Joe Strummer's untimely death at the age of fifty in December 2002 took from us one of the truly unique voices of modern music. The quintessential Rude Boy, punker, rebel musician, artist and activist, Strummer wrote some of the most important and influential music of the last century including "Guns of Brixton," "The Washington Bullets," "Spanish Bombs," "White Man in Hammersmith Palace," "London's Burning," "Lost in the Supermarket," and "Garageland." Effectively melding raw creativity with radical politics, Strummer transformed punk rock from its early associations with reactionary, right wing and nihilistic politics into a social movement. From Rock Against Racism to the Anti-Nazi League Festival to supporting the H-Block protests, Strummer and The Clash led the charge for human rights. Let Fury Have the Hour collects articles, interviews, essays and reviews that chronicle Strummer's life both as a musician and a political activist. Included in this collection are essays and interviews by Antonino D'Ambrosio, alongside contributions from Peter Silverton, Barry Miles, Anya Philips, Sylvia Simmons, Vic Garbarini, Caroline Coons, Todd Martens, Joel Schalit and others. This book also includes original lyrics, photography, art, posters, and flyers, and offers the first serious examination of the life of this extraordinary man.

Drawing on Strummer's lyrics, interviews and bootleg recordings, as well as interviews with friends and contemporaries like Billy Bragg, The punk rock politics of Joe Strummer reveals the wide-ranging political influence of one of the twentieth century's iconic rock'n'roll rebels.

Punk Rock Warlord explores the relevance of Joe Strummer within the continuing legacies of both punk rock and progressive politics. It is aimed at scholars and general readers interested in The Clash, punk culture, and the intersections between pop music and politics, on both sides of the Atlantic. Contributors to the collection represent a wide range of disciplines, including history, sociology, musicology, and literature; their work examines all phases of Strummer’s career, from his early days as ‘Woody’ the busker to the whirlwind years as front man for The Clash, to the ‘wilderness years’ and Strummer’s final days with the Mescaleros. Punk Rock Warlord offers an engaging survey of its subject, while at the same time challenging some of the historical narratives that have been constructed around Strummer the Punk Icon. The essays in Punk Rock Warlord address issues including John Graham Mellor’s self-fashioning as ‘Joe Strummer, rock revolutionary’; critical and media constructions of punk; and the singer’s complicated and changing relationship to feminism and anti-racist politics. These diverse essays nevertheless cohere around the claim that Strummer’s look, style, and musical repertoire are so rooted in both English and American cultures that he cannot finally be extricated from either.

Joe Strummer was one of the twentieth century’s iconic rock’n’roll rebels. As frontperson, spokesperson and chief lyricist for The Clash, he played a major role in politicising a generation through some of the most powerful protest songs of the era, songs like ‘White Riot’, ‘English Civil War’ and ‘London Calling’. At the heart of this protest was the struggle for social justice and equality. The punk rock politics of Joe Strummer examines Strummer’s beliefs on a range of issues – including socialism, alienation, exploitation, multiculturalism and humanism - analysing their credibility, influence and impact, and asking where they came from and how they developed over time. Drawing on Strummer’s lyrics, various interviews and bootleg recordings, as well as interviews with those he inspired, The punk rock politics of Joe Strummer takes the reader on a journey through the political influences and motivations that defined one of the UK’s greatest punk icons.

“An ambitious look at the last days of the Clash . . . as much a political history of the 1980s as it is a look at an influential band in its final years.”—Publishers Weekly The Clash was a paradox of revolutionary conviction, musical ambition, and commercial drive. We Are The Clash is a gripping tale of the band’s struggle to reinvent itself as George Orwell’s 1984 loomed. This bold campaign crashed headlong into a wall of internal contradictions and rising right-wing power. While the world teetered on the edge of the nuclear abyss, British miners waged a life-or-death strike, and tens of thousands died from US guns in Central America, Clash cofounders Joe Strummer, Paul Simonon, and Bernard Rhodes waged a desperate last stand after ejecting guitarist Mick Jones and drummer Topper Headon. The band shattered just as its controversial final album, Cut the Crap, was emerging. Andersen and Heibutzki weave together extensive archival research and in-depth original interviews with virtually all of the key players involved to tell a moving story of idealism undone by human frailty amid a climatic turning point for our world. “The Clash’s final chapter, after guitarist Mick Jones’ 1983 departure, has largely been forgotten—until this book, in which authors Mark Andersen and Ralph Heibutzki argue that the punk pioneers were still creating vital music to the very end.”—Rolling Stone, an RS Picks/New Books “Focuses on a very different moment in the band’s history: the point at which the group splintered in the early 1980s, and its members grappled with an onset of reactionary governments around the world.”—Vol. 1 Brooklyn “One of the most rewarding music books you’ll come across this year.”—Johns Hopkins Magazine

Author Jeremy Dale believes that too many businesses create an environment that encourages mediocrity and corporate norms that deliver lukewarm results at best. In The Punk Rock of Business, Dale offers a road map away from average and towards innovation through a mindset rooted in punk rock principles. In this fast-paced, actionable guidebook, readers will find: -Eight punk rock principles to help you redefine your place in the corporate world–for the better -A set of characteristics to strive for that will liberate you and accelerate your success -Countless examples—drawing on both the classic stories from the music genre's industry-changing legacy and Dale's years of business success—to illustrate these principles and characteristics in action -Straightforward lessons and actions to start taking today—right now—to break through corporate norms and build something greater ​Punk rockers had a cause. They aimed for authenticity and refused to conform. In doing so, they created a dramatic change that shook society to its core. It was a much needed wake-up call for the conservative part of the music industry. Jeremy Dale wants you to do the same in the business world, and in The Punk Rock of Business, he gives you the tools you need to accomplish that goal.

'Hugely enjoyable ... Green's great achievement is to recapture exactly how those moments felt, but remain sufficiently detached about the whole thing to render the experience honestly' MOJO Johnny Green first met the Clash in 1977. A RIOT OF OUR OWN is his tale of three delirious years of rock 'n' roll madness as confidant and road manager of the Clash, from the early punk days to LONDON CALLING and touring America. Ray Lowry accompanied the band as official 'war artist' on the second American tour and designed the London Calling album cover. Together, in words and pictures, Green and Lowry give the definitive, inside story on one of the most magnificent rock 'n' roll bands ever.

Punk Rock Warlord explores the relevance of Joe Strummer within the continuing legacies of both punk rock and progressive politics. It is aimed at scholars and general readers interested in The Clash, punk culture, and the intersections between pop music and politics, on both sides of the Atlantic. Contributors to the collection represent a wide range of disciplines, including history, sociology, musicology, and literature; their work examines all phases of Strummer’s career, from his early days as ’Woody’ the busker to the whirlwind years as front man for The Clash, to the ’wilderness years’ and Strummer’s final days with the Mescaleros. Punk Rock Warlord offers an engaging survey of its subject, while at the same time challenging some of the historical narratives that have been constructed around Strummer the Punk Icon. The essays in Punk Rock Warlord address issues including John Graham Mellor’s self-fashioning as ’Joe Strummer, rock revolutionary’; critical and media constructions of punk; and the singer’s complicated and changing relationship to feminism and anti-racist politics. These diverse essays nevertheless cohere around the claim that Strummer’s look, style, and musical repertoire are so rooted in both English and American cultures that he cannot finally be extricated from either.

Pat Gilbert’s definitive biography of the Clash – universally acclaimed as a great book – has already sold over 20,000 copies in paperback. Now, for the 30th anniversary of the band’s classic London Calling album, it is reissued with a stunning new cover. For the book Pat Gilbert – a former Mojo editor with the highest credentials – talked to everyone, in over 70 interviews with the key participants – roadies, producers, friends and fans - and above all the band members themselves, including Joe Strummer before his death, to be able to give the first real insight into what went on behind the scenes during the Clash’s ten-year career. With the surge in interest generated by the Shea Stadium live CD and the official Clash book, Passion Is A Fashion will attract a new sale as the only truly indispensable Clash book.

A Muslim punk house in Buffalo, New York, inhabited by burqa-wearing riot girls, mohawked Sufis, straightedge Sunnis, Shi’a skinheads, Indonesian skaters, Sudanese rude boys, gay Muslims, drunk Muslims, and feminists. Their living room hosts parties and prayers, with a hole smashed in the wall to indicate the direction of Mecca. Their life together mixes sex, dope, and religion in roughly equal amounts, expressed in devotion to an Islamo-punk subculture, “taqwacore,” named for taqwa, an Arabic term for consciousness of the divine. Originally self-published on photocopiers and spiralbound by hand, The Taqwacores has now come to be read as a manifesto for Muslim punk rockers and a “Catcher in the Rye for young Muslims.” There are three different cover colors; red, white, and blue.