provides with a difference will surely make it worth a watch. In the world of Sinister, Insidious and The Conjuring, The Witch the one that dares to be different, and for the same, it deserves the applause. There is one thing that you can be sure about, and it is that this movie has everything that is needed to be something that you think it is not. It had won the Directing Award in the US Dramatic category at the 2015 Sundance Film Festival and with all the critical appreciation around, you should surely give it a try!
Release date: 19th February 2016
Directed by: Robert Eggers
Starring: Anya Taylor-Joy, Ralph Ineson, Kate Dickie, Harvey Scrimshaw, Ellie Grainger, Lucas Dawson, Julian Richings, Bathsheba Garnett, Sarah Stephens, Wahab Chaudhry, Axtun Henry Dube, Athan Conrad Dube
19 thoughts on "The Witch"
Minty Mile says:
Me first comment here… well… no 3D… I watched only Jungle Book and liked it… it was light and fun, green and nice… I prefer that to these rather sinister movies… I am afraid of evil, invisible but playing, don't want to be inside it… more worried on water situation and weather… anyway good keep watching movies and writing reveiws.(: … your such a movie buff…maybe movies very cheap in your place… in cities its costly… I will watch Kung Fu Panda 3… as thers talking about Iron man and avergers… I don't undertand Super hero stuff too… world has changed so much from my times…
I have decreased the number of movies I watch these days – movies cost around Rs 100 here if you take the average 🙂
The world will always need its superheroes 😀
Watched this movie. Amazing movie but not a great horror movie.
Not the defined horror; but one strange, thought-provoking, depressing movie 😀
Kishor Kr says:
Well, agreed with you. Its a different kind of Horror. And everyone would have their own opinion about it. For me it's more of a drama than an actual horror movie. And judging by that perspective it's an excellent movie. But as a horror movie I didn't find anything horrifying.
Yes, well said!
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I sty away from horror stuff Teny.. but this does sound interesting… :-p
Yes, not the horror-horror this time 😀 😛
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Are you holding PhD degree and looking for Postdoctoral Fellowships? NC State University, North Carolina inviting application for multiple Postdoctoral Fellowships. NC State University is one of the largest university in the world with thousands of employees, students, and research scientists are involved in the innovation of science and technology daily.
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1. Postdoctoral Research Scholar
Conduct a thorough literature search and review that include a detail screening of publications and patents published in the field · Attend biweekly meetings with the NCSU team to discuss research progress and update; meetings will be documented with (at least) a presentation summarizing the work done.
A postdoctoral position in nutritional biochemistry is available to join the laboratory of Dr. Eroglu, from the Plants for Human Health Institute, from the Department of Molecular and Structural Biochemistry, North Carolina State University. The successful candidate in this position will focus on the effects of the dietary bioactive compounds on metagenome, proteomics, and metabolomics. Initially, studies will utilize cell-based assays on the ability of phytochemicals to modulate transcription factors. Subsequently, the combination of in vitro, animal, clinical, and epidemiologic studies will be employed to understand the role of phytochemicals in maintaining optimal human health.
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The Postdoctoral Research Scholar coordinate a project to study interactions of resident and released natural enemies of spider mites and thrips, leading to enhanced biological control in vegetable cropping systems. The success of the project will be assessed by quantifying impacts on pest populations, pesticide inputs for targeted pests, and the economics of crop production. The project offers the opportunity to gain Extension experience by working directly with growers, extension agents, and the crop protection industry in on-farm studies and educational programs. In addition to the research and extension responsibilities, the Postdoc will be expected to publish in peer-reviewed journals, present the results of the project at scientific and grower/commodity meetings, prepare project reports, and supervise technical staff and student workers. The Postdoc will meet frequently with the supervisor to discuss best practices in grant writing, manuscript preparation, and mentoring.
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10. Postdoctoral Research Scholar
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Ninomiya-Tsuji's lab at NC State University seeks a highly motivated postdoctoral trainee in signal transduction and molecular biology research field. We are interested in elucidating the complex innate immunity signaling pathways by investigating our long-term research focus, mitogen-activated protein kinase kinase kinase 7 (MAP3K7), known as TAK1. Functions: 1) Designing and conducting the project elucidating the molecular mechanisms by which inflammatory and cell death pathways are regulated in the immune and the central nervus system. 2) Overseeing the graduate and undergraduate research projects. 3) Writing research papers and grant proposals. 4) Participating in research meetings.
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The Post-Doctoral Researcher will focus on using various food processing and characterization techniques to design food structures for controlling digestion of food components and for improving texture of food matrices. The researcher will perform thermal, non-thermal, mechanical, and fractionation processes for the construction of innovative food structures. Analytical techniques involved in research projects from this lab include but not limited to bulk rheology, interfacial rheology, tribology, Small-angle X-ray scattering (SAXS), laser diffraction, dynamic light scattering, liquid chromatography, electrophoresis, X-ray diffraction, differential scanning calorimetry, thermogravimetric analysis, spectroscopic techniques (e.g. NIR, Raman, NMR), and microscopic techniques (e.g. CLSM, SEM, TEM, AFM). The post-doctoral researcher is expected to conduct research using the aforementioned techniques and more. Moreover, the individual is expected to carry out post-doc level research independently in food chemistry and related disciplines, be able to draft research manuscripts, train research students, maintain lab function and assist Dr. Zheng with relevant administrative work.
An exciting postdoctoral research scholar position is immediately available in the laboratory of Dr. Kelly A. Meiklejohn within the Department of Population Health and Pathobiology at North Carolina State University. The Meiklejohn Laboratory is centered in DNA forensics, where we look to apply new technologies such as next generation sequencing to scenarios where additional information could prove vital to an investigation. Next generation sequencing is especially advantageous to forensics given it offers unparalleled sensitivity, even when DNA is of suboptimal quality or quantity. We use next generation sequencing methods to analyze human biological materials, but also non-human biological materials either associated with forensic evidence (e.g., plants and pollen in soil) or as the subject of a crime (e.g., illegal hunting of wolves, bears). To ensure research outcomes are directly applicable to forensic casework our research is conducted in close consultation with state and federal law enforcement agencies.
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The Postdoctoral Fellow will work on the microbial conversion of lignocellulose to bio-based fuels chemicals using extremely thermophilic bacteria and archaea. The Postdoctoral Fellow will cultivate extremely thermophilic microorganisms, do molecular genetic manipulations and metabolic engineering, study the biochemistry and physiology of these microorganisms, help train and supervise graduate and undergraduate students working in the lab.
The new Carolinas Regional Integrated Sciences and Assessment NOAA (RISA) program, the Carolinas Collaborative on Climate, Health, and Equity, is recruiting a postdoctoral fellow with expertise in environmental epidemiology or population-based health research. This work will advance research on climate, health, and equity in Carolina communities. Our integrated physical and social science research will be tailored to the needs and priorities of the participating communities, and the solutions we develop will be co-designed to tackle both the societal drivers of risk and the changing climate hazard landscape. This work will involve community-based research that supports local community action and advances policies that address climate injustice. The study team is composed of interdisciplinary experts working at the intersection of climate, health, and equity across the Carolinas. The Postdoctoral Research Scholar will perform epidemiologic analyses of the many ways in which climate change and weather variability impact population health, with a focus on the most at-risk subgroups. Climate stressors of interest include: extreme heat, flooding, and wildfires.
Since BTEC opened in 2007, enrollment has grown rapidly to over 800 students per academic year. Further, technologies and methods used in biomanufacturing are changing rapidly. Consequently, BTEC is in need of additional teaching support in our NC State courses. Duties and Responsibilities The Biomanufacturing Training and Education Center (BTEC) at North Carolina State University (https://www.btec.ncsu.edu/) invites applications for a position as Teaching Postdoctoral Scholar in the areas of bioindustrial manufacturing, biopharmaceutical manufacturing, and biochemical engineering. This is a 12-month position and is renewable for up to three years, based on performance and funding.
The postdoctoral scholar will be responsible for corn growth experiments with permutations of synthetic microbial communities (SynComs), quantification of microbial strains in vivo, and measurement of plant and microbial gene expression responses using LC-MS/MS-based metaproteomics. Metaproteomics data generation skills including operation of state-of-the-art high-resolution LC-MS/MS systems can be taught by the lab. Experience with the analysis of microbial gene expression data using python or R, as well as a thorough understanding of microbial metabolism and physiology would be a big plus. The scholar will also have the opportunity to develop additional projects in the realm of plant-microbe interactions and participate in national and international funded collaborative projects. The scholar will also present results at conferences and lead the preparation of manuscripts. The scholar will also participate in the supervision of graduate and undergraduate students.
The Postdoctoral Research Scholar will conduct research into allelic gene regulation and its effects on plant performance, genotype-by-environment interactions, and/or environmental adaptation. To achieve this, the Postdoctoral Research Scholar is expected to generate and analyze datasets from high throughput phenotyping in multiple field locations and/or genomic, transcriptomic, or translatomic sequencing data. The Postdoc will also have the opportunity to develop professionally through mentoring students, writing manuscripts or grant proposals, and communicating research findings. The Department of Crop and Soil Sciences encompasses diverse disciplines in research extension and teaching. The department's mission is to develop future leaders in crop, soil and environmental sciences, improve crop plants and products, devise effective and sustainable crop production systems, devise effective and sustainable soil management techniques in both agriculture and urban settings; and disseminate crop, soil, and environmental science knowledge for the benefit of users and producers of food, feed turf, biofuels and fiber in North Carolina, the nation and the world.
The Department of Plant and Microbial Biology at North Carolina State University invites applications for a Postdoctoral Research Scholar position in the lab of Dr. Terri Long. The Postdoctoral Research Scholar will collaborate with mathematical modelers to conduct hypothesis-driven molecular, genetic, and biochemical experimentation that will delineate the molecular rules underlying systemic Fe homeostasis in Arabidopsis. The candidate will be expected to contribute to a variety of studies to characterize protein function and dynamics in Arabidopsis that will require the use of in vitro protein analysis (ie. Immunoprecipitation, immunoblotting), as well as confocal, enzymatic, and physiological analysis. The candidate will be expected to design and conduct quality, substantive, and methodological research, and share and report research findings by publishing papers in peer-reviewed scientific journals and participating in research conferences, seminar series, and other appropriate professional activities. The postdoc will meet frequently with Dr. Long to discuss best practices in grant writing, manuscript preparation, and mentoring.
The Postdoctoral Research Scholar's primary responsibilities involve coordinating research at multiple institutions by establishing and monitoring field and greenhouse experiments, training and managing personnel, managing and analyzing data, and contributing to the dissemination of results through manuscripts and presentations. The position requires travel to the western US for several weeks each spring/summer and fall to establish and maintain field experiments. The individual will also travel to present results and meet with other project leaders at major conferences. The postdoc will meet frequently with Dr. Sheth to discuss best practices in grant writing, manuscript preparation, and mentoring.
A Postdoctoral Research Scholar position is available in the Phylodynamics Research Group led by David Rasmussen in the Department of Entomology and Plant Pathology and the Bioinformatics Research Center at NC State University. The postdoc will participate in an NSF-funded project exploring how fitness tradeoffs limit viral host range and how generalist viruses evolve to resolve these tradeoffs. In particular, the postdoc will help connect theory to data by developing new phylodynamic methods for quantifying pathogen fitness between different host environments. These newly developed methods will then be applied to multi-host viral pathogens to empirically measure fitness differences and movement between alternative hosts. While the intended project is largely computational, the postdoc may combine method development with experimental work on the plant RNA virus Tomato spotted wilt virus, which our group uses as a model system for studying the evolution of generalist viruses. This may include assisting in field surveys of TSWV genomic diversity and quantifying the fitness of individual viral genotypes on a panel of crops and native plants. By combining the newly developed phylodynamic methods with empirical measures of viral fitness on different hosts, the postdoc will explore how fitness tradeoffs evolve over time and shape the host range of a supergeneralist pathogen.
The Analytical Instrumentation Facility (AIF) seeks a talented and industrious experimentalist to join our team as a Surface analysis (XPS and ToF SIMS) Postdoctoral Researcher. The AIF is NC State's primary shared facility for materials characterization with a mission to enable and lead state-of-the-art research through acquisition, development, maintenance, training, and access to major analytical and materials characterization instrumentation. Through the support of engaged faculty and experienced staff, the AIF supports state-of-the-art scanning and transmission electron microscopy, X-ray diffraction, mass spectrometry, scanning probe microscopy, nanoindentation, and extensive sample preparation facilities. The AIF is a core nanotechnology user facility in the Research Triangle Nanotechnology Network (RTNN), a site in the National Nanotechnology Coordinated Infrastructure (NNCI).
The post-doc will contribute to: (1) building the pipeline and supporting the success of women environmental economists in the Global South, (2) building capacity and increasing attention to gender analysis in environment and development economics including in EfD centers and their home institutions, and (3) ensuring consistent and comprehensive attention to gender in reports on sustainability transitions produced by EfD collaboratives and centers.
The Cruse lab is seeking a postdoctoral scholar to join the team and carry out research projects on examining mast cell signaling and molecular biology. The goal of our research program is to establish novel regulators of mast cell signaling and function, and to develop novel targeted therapeutics for mast cell-mediated diseases. The laboratory has expertise in in vitro, ex vivo and in vivo approaches of studying molecular immunology, cell signaling and mast cell biology in inflammation and mastocytosis. We utilize molecular and translational medicine approaches to identify potential innovative therapeutics that target mast cell function and allergic inflammation, as well as mast cell neoplasms. Overall, we strive to better understand the molecular mechanisms underlying mast cell-mediated diseases. We have a particular interest in identifying associations between proteins and genes with asthma pathogenesis and identifying the functions of novel gene candidates in human lung and cord blood-derived cells. We are achieving these goals through interdisciplinary collaborations with both clinical and basic scientists in various related fields.
The Department of Population Health and Pathobiology at North Carolina State University has an excellent opportunity for a highly motivated Postdoc (Doctoral-level Research Scholar) to join our ambitious new team conducting research with an impact in the areas of COVID-19, healthcare-associated infections, antimicrobial resistance, and disease surveillance. Our lab applies traditional and innovative methods in infectious disease epidemiology and modeling to address real-world challenges in public health and clinical practice using a One Health approach. The college is committed to practicing inclusivity, making community a priority and promoting innovation. We embrace effective leadership and we champion personal and professional growth.
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The Clash – London Calling – Classic Music Review
By altrockchick on May 5, 2016
Depending on the source, the working title for what would become London Calling was either The New Testament or The Last Testament. The story works better if you believe Kosmo Vinyl's argument for The Last Testament—that The Clash intended London Calling to be the last rock 'n' roll album, the paired bookend to Elvis' first album, right down to the pink-and-green lettering. While some critics have expressed outrage that The Clash could have been so presumptuous to believe that they alone could unilaterally terminate a much-beloved genre, and so arrogant to think that only they were qualified to write and record the closing chapter in the history of rock' n' roll, their outrage is seriously misplaced.
Since The Clash continued to make rock music after London Calling, it's silly to take the "last rock 'n' roll album" assertion literally or as evidence of a collective ego gone mad. I think it's more accurate to say that The Clash approached London Calling from the perspective of "What if this were the last rock 'n' roll record—what would that sound like, feel like, be like?" Given their concern about impending world doom expressed so clearly in the title track, they may well have felt on a subconscious level that London Calling could very well be the last rock 'n' roll record. More to the point, they used the idea of the last rock 'n' roll record as an inspirational theme, a way to infuse their efforts with urgency and drive. If the essence of rock 'n' roll is freedom, the last rock 'n' roll album would have to be the ultimate statement of freedom, a vibrant display of unrestrained energy, a complete rejection of dogma and expectations, a ringing statement of rebellion and a passionate invitation to listeners to get their asses out of their seats and celebrate what D. H. Lawrence called "a revolution for fun."
Playing the "if you were on a deserted island and you could only bring one album with you" game, I would choose London Calling without hesitation or a hint of a second thought. I can't think of any other album that triggers as many different emotions, ignites so much passion and authenticates so many deeply held personal values. A work of tremendous energy, London Calling is also extraordinarily energizing. At the end of the record you may not be any clearer than Joe Strummer was about what we can do to change this fucked-up world of ours, but you leave with more confidence that somehow we'll figure it out. More than any other record in my collection, London Calling can pick me up when I'm down, and give me hope whenever I feel all is hopeless. This may seem a strange reaction to an album peppered with predictions of doom and gloom and scenes of inhumanity, but I prefer truth to fiction and find idealism intensely depressing. The Clash refused to give the listener a false sense of hope, but the simple act of calling bullshit on bullshit makes it easier to deal with—and to hear another person say the thing you always believed but could never put into words is an uplifting experience.
Because London Calling came out about twenty months before I gracefully exited the vaginal canal, I didn't discover The Clash until I was about fifteen. I had fallen in love with punk right around the time I started high school, attracted by the intensity of the music and the physicality of the mosh pit. The Bay Area was one of the epicenters of the 90's punk revival in the USA, so most of the bands I followed were home-grown. One of those bands was Rancid, and in the process of learning more about their origins, I read somewhere that they were huge admirers of a band called The Clash. I may have heard the name but knew nothing about them, so I started asking around. The trail led to a guy named Brian, a card-carrying, anti-social introvert and proud of it. After he reluctantly admitted to owning the entire collection, he told me he wouldn't let me borrow the records, but said I could come over and listen to them at his house. "Okay, I said, "But let's be clear—I'm not going to fuck you. I just want to listen to the music." Brian mumbled something, gave me his address and said he'd expect me at 10 a.m. Saturday.
My virgin experience with The Clash was like all virgin experiences: confusing. I loved the first album: gritty, raw, explosive, surprisingly diverse and sometimes very funny. The second album, Give 'Em Enough Rope, had some songs I connected with immediately, but it sounded almost soft by comparison—a bit too contained. London Calling was too much too soon—I couldn't get my head around the experience. About a quarter of the way through Sandinista, I asked Brian, "Are you sure this is the same band?" He looked down at his shoes and nodded. Combat Rock didn't move me one way or another; either The Clash was tired or I was on overload. After the piano and pizzicato strings of "Death is a Star" faded into nothingness, Brian stood up and said, "There's another one but you won't like it. It's not the real Clash." He stood there staring at his shoes until I got the hint that he had essentially just told me to get the fuck out of his room and go home.
First impressions don't mean dick, and you can't begin to appreciate a band like The Clash unless you spend some time with them. They were a band of startling originality, unafraid to explore a variety of musical styles and entirely unpredictable. I bought the five core albums one at a time, listening to each thoroughly before buying the next. It took me about half-a-dozen spins through all four sides of London Calling to feel its impact, but when I did, the experience was unbelievably thrilling.
You may wonder why it took me so long to write a review of what is obviously one of my favorite albums. Honest answer: total writer's block. I must have started writing this review a dozen times over the past three years and folded every time. Part of it was my general reluctance to do punk reviews—it was the music of my teens, and everyone has fond and biased memories of the music that supported us through hormonal instability. I was also intimidated by the sheer scope of London Calling, because not only do The Clash employ a variety of musical styles, but the songs address a multitude of social and relational topics, from man-made apocalypse to the Spanish Civil War, from the neuroses generated by consumerism to the wanton self-destruction of a Hollywood actor.
Eighteen years after first hearing London Calling, I'm finally ready to rock. After having bashed the shit out of three albums by Oasis, I think I've escaped any lingering bias from my teenage years. While I haven't done nearly as many as punk reviews as I would have liked, I have covered The Sex Pistols, Rancid, $winging Utter$, Fugazi, The Evens, The Ramones and Offspring, so I have confidence I can stand up to any punk Stalinists in the reading audience. As for dealing with the sheer scope of London Calling, I know I have to finish it before the book is ready for publication, so I keep telling myself, "Missy, you're just going to have to get the fuck on with it."
Here goes with the onfuckgetting.
The first side of London Calling sets the stage by establishing a milieu of a world approaching collapse while demonstrating the astonishing versatility and musicianship of the band. Right from the start, The Clash break the stylistic boundaries imposed by punk purists while remaining true to the underlying ethic of punk: expose the bullshit with a heavy application of truth.
The sharp, insistent chords that open the title track sound the alarm that you're about to be overwhelmed by breaking news, and you can be sure that all of it will be bad news, since fear sells better than sunshine. Paul Simonon's magnificent bass line intensifies the sense of foreboding, so when Joe Strummer enters with his high-anxiety vocal, you share the feeling of alarm while admiring how skillfully The Clash managed to duplicate the manipulative tricks of the newsroom. The power of the media to induce fear and create audience anxiety leads to a strange dependency. Since the only cure for anxiety is information, the more bad news we hear, the more likely we are to continue to tune in to get the fix we need to calm our nerves. The problem is that the media has no interest in alleviating your anxiety, so continuing to seek information from the authoritative sources leads to a sick addiction (hence the term "news junkie.") The fact that those authoritative sources are abstractions ("London Calling," "The word from Washington today," "CNN is reporting that") leads to a feeling of utter powerlessness about the bad news pouring into our ears.
Joe Strummer's vocal is a masterpiece, capturing the dread of cascading disasters and the impotence we feel when things seem completely out of control. The chorus describes the ultimate Catch-22, and Joe's controlled hysteria perfectly captures the feeling of a person in a maze that leads only from one gotcha to another:
The ice age is coming, the sun is zooming in
Meltdown expected, the wheat is growin' thin
Engines stop running, but I have no fear
'Cause London is drowning, and I, I live by the river
And when the newscast ends with a cheerful voice telling you, "And after all this, won't you give me a smile?" you just want to fucking scream. On television, those cheerful voices are accompanied by cardboard cutouts with dental implants, making you want to scream and blow up the fucking telly.
Joe's vocal is exceptional, but nearly everything on London Calling reflects superior collaboration and shared commitment. These guys spent several months in relative isolation, playing five-to-a-side football in the morning and writing, rehearsing and recording the rest of the time. The haunting background vocals, Topper Headon's ability to shift from bash to swing with astonishing ease, Mick Jones' fabulous guitar fills and Paul Simonon's punctuating bass all combine to make "London Calling" a rich listening experience.
The next four songs on Side 1 demonstrate the band's versatility and their willingness to defy expectations and boundaries. First, the Clash shift to classic rock with their let-it-all-out version of Vince Taylor's "Brand New Cadillac." Vince was one of the early British rockers, and his original combines a Gene Vincent attitude with Carl Perkins' energy that was suitable for the pre-distortion era. The Clash amp up the power and ramp up the noise, driving this sucker home like a stud on fire. The rhythm section of Simonon and Headon is exceptionally tight and Mick Jones gets to rock out with a blistering solo. The climax in the last verse, with the band going full tilt and Topper beating the living shit out of those drums seems to infuse the already-energetic Joe Strummer an extra jolt of adrenaline when he belts out the line, "JESUS CHRIST, WHERE'D YOU GET THAT CADILLAC?" Fuck yeah! Two minutes and eight seconds of rock 'n' roll bliss—and The Clash would do even better later in the album.
Shifting from pure rock to electric jazz combo, "Jimmy Jazz" features obscure lyrics that seem to tell a story about a low-life hood caught somewhere between the cops and the mob. The curious phrase "Sattamassagana" is a Jamaican variant of an Amharic word meaning "give thanks," and also the title of a roots reggae album by The Abyssinians. That doesn't help much with interpretation, but I've always thought of the lyrics as more scat than substance, and that the primary purpose of "Jimmy Jazz" was to establish a break with punk traditions. For whatever reason, it feels right in the larger context of an album marked by stylistic diversity and Jamaican influence.
The first-person narrative approach combined with call-and-response vocals makes "Hateful" a much more credible anti-drug song than the Nancy Reagan-esque parental message in Paul Revere & The Raiders' "Kicks." While many listeners have connected the song to Sid Vicious' heroin-induced death, the lyrics are powerful with or without that connection. The dehumanizing power of addiction is a terrible thing to behold:
This year I've lost some friends (Some friends?)
What friends?
I dunno, I ain't even noticed
You see, I gotta go out again (Again?)
My friend–I gotta see the main man
The music is ironically energetic, and The Clash execute the piece with the hold-nothing-back intensity that characterizes all the performances on London Calling.
"Rudie Can't Fail" is a tribute to the rude boys of Jamaica, the authority-resistant youth who doffed pork pie hats and regularly defied their elders by refusing to follow the hopeless script of virtual servitude. "I know that my life make you nervous, but I tell you I can't live in service" is a beautifully expressed rejection of tradition, as it expresses a vitally important personal truth without dissing the opposing beliefs. "Rudie Can't Fail" is a reggae-driven delight, and one of the most joyous songs on London Calling.
Returning to our desert island for a moment . . . if I could only take one side of an album to that godforsaken place, it would be Side 2 of London Calling. These songs show The Clash at their best, covering a wide range of styles and subject matter with remarkable ingenuity and insight. Strummer and Jones were riding a hot streak on London Calling, often inspired by offhand suggestions that the average songwriter would never consider turning into music. In that sense, they were like improv actors at their best, saying "yes" to "offers," and ignoring the voice of judgment in the brain that always responds with an automatic "no" to anything that doesn't fit the known pattern. And while Paul Simonon didn't have the songwriting credentials of his mates, his first shot went straight into the net.
The British obsession with holidays in Spain has provided material for artists as diverse as Procol Harum, The Bonzo Dog Band and Monty Python. "Spanish Bombs" contrasts the images of DC-10's crammed with happy-go-lucky tourists with the often violent history of Spain, particularly the horrors of the Spanish Civil War and the contemporary bombings by the Basque separatist group ETA, the latter mirroring the concurrent IRA bombings in London. Most of the action described in the song takes place in Andalusia, home of the Costa Brava tourist mecca, and the town of Alfacar, where poet and playwright Federico Garcia Lorca was executed by monarchists for his socialist views. The core of the song focuses on the contrast between "innocent holiday fun" and getting your fucking body blown to bits by a random terrorist attack.
For the male holiday tourist, the perfect holiday simply must include getting down with one of those delectable Spanish babes, so you learn a few romantic phrases in Spanish, and like The Clash, pronounce them very badly. But as you're enjoying the beaches and casinos, the ghosts of a violent past and the zombies of a violent present haunt you—perhaps you hear a BBC report about another IRA attack in London just as you're ready to go for a swim. As you turn to walk back to the hotel, you hear a thunderous roar and the air is filled with smoke and screams, and your budding romance comes to a gruesome end:
Spanish weeks in my disco casino
The freedom fighters died upon the hill
They sang the red flag
They wore the black one
But after they died it was Mockingbird Hill
Back home the buses went up in flashes
The Irish tomb was drenched in blood
Spanish bombs shatter the hotels
My senorita's rose was nipped in the bud
The rather frantic but somehow jolly music that accompanies "Spanish Bombs" supports the psyche of the song's narrator—one half of his brain trying to enjoy himself, the other half dreading the next explosion. It's a horrible state of existence, like having a permanent low-grade fever. I have to confess that since the attacks in Paris, whenever I go out to dinner or attend a concert in Nice, my mind always wanders to the 130 people who died while doing exactly the same thing . . . enjoying a good meal and a bottle of wine, listening to music.
Strummer came up with "Spanish Bombs" after hearing a broadcast of an ETA bombing on the Costa Brava; his next source of inspiration would come from further out in the blue. Producer Guy Stevens handed him a copy of Montgomery Clift: A Biography by Patricia Bosworth, a competent if unimaginative biography of the troubled Hollywood star. When a songwriter is in the zone like Joe Strummer was during the London Calling period, there ain't nothin' you can't do. Wait—let me calculate that triple negative—okay, it works.
"The Right Profile" is a wonderfully ingenious piece of songwriting that I never listen to it without feeling a sense of delighted awe. Despite its tragic story there are times I want to break out in laughter; at other moments I want to scream in anguish; at still others I wish to fuck I could write one song half as good as this one.
The "Say, where did I see this guy?" opening line, such a common reaction to an actor we can't place, immediately establishes the narrator's perspective as your garden-variety movie fan. After Strummer recites some of Clift's most famous films, he introduces us to the chorus, which consists of the trite phrases you hear when people talk about their movie stars and chat about the latest news from the gossip rags:
And everybody say, "Is he all right?"
And everybody say, "What's he like?"
And everybody say, "He sure look funny"
That's Montgomery Clift, honey!
In this first round of the chorus, "everybody" is wondering if Clift is a regular Joe, what's he's like in "real life," and expressing a vague sense of unease about his appearance. Those same lines will take on significantly different meanings at various points in the song, and the few variations to those lines will have added impact.
Skipping past Monty's mother-dominated childhood, Strummer picks up Clift's life narrative right around the time he starred with Olivia de Havilland in The Heiress in 1949, when he was arrested for soliciting homosexuals in Times Square. The news was hushed up by studio publicity departments working overtime, but certainly must have started the rumor mill flying:
New York, New York, 42nd Street
Hustlers rustle and pimps pimp the beat
Monty Clift is recognized at dawn
He ain't got no shoes and his clothes are torn
Now the chorus takes on a different meaning: "Is he all right?" is now "Is he a fruit?" and "He sure looks funny" means "You know, I always thought there was something weird about this guy." You can't help but feel for the poor, horny bastard, standing there in the cold dawn with his shoes stolen and his clothes a frightful mess. For a moment, the star is transformed into a very human being: a man subject to human weakness.
Fast-forward to the car accident that nearly turned into Montgomery Clift's final curtain. Here's how Ms. Bosworth described the scene that his close friend Elizabeth Taylor encountered on her arrival:
When Elizabeth and the others reached Monty's car at the foot of the hill, they saw the automobile crushed against a telephone pole. There was broken glass and blood everywhere. Blood spurted onto Elizabeth's silk dress as she crawled over the front seat and cradled Monty's head in her lap. She looked down into his face, which was a bloody unrecognizable pulp. He stirred in her arms and moaned. He was alive, but his nose was broken, his jaw shattered, his cheeks severely lacerated, and his upper lip split completely in half.
—Bosworth, Patricia. Montgomery Clift: A Biography (Kindle Locations 86-90). Open Road Media. Kindle Edition.
Joe Strummer's version is more economic but even more impactful:
I see a car smashed at night
Cut the applause and dim the light
Monty's face is broken on a wheel
Is he alive? Can he still feel?
Use of the phrase "broken on a wheel," calling up images of the torture device called the Catherine Wheel used to break the alleged criminal's bones or bludgeon him to death, was a brilliant poetic turn. Clift was a man who spent his life on the wheel, sometimes by personal choice. The version of the chorus following the accident features two variations, the meaning of each line amplified by Joe Strummer's ambiguous tone of melodramatic grief expressing the added significance we attach to the tragedies of the rich and famous:
And everybody say, "Shine a light"
And everybody say, "It's not funny"
Immediately we hear the spoken word line "Shoot his right profile," the technique directors would henceforth favor when capturing Clift on camera (a trick Clift himself resisted). The line feels like the response to the question, "Hey, we've got a lot of money invested in this guy—how do we get something out of what's left of him?"
Strummer then recounts Clift's agonizingly long descent into a drug-and-alcohol fueled existence; here the chorus seems to taunt Monty for his scarred face and inherently bad luck. The final verse is the pièce de résistance, as Strummer gives an Oscar-deserving performance of Monty's death scene:
He said go out and get me my old movie stills
Go out and get me another roll of pills
There I go again shaking, but I ain't got the chills
ARRRGHHHGORRA BUH BHUH DO ARRRRGGGGHHHHNNNN!!!!
I'm sorry, but every time I hear Joe Strummer break into convulsions I shake with laughter. I feel like a bitch afterwards, but the pathos of the scene is so absurd that I can't fucking help it. I doubt that I'm alone—the sassy, horn-driven arrangement featuring The Irish Horns feels more like stripper music than funeral music, and really, Joe Strummer sounds like he was having the time of his life. "The Right Profile" is pure genius, a product of a blessed moment of creative freedom.
"Lost in the Supermarket" is no less powerful, and much more touching. The narrator is a bloke searching for an identity in a world where identity is what you buy. Back home in the USA I always heard people classified by the kind of car they drove, the clothes they wear, the food they ate—all of which communicate class and status differences that inherently deny our common humanity. For most of the song, Mick Jones sings the lines in an almost timid voice, reflecting the narrator's inner uncertainty. After the narrator introduces himself as a person shopping for a "guaranteed personality," we hear his back story, where Joe Strummer, displaying empathy far beyond the capability of most mortals, translates Mick Jones' childhood experience into music:
I wasn't born so much as I fell out
Nobody seemed to notice me
We had a hedge back home in the suburbs
Over which I never could see
I heard the people who lived on the ceiling
Scream and fight most scarily
Hearing that noise was my first ever feeling
That's how it's been all around me
Mick departs from his low-key vocal on the line, "Hearing that noise was my first ever feeling" with intense and obviously genuine feeling. The truth is "the people who lived on the ceiling" were Jones' parents: he huddled in the basement with his gran while they fought it out upstairs. Even without the back story, his delivery of that line is deeply moving.
The continuing story describes a terribly lonely existence in a consumer-driven universe, where despite the narrator being "all tuned in" and fully engaged in the consumer society, his only regular human contact comes when "The kids in the halls and the pipes in the walls/Make me noises for company." The final rendition of the chorus expresses the deep sense of existential isolation that often results in self-blame:
I'm all lost in the supermarket
I can no longer shop happily
I came in here for that special offer
A guaranteed personality
And it's not here
It disappeared
I'm all lost
Before I leave "Lost in the Supermarket," I do want to point out the little things that matter—I love the fuck out of Paul Simonon's counterpoint bass in this song. The guy could hardly hold a bass only a few years before London Calling, and through hard work and commitment, transformed himself into one of the best bassists ever. Sorry for the sidetrack on what is already a very long review, but fuck it, Paul Simonon deserves it!
We now arrive at my favorite song on London Calling, one that always elicits the same immediate reaction the moment I hear the opening feedback: I turn it up. I like my music loud, but no matter how high the volume, I always turn it up a notch for "Clampdown." This sucker explodes with power, thanks to disciplined intensity of the band and an arrangement designed to maximize tension and release.
The extended introduction driven by sustained power chords and Paul Simonon's pulsating bass is made all the more intriguing by a spoken word sequence that is buried in the mix. While a Clash fan named Ade Marks managed to make the unintelligible intelligible for Q magazine, the mysterious, hidden message actually raises the listener's attention level (the words describe the return or escape of a corrupt dictator, foreshadowing the "evil presidentes" of the last verse). The true opening line of "Clampdown" is a cry of soul-level frustration with the system.
What are we gonna do now?
That question is the key to understanding "Clampdown." The lyrics to "Clampdown" are not so much an attack directed at the system but a passionate plea to the rest of us to wake up and realize the extent to which we participate in our own oppression by allowing those in power manipulate us through fear and insecurity.
The first verse presents the threat. While the lyrics deal specifically with the myth of white supremacy as championed by the neo-Nazi National Front, the greater meaning has to do with how those seeking power have often used economic hard times to demonize the outsider and ignite fear in the masses:
Taking off his turban, they said, is this man a Jew?
'Cause they're working for the clampdown
They put up a poster saying we earn more than you!
When we're working for the clampdown
We will teach our twisted speech
To the young believers
We will train our blue-eyed men
To be young believers
The approach worked for Hitler, and the primary reason it failed to work for the National Front is that a more accomplished politician by the name of Thatcher capitalized on the same fears by presenting a more subtle and deceptively civilized argument for institutional racism.
Having established the context, the lyrics shift to our role in allowing the clampdown to thrive. In the second verse, Joe Strummer asks us point-blank to take a hard look at what the fuck we're doing with our lives: "No man born with a living soul/Can be working for the clampdown." As revealed more clearly in the bridge and third verse, working for the clampdown is not limited to jobs that provide security for the state, but any job that supports the system, from the office to the factory floor. While such an attitude may seem unworkable in a world where there are very few ways to avoid the system short of complete disconnection, the line that closes the bridge, "It's the best years of your life you they want to steal" defines just how much is at stake.
The Clash offer no solutions, but instead remind us that " . . . anger can be power/D'you know that you can use it?" While anger can burn a hole in your soul, anesthetizing yourself to the outrages perpetrated by the system only leads to acquiescent collaboration with those who don't give a rat's ass about your miserable existence:
You grow up and you calm down
You're working for the clampdown
You start wearing blue and brown
Full assimilation into the system occurs when you buy into the deprivation mindset of capitalism and start to believe that your survival depends on becoming top dog in the pack. Shifting your priorities to the empty pursuit of higher status and income, you unwittingly become an active participant in the dehumanization and oppression that keeps the system alive:
So you got someone to boss around
It makes you feel big now
You drift until you brutalize
Make your first kill now
"Clampdown" amplifies the message of "Career Opportunities" with a more passionate call to action, but the "what" remains elusive to this day. Even in the absence of a plan—or especially because the choice is left up to us—"Clampdown" is a unique, exhilarating experience, and the righteous anger that fuels the song is reflected in every note and every beat. The power chord riff that forms the baseline is played with brutal precision, Topper Headon wreaks disciplined havoc on the kit, Joe Strummer's vocal is imbued with urgency and desperation, Mick Jones' superb spot harmonies add flash and flair, and Paul Simonon gives this rocket of a song the grounding it needs. A rock 'n' roll masterpiece.
Side 2 ends with Paul Simonon's contribution to the proceedings, the mesmerizing "The Guns of Brixton." Based on the reggae gangster film The Harder They Come, the song paints a vivid picture of life within an oppressed culture beset by high crime, unemployment rates and complete indifference on the part of the authorities unless the residents start acting up. It's a place where the "game is called survivin'," where your choices as a young black man are getting "shot down in the street" or wind up "waiting on death row." Paul Simonon grew up in Brixton and embraced its diverse Afro-Caribbean culture, so whether or not he really needed the presence of a suit from CBS to give him proper motivation for the vocal is a matter of debate—Brixton and its people were a part of him. However he got there, he gives a gritty performance with a tone of bitter inevitability—he could see the neighborhood was primed to explode, which it did a mere eighteen months later. When I hear the song today, I think of the people in Paris who live beyond the périphérique, the ring road that cuts off wealthy Paris from its poorer suburbs. In those suburbs live hundreds of thousands of immigrants, many of them Muslim, facing the same conditions that led to the Brixton riots—high youth unemployment, high crime, a sense of utter hopelessness, complete alienation. Is it any wonder that some of those people became radicalized? What the fuck did they have to lose? The song demonstrates the timelessness of London Calling, for while the names and locations cited in the songs may have changed, the underlying issues The Clash chose to deal with have never been addressed in any effective manner by the powers that be.
Side 3 opens with "Stagger Lee" . . . no, wait . . . they've stopped. Okay, here we go! What? Is that the horn riff to Frankie Ford's "Sea Cruise?" The playful introduction eventually brings us to the lighter, bouncier "Wrong 'Em Boyo," a Caribbean-tinged tune that does in fact manage to integrate the "Stagger Lee" myth into its street-wise moral message. "Wrong 'Em Boyo" is one of those tunes that can stick in your head for days, so be forewarned.
The more substantial rocker "Death or Glory" comes next. If you want to hear what a drummer in full command of his faculties sounds like, listen to Topper's contribution on the intro to "Death or Glory." His command of every piece of the kit is breathtaking and achieves what any great intro should achieve: drive the listener's anticipation level through the roof. The lyrics tell the story of a cheap hood with a Robert Mitchum fetish who sells out—essentially, he goes straight, in the timeless pursuit of a good piece of ass—then compare and contrast his experience to the experience of wannabe rock stars attempting to capitalize on opportunities in the music scene by peddling the anti-capitalist "We're no sellouts" story. With blunt precision, The Clash expose the pitch for what it is:
'N' every gimmick hungry yob digging gold from rock 'n' roll
Grabs the mike to tell us he'll die before he's sold
But I believe in this and it's been tested by research
He who fucks nuns will later join the church
The song is a hoot, and the punctuated syncopation in the rhythmic pattern makes "Death or Glory" a certified ass-shaker.
"Koka Kola" targets the ubiquity of advertising in our lives, a trend that has intensified in our times with the capitalization of the Internet. I won't share the brutal fantasies I conjure up while being forced to watch toilet paper commercials while screening videos on YouTube, but I will tell you that they do involve the application of sharp objects to the area intended for soft, fluffy Charmin. The Clash liken advertising to an all-out assault on the human psyche, which is exactly what it is. Side 3 ends with "The Card Cheat," where the wall-of-sound effect was accomplished by simply playing all the parts twice—they overdubbed the whole damned thing. The bigness is bit off-putting at first, but I found when I turned the volume down a notch, the strong motif comes through more clearly and pulls you in. The lyrics seem rather bleak and brutal, but go well with the sheer drama of the arrangement.
Side 4 opens with "Lover's Rock," which satirizes the sexual behavior of the late 1970's, best described as a combination of "let's try this position, honey," the overemphasis on male satisfaction via the blow job and the complete disconnection of sex and love through obsession with technique. The male half of the species is gently reminded that they generally only get one shot on goal and to target that shot for the girlfriend's throat is not likely to result in female orgasm unless the broad in question happens to be Linda Lovelace. The music is pure disco-influenced romance number, enhancing the feeling of disgust that The Clash intended you to feel.
"Four Horsemen" features The Clash poking fun at themselves, a very healthy thing to do indeed. But what really grabs my attention on this track is Topper's drumming, one of the best rock drum performances on record. "I'm Not Down" is another uptempo number, a defiant attempt to ward off depression after a down period in Mick Jones' life when had his stuff ripped off and lost his girlfriend. Having gone through a bout of depression when I was about the same age, I completely agree with Mick's prescription: nobody's going to pull you out of the darkness except y-o-u. Consider "I'm Not Down" the self-help counterpart to Bjork's I've-fucking-had-it-with-your-poor-me-act in "Army of Me."
Joe Strummer took Danny Ray's dub piece "Revolution Rock" and moved the lyrical scene from the warm breezes of Kingston to the raging fires of London during the punk revolution. "A heavy, heavy rock" becomes a "bad, bad rock," and "Careful how you smoke, man, you burn off my clothes" becomes "Careful how you slide, Clyde, all you did was glide/And you poured beer in me hat," and I don't think they were smashing seats in Jamaica. The integration of Jamaican genres and sub genres (reggae, ska, dub) and straight punk was a remarkable development in music, a compatibility facilitated by a shared lyrical approach heavy on social protest. The willingness of The Clash to explore that music—and the fact that they proved to be quite competent in those genres—would influence many punk artists who followed their footsteps, up to and including Rancid and Offspring. What you also hear on "Revolution Rock" is just how much they enjoyed playing Jamaican—Topper Headon had no problem handling the uneven rhythms and Paul Simonon mastered the strong bass groove that is at the core of reggae and its variants.
London Calling comes to a close with Mick Jones' remarkable "Train in Vain." I usually despise break-up songs, but the sheer emotional honesty of this song smashes right through my resistance. While Mick certainly doesn't let the girl off the hook and has no problem calling her on her bullshit, the song is primarily about his reaction to a communication nightmare—what she's telling him simply doesn't compute, fit the narrative or reflect the values he thought they shared. The music is not your typical overproduced torch song nonsense, but based on a firm, steady beat ("like a train rhythm," Mick said) that mirrors his emotional firmness while allowing him room to express everything in his heart and mind. Mick's vocal is one of his best, and despite the bitterness, "Train in Vain" is the perfect closing number to an album characterized by a complete commitment to truth, in all its forms.
Over thirty-plus years after its release, London Calling remains one of rock's greatest achievements, a record that explores the role of the human being in society with a depth that few other works can match, a double-sided tribute to artistic freedom and a celebration of the essence of rock 'n' roll. Though recorded in 1979, the relevance of London Calling persists. We live in a world where serious problems are "managed" but never solved, where information is distorted and often used to manipulate, and where terrorism, war, looming environmental disaster and threats to the world's food supply are all part of the picture. While it may be somewhat depressing to realize that the human race has made little progress since this record was released, such an attitude only leads to hopelessness and helplessness—the indulgences we can least afford. I prefer to think of London Calling as a timeless argument for common sense, for placing the needs of human beings above the needs of the system, and for overcoming the prejudice we attach to differences so that we can learn to cherish those differences.
In essence, London Calling begins and ends with a question—a question we desperately need to answer before this world of ours falls apart.
Posted in: Classic Music Reviews, Rock, Punk, Alternative, Garage, The Clash	| Tagged: altrockchick, Clampdown, female blogger, female music blogger, Joe Strummer, London Calling, Lost in the Supermarket, Mick Jones, Paul Simonon, The Clash, The Right Profile, Topper Headon
Larry S. May 5, 2016 at 6:00 pm | Reply
ARC…Oh My God…I just got off the phone after finishing a job interview for a position I'm really not qualified for. Feeling vaguely depressed, I scroll through my e-mail in-box and see that there's a new posting from the altrockchic. Wondering what's happening in her world, and what wonderful new insights to albums I love, or have heard about but not listened to, await me, I click on the e-mail…it's "London Calling" !! Holy crap, I didn't know ARC was a Clash fan! I cannot write down all the thoughts and emotions your review elicited in me, but I just want to say that a) it's an album that has never failed to move me on many levels, and b) your review is like a five course meal, there is so much to digest I'll be re-reading it for the next few months to extract everything I can from it…just like "London Calling", actually. Thank you again, ARC…can't wait for your book. Would a similar collection of your erotic writings be a possibility? And a review of "Sandinista!" ? (Don't mean to be greedy…).
altrockchick May 5, 2016 at 7:55 pm | Reply
Thank you so much! I was concerned that the length of the review might turn people off, but really, I could have written a book on this one! I am a huge Clash admirer, something I've kept in the closet for the reasons noted in the review. Now that I've overcome my writer's block I'm planning to do a series including the first five albums, at least one of the live albums and maybe one of the Mescaleros albums.
I hadn't thought of doing a collection of my erotic writings, but it's a possibility once I've finished the review collection. I have a few more reviews to write before that's finished, then the tedious process of organizing and editing, but I hope to have it out by this summer.
Lawrence Sojka May 5, 2016 at 7:34 pm | Reply
ARC…WOW! Did not know you were a Clash fan! One of my ten favorite albums ever, and your review makes me want to pull it out and blast it right now. What you wrote moved me on so many levels (just like the album itself, actually), I can't tell you right now or I'll be late picking my offspring up from school, but THANK YOU, your insights, and your passion, just blew me away. Can't wait for your book of collected reviews…any chance of an altrockchick review of "Sandinista!" ?
Robert Morrow May 5, 2016 at 8:16 pm | Reply
Reblogged this on ringingtruenet and commented:
This is what music criticism should be about—reader enlightenment rather than something that feeds the critic's ego. I am proud to have the honor of editing her upcoming book-form collection of reviews because of pieces like this.
Larry S. May 7, 2016 at 11:01 pm | Reply
Hi Robert,
So glad to hear that you will be aiding and abetting the altrockchic in this endeavor, can't wait, as I only discovered her blog (and her) right before she "retired"…I googled The Kinks "Soap Opera" album (I had some adult responsibility I was putting off, I think it was feeding my children), and her review popped up – the only intelligent, perceptive, and passionate review of that album I've ever read. I missed the boat completely on her erotic writings, I truly hope a collection of those might appear at some point after the arrival of the reviews collection. Please try to include the blog posts written by her parents, they were priceless, and actually pointed out some child rearing "techniques" I wish I'd have employed with my twin boys….
Robert Morrow May 8, 2016 at 12:54 am
Sorry–had to delete my original comment because I used her login and responded as her! Yes, I thought her review of Soap Opera was first rate and long overdue. It took some doing getting her to agree to the book but she's committed to it now and should be ready soon. The delay is she's rewriting most of her early reviews because she followed classic blogger advice to keep it short and sweet and feels several of them are inadequate. We are doing a chapter on Chick Riffs with both parents' contributions included as well as the "family" reviews of the Moody Blues. We haven't discussed her erotic writings, but man, that would be one hell of an assignment for an editor!
Larry S. May 8, 2016 at 9:59 pm
Great to hear! And yes, I didn't think of the editor's role in working on a collection of her erotic pieces; possible sensory overload…but a break, and a glass of Chablis, and you can get right back to the work…
yeahanotherblogger May 6, 2016 at 3:21 pm | Reply
Great piece about a great album.
SouthernMail March 11, 2019 at 5:01 am | Reply
Wow, what a great review of one of the great rock albums (and an important, honest social document). I gained new & interesting insights into the songs.
I bought this album when it came out, along with Cohen's 'Recent Songs', and around that time, some Wreckless Eric album I can no longer recall, Pink Floyd's 'The Wall' & a Mott the Hoople compilation. All good records but the one that continues to grow in stature and that I still feel compelled to listen to today, is London Calling.
My daughter told me yesterday that she's listening to Rock&Roll & Punk more, as an antidote to the highly produced stuff she deals with at work. I suggested she download Londing Calling. I know she'll love it as we seem to converge at the types of music we love, and why.
So will there ever be another band like the Clash? And what are we gonna do now?
altrockchick March 11, 2019 at 6:39 am | Reply
Thank you! When I think about "what are we going to do now" in relation to rock, the picture is pretty bleak. When I was doing contemporary reviews I did several of very promising rock bands who have either dropped out of the scene in frustration or continue to try to promote their music through Bandcamp, which has very little marketing reach. The big labels simply aren't signing rock bands because they don't see a market for it and because it's much easier to mass produce the crap they're putting out now. I keep waiting for some kind of turnaround but I see no signs of that happening. Frustrating, but at least there's still a lot of good music from previous decades to explore and enjoy.


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The two stories that dominated Washington this week — the anonymous official who wrote an opinion column attacking Trump, and the Supreme Court confirmation hearings for Brett Kavanaugh — share a common thread: careerism.
The word is seldom used as a compliment. Perhaps that's wrong.
The traits of the careerist — concern for personal advancement, avoidance of controversy, willingness to sacrifice ideals for the sake of long-term goals — have long been equated with moral cowardice. But as the week's news suggested, the flip side that accompanies each of those traits — diligence, professionalism, ability to compromise when needed — can also form a bulwark against chaos.
A HINT OR A FAKE?
Through two long days of questioning which began early in the morning and stretched late into the night, Democratic members of the Senate Judiciary Committee voiced two overriding concerns about Kavanaugh.
One, undoubtedly grounded in evidence, focused on ideology. Kavanaugh, following the advice he once gave another judicial nominee two decades ago, strove to present himself as near as possible to a blank slate, but his record makes clear that he has strongly held views about the law.
As Jennifer Haberkorn, David Savage and Sarah Wire wrote, Kavanaugh has a broad view of the gun-owner rights protected by the 2nd Amendment, a narrow view of the powers of federal regulatory agencies and skepticism about claims for rights not specifically mentioned in the text of the Constitution.
Pressed, sometimes intensely, on those positions, the nominee invariably offered politely deferential, affable answers in which he thanked Democratic senators for offering their "perspective," pledged to keep an open mind, but gave no hint at retreat.
The one exception came on the Supreme Court's most divisive issue — abortion. President Trump said in his campaign that he would appoint judges who would overturn Roe vs. Wade, the 1973 decision that established abortion rights nationwide.
Kavanaugh repeatedly refused to say how he would rule on the issue. But he offered hints that overturning Roe may not be in the offing.
The strongest suggestion came as part of an analogy. Kavanaugh noted that the late Chief Justice William H. Rehnquist, whom he has cited as one of his judicial heroes, had long criticized the Supreme Court's Miranda ruling, which requires police to read suspects their rights before questioning. But when Congress passed a law to overturn Miranda, Rehnquist wrote the 7-2 decision in 2000 that kept the warnings in place.
Rehnquist "decided that it had been settled too long, had been precedent too long, and he reaffirmed it," Kavanaugh told Sen. Dianne Feinstein, volunteering the history of Miranda in response to her question about Roe.
Was all that an elaborate head fake? Perhaps. As Democrats noted, a hint isn't a commitment, and a precedent is only good so long as a majority of the high court stands by it. Moreover, as abortion-rights supporters also said, a conservative Supreme Court could significantly restrict the right without actually overturning Roe.
Still, the goal of the antiabortion movement for 45 years has been to overturn Roe, not just to narrow it. Sixteen years ago, three Republican Supreme Court appointees — Justices Anthony M. Kennedy, Sandra Day O'Connor and David Souter — bitterly disappointed that movement when they joined with Democrat appointees to reaffirm Roe in the case of Planned Parenthood vs. Casey. Kavanaugh's hint suggests that might happen again.
The other main Democratic objection to Kavanaugh involved the man who appointed him.
As a lawyer and a judge, the Democrats noted, Kavanaugh has expressed a broad view of presidential power, including the chief executive's authority to fire other executive branch officials.
Trump, they suggested, picked Kavanaugh expecting that as a Supreme Court justice, he would side with the president in any future battle with Robert Mueller, the special counsel.
Sen. Sheldon Whitehouse of Rhode Island, one of the nominee's fiercest critics, called him a "human torpedo" aimed at Mueller's investigation of Russian efforts to sway the 2016 election.
All that's possible. Kavanaugh's previous writings definitely suggest strong support for legal theories that favor executive power.
Under questioning, Kavanaugh refused to tip his hand. He largely stuck to his views on presidential authority. And he avoided even a hint of criticism of Trump, as when Sen. Jeff Flake of Arizona asked him to comment on Trump's tweets that attacked Atty. Gen. Jeff Sessions for not shielding Republican members of Congress from prosecution.
As a judge, Kavanaugh said, he needed to stay "three ZIP Codes away" from any comment on politics.
But he also repeatedly praised U.S. vs. Nixon, the case in which the Supreme Court ordered release of the White House tapes in the Watergate scandal, leading directly to Nixon's resignation 16 days later.
And the visual tableau of the hearings suggested an alternative possibility.
Sitting behind the nominee, hour after hour, was the main White House champion of Kavanaugh's nomination, Donald McGahn, the White House counsel. Just last week, Trump effectively fired McGahn with a tweet, as Eli Stokols and Noah Bierman wrote.
The president announced McGahn would leave his job "shortly after the confirmation." He dismissed McGahn after news broke that the White House lawyer had spent more than 30 hours testifying to Mueller's prosecutors.
The nominee will almost surely be confirmed later this month. His prospects got a boost just as his hearing began, when Arizona Gov. Douglas Ducey named former Sen. Jon Kyl to fill the Senate seat left vacant by the death of Sen. John McCain, whose funeral Saturday had a persistent subtext of countering Trump.
As Mark Barabak noted, Kyl had already been working to help shepherd Kavanaugh's nomination.
With his nomination on a fast track toward confirmation, it's worth pondering where Kavanaugh's sympathies truly would lie in a possible Trump-Mueller battle.
Kavanaugh is in many ways the anti-Trump — concerned for precedent and orderly procedures, a strong advocate for racial equality in his profession, an embodiment of the Republican elite that Trump has attacked and deeply mistrusts.
In short, if one searched for an older figure that Kavanaugh's career reflects, a good model would not be Trump. It would be Mueller. How that might play out, time will tell.
The other person in the news whom Kavanaugh seemed to resemble — at least in sensibility and career arc — would be the so-far anonymous official whose op-ed article in the New York Times this week about internal administration resistance to Trump threw the president into a fury.
While official Washington engaged in endless rounds of speculation over the official's identity, and senior Trump aides lined up to deny culpability, Trump veered between ordering investigations to find the miscreant and insisting it was all made up. He had a very similar reaction earlier in the week to revelations in a new book by Bob Woodward, as Stokols wrote.
As Bierman and Stokols wrote, that path of internal resistance carries its own risk. Trump, feeling increasingly isolated and talking openly about being "amazingly alone," has responded by moving closer to people who praise him — like North Korean dictator Kim Jong Un.
As Trump moves down his own increasingly isolated path, might Kavanaugh one day find himself aligned with those senior officials who, as the op-ed writer described them, are "working diligently from within to frustrate parts of [Trump's] ... agenda and his worst inclinations"?
Barring a huge upset, Gavin Newsom will become California's next governor after November's election, marking the first time one Democrat has handed the governorship of the state to another Democrat since 1888.
As Seema Mehta, Ryan Menezes and Maloy Moore documented, Newsom's rise has benefited enormously from the support of a small handful of San Francisco's wealthiest, most socially prominent families.
Their work provides a fascinating illustration of the enduring influence of the state's long-standing elite, even in the midst of rapid social and demographic change.
Newsom's election is easy to predict. Much else about the midterm election remains uncertain. The prime reason, as Barabak wrote, is that the election features two opposing forces: a booming economy pitted against one of history's most unpopular presidents.
One measure of Trump's problem: This summer, the USC-Dornsife/Los Angeles Times poll asked people to rate how much they trusted several potential sources of news. Only about 1 in 5 voters said they mostly or completely trusted what Trump says, the poll found.
President Obama remains considerably more popular than Trump. The former president is heading to Southern California this weekend to campaign for Democrats in key House races. As Christine Mai-Duc reported, the visit will kick off a round of campaign appearances Obama is making as he steps up his political activity in this campaign's final stretch.
How are those key California races shaping up? Here's a rundown on information for each of the contests.
One race has gotten more competitive because of scandal. Rep. Duncan Hunter (R-Alpine) was indicted last week on charges of using campaign money for personal expenses. Prosecutors noted this week that those expenditures include hotel rooms and vacations with a number of unnamed individuals. Hunter's lawyer accused prosecutors of using evidence of extramarital affairs to harm his reputation and drive a wedge between him and his wife, who is also his co-defendant.
Democrats have reaped political benefit by accusing Republicans of trying to repeal Obamacare's popular protections for people with preexisting medical conditions.
Republicans have helped the Democrats highlight that issue by backing a court case that would knock the preexisting conditions protections out of the law. As Noam Levey wrote, a federal judge in Texas heard arguments in the case this week and promised a quick decision, which could come before the election.
CAN GREENHOUSE GASES BE DIVERTED FOR GOOD?
Greenhouse gases are warming Earth's climate in risky ways. Even as efforts continue to reduce emissions, some scientists, engineers and entrepreneurs are investigating how to take carbon out of the atmosphere and divert it in ways that would combat warming. Evan Halper looks at an innovative but controversial technology.


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Awhile back I bought some cute little bird Puffies to make a birthday card for a friend (which you can find HERE). Only using two of the little birdies I was left with 3 more stickers from the pack unused so I pinned them up on my bulletin board above my desk so I could look at their cuteness. Last weekend I decided I should try and use them for something, so I decided to add some generic CAS cards to my stash that could be used for a variety of occasions.
These cards were quick and easy to create. Versamark inked background, a sentiment, a puffies sticker, a little twine and wha-la! Done! I do love that little tree. And some quick matching envelopes to go with them.
With some lovely packaging I think these would also make a cute set to give as a gift to someone, don't you? Thanks for stopping in today!
Oh Chari - I LOVE these! And those matching envelopes are just perfect! Really adorable!
These are amazing, Chari! Really, their simplicity really lets the puffies shine as the clear stars. I find CAS cards so hard to make, but these are amazing! I need to take a few lessons from you. :o) Great job!


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