MY JOE STRUMMER STORY

I feel really fortunate to have had the chance to interview Joe Strummer. In the spring of 2002, I had been working at VH1 for just a few months. I was hired as a “music expert” kind of guy. Which was odd, as it was a period where the channel was really moving away from music. My boss at the time saw which way the wind was blowing, so to speak, and while he appreciated my passion for music, he was more worried about ratings, and rightfully so. Yet he did hire me – and happily for me, while working there I learned a ton about video production.

I remember seeing the listing in The Village Voice for Strummer's multi-night stand at Brooklyn’s Arts At St. Ann’s, and thinking "Man, it would be cool to cover that." And then thinking, "Not happening." Joe Strummer – iconic leader of punk rock legends The Clash, defunct since the ‘80s?  Exactly the type of thing I’d often pitched, only to be turned down. I really liked his 1999 comeback album, Rock Art & The X-Ray Style, and his then-current album, Global A-Go-Go, but I knew that a mainstream organization couldn’t or wouldn't really support it too much (this issue is central to a documentary about Strummer’s last tour, Let’s Rock Again).

Anyway, I was shocked and grateful when the boss asked me to cover one of the shows. I remember before the interview, shooting b-roll of the huge lights that were shining where the Twin Towers used to be. It was a weird time.  Standing in the haunting glow of that shrine to an event which changed the world – there was definitely an electricity in the air.

By this time, I had done lots of interviews, but Joe Strummer was one of the few artists who I both (a) really wanted to speak with and (b) had to admit I felt a bit intimidated by. You just always got the sense that he didn't suffer fools lightly. But my attitude as an interviewer was, if anyone can do this, I can. Anyway, Joe was really, really cool. Kind of humble in a way. Super passionate about music. He loved his backing band, The Mescaleros. He felt they deserved more credit.  Off camera, he told me he wished he could pay the band more, because they were so great. I was surprised that he offered that info (and I hope that he's not mad that I'm writing about it).  I told him that they were all in his band because they wanted to be there, and because it was an honor to play with him. I remember feeling nervous about saying that.  Now, I’m really glad that I did.  I said that he kept the music alive by putting out music that still mattered, and that I would want to see him play "Tony Adams," "Yalla Yalla" and "Johnny Appleseed" at every concert, not just The Clash songs.  He thanked me for that. He felt people generally weren't as passionate about music as they used to be: he asked why people weren't rioting over artists like Kylie Minogue, he just felt that most "pop" music was so awful. 

During the interview I asked him about the Rock and Roll Hall of Fame - word was The Clash were going to be on the ballot that year, and of course they were going to get voted in. He kind of scoffed at the idea of performing with them, or even showing up. He didn't want to wear a suit, he felt it was a betrayal of everything he and the band stood for to show up at the Waldorf, of all places, in a tux, and play to rich music industry people. I told him that not everyone wears tuxes, and that no one would tell him what to wear (not that I was in any position to tell him what the Rock Hall does and doesn't do - but I'd been to a few induction ceremonies, and not everyone wears suits or tuxes). I also pointed out that Talking Heads reunited for a few songs at their induction, and it sort of served as a nice "last page" in the band's story. At least it would be on TV (on VH1 in fact!) and all of the fans would have access to see it, if not access to attend the performance. Then, he started being like, "Hmmmmm..." But then he got a bit annoyed on the topic of the band: he pointed out that he'd been working with The Mescaleros for the past couple of years, and the other guys weren't even making music (not totally true: Mick Jones produced The Libertines, but hadn't recorded any of his own music). But none of those guys had called him and asked him to make music with them, which seemed to annoy him.

I remember my camera guy was also a huge Clash fan. We walked out of there dazed and amazed. I felt like Joe Strummer was radiating electricity, and I had absorbed at least a tiny bit of it. I had goose bumps. So, we start shooting the show, which was great. I really did (and do) feel that some of Joe's songs, like "Tony Adams" and "Johnny Appleseed," stood proudly alongside The Clash classics - it's a shame that more people weren't familiar with his solo material, he worked so hard on it, and was rightfully proud of it. But what radio stations would play Joe Strummer's solo material in 2001?  (Again, check out the Let's Rock Again documentary.)

The most shocking moment of the night was seeing this guy in the audience. I thought to myself, "Is that Mick Jones?" I mean, in the audience. Not in some roped off V.I.P. area, he was just there. It was him. Not a lot of people seemed to notice. I figured, I should probably try to get a quote out of him. But I made what I felt was a more moral choice. I didn't think the guy wanted a camera in his face, it would certainly blow his cover. I decided against it.  Had my boss at the time found out about this, I could have gotten in trouble, but I went with my gut.  

After the show, people did start to notice that it was him and crowded around him. He made a beeline for the backstage door. I felt like, "That's nice, maybe he'll hang out with Joe." Potentially, I could have ruined that. It turned out that they hung out for a little while. A few months later, Mick joined Joe and the band at a fundraiser concert in England. It was one of Joe Strummer's last performances.

A few weeks after that gig, Joe Strummer passed away unexpectedly. By then, he had heard the news that The Clash would be inducted into the Rock and Roll Hall of Fame, but the induction ceremony was still a few weeks away. I'd heard that Joe and Mick wanted to perform, but Paul Simonon didn't want to. The week of the ceremony, I got to interview Mick and Paul. I told Mick my story. He looked at me and nodded slightly. Not being a sentimental seeming guy, I think he appreciated what I'd done (or didn't do).  I’m not putting too much weight on my actions, but I’m just glad I didn’t ruin anything. 

I’ve mentioned the Let’s Rock Again doc twice here, but I also have to recommend another Strummer documentary, The Future Is Unwritten, which is about his whole life (where Rock is really about his final tour). It really is inspiring. Yes, he may be gone, but without being too abstract, I think his spirit is still with us, and you can see it in every “occupy” rally, and really whenever people stick up for those who are less fortunate. Tom Morello said it best in his speech about The Clash at the Rock and Roll Hall of Fame induction: “In fact, the Clash aren’t really gone at all. Because whenever a band cares more about its fans than its bank account, the spirit of the Clash is there. Whenever a band plays as if every single person’s soul in the room is at stake, the spirit of the Clash is there. Whenever a stadium band, or a garage band, has the guts to put their beliefs on the line to make a difference, the spirit of the Clash is there. And whenever people take to the streets to stop an unjust war, the spirit of the Clash is definitely there.”

THE POWER OF JOE STRUMMER

Tomorrow night, I make my return to The Busted Halo show on SiriusXM's Catholic Channel. It's been a while since I've been on the program. I'm definitely looking forward to it, it's always fun to talk about music with Father Dave.

Tomorrow I'll talk about the amazing music of Joe Strummer. I think about him a lot lately: I think he would have loved the Occupy Wall Street demonstrations and the other ones that it has inspired across the globe.  But whatever your politics are, most people can get inspiration from the way that Joe always stuck up for the underdog.  Whether or not I agree with the tea party, they feel that they're the underdogs!

I'm sure a lot of young (and not-so-young) people can relate to a song like "Career Opportunities." Ditto for "Clampdown."  But while I was doing my research for the program, I listened to "Rock The Casbah," I hadn't really thought about that song (or video) for a long time.  But when I watched the video on YouTube, I kind of forgot how it impacted me as a kid.  First of all, it may have been the first time I saw a  punk rock band.  I was a big metal fan, and I thought of punk rock as sort of cartoony, I guess.  I don't know that this video changed my mind, actually.  But what did make an impact on me was the storyline: first, that it was about an orthodox jew and an arab looking guy hanging out and getting along.  And second, because the thing that they bonded over was music.  I haven't thought about this in a while, but I know that that made an impact on me.

Having just finalized the list of songs that I'm bringing to the show, I just realized that there was nothing from Joe's solo albums, and I feel bad about that.  I know he took a lot of pride in the albums he made with his backing band, The Mescaleros, and rightfully so. So I'll take this opportunity to recommend Rock, Art and The X-Ray Style, Global A-Go-Go and Streetcore.  Let me also recommend The Clash documentary Westway To The World, and the Strummer docs The Future Is Unwritten and Let's Rock Again.

I'll also take this opportunity to remind people about the incredible speeches that The Edge and Tom Morello made about Joe and The Clash when The Clash were inducted into the Rock and Roll Hall of Fame a few years ago.  Watch The Edge's speech here, and read the transcript of Morello's here.

JOE STRUMMER - THE FUTURE IS UNWRITTEN

I'm looking forward to seeing this documentary - Joe Strummer: The Future Is Unwritten. It comes fairly close on the heels of another Strummer doc, Let's Rock Again, although that one documented Strummer's last tour with his band The Mescaleros. My understanding is that The Future is more about his entire life/career, including, of course, The Clash.

I felt really fortunate to have had the chance to interview Joe Strummer. I was working at VH1, and it was at the time when they were really moving away from music. My boss at the time saw which way the wind was blowing, so to speak, and while he appreciated my passion for music, he was more worried about ratings, and rightfully so.

I remember seeing the listing for Strummer's multi-night stand in Brooklyn in the Village Voice, and thinking "Man, it would be cool to cover that." And then thinking, "No way." So, I was shocked when the boss asked me to cover one of the shows. it was early 2002. I remember before the interview, shooting b-roll of the huge lights that were shining where the Twin Towers used to be. It was a weird time. It was a few months after 9/11, but right across the river from where the attacks happened, there was still a somber vibe in the air.

Anyway, Joe Strummer was one of the few artists who I had to admit I felt a bit intimidated by. You just always got the sense that he didn't suffer fools lightly. But my attitude as an interviewer was, if anyone can do this, I can. Anyway, Joe was really, really cool. Kind of humble in a way. Super passionate about music, not really jaded at all. He loved The Mescaleros. He felt people generally weren't as passionate about music as they used to be: he asked why people weren't rioting over artists like Kylie Minogue, ;e just felt that most "pop" music was so awful. I remember asking him about the Rock and Roll Hall of Fame - the word was they were going to be on the ballot that year, and of course they were going to get voted in. He kind of scoffed at the idea of performing with them, or even showing up. He didn't want to wear a suit, he felt it was a betrayal of everything he and the band stood for to show up at the Waldorf, of all places, in a tux. I told him that not everyone wears tuxes, and that no one would tell him what to wear (not that I was in any position to tell him what the Rock Hall does and doesn't do - but I'd been to a few induction ceremonies, and not everyone wears suits or tuxes). I also pointed out that Talking Heads reunited for a few songs at their induction, and it sort of served as a nice "last page" in the band's story. Then, he started being like, "Hmmmmm..." But then he got a bit annoyed on the topic of the band: he pointed out that he's been working with his current band for the past couple of years, and the other guys weren't even making music (not totally true: Mick Jones produced The Libertines, but hadn't recorded any of his own music). But none of those guys had called him and asked him to make music with them, which seemed to annoy him.

I remember my camera guy was also a huge Clash fan. We walked out of there dazed and amazed. I felt like Joe Strummer was radiating electricity, and now some of it was on me. I had goosebumps. So, we start shooting the show, which was great. Some of Joe's songs, like "Tony Adams" and "Johnny Appleseed," stood proudly alongside The Clash classics - it's a shame that more people weren't familiar with his solo material, he worked so hard on it, and was rightfully proud of it. But what radio stations would play Joe Strummer's solo material in 2001?  That's part of what the Let's Rock Again documentary is about.

The most shocking moment of the night was seeing this guy in the audience. I thouht to myself, "Is that Mick Jones?" I mean, in the audience. Not in some roped off V.I.P. area, he was just walking around. It was him. Not a lot of people seemed to notice. I figured, I should probably try to get a quote out of him. But I made what I felt was a more moral choice. I didn't think the guy wanted a camera in his face, it would certainly blow his cover. I decided against it.

After the show, people did start to notice that it was him and crowded around him. He made a beeline for the backstage door. I felt like, "That's nice, maybe he'll hang out with Joe." I could potentially have ruined that. It turned out that they hung out for a little while. A few months later, Mick joined Joe and the band at a fundraiser concert in England. It was one of Joe Strummer's last performances.

A few weeks later, Joe Strummer passed away unexpectedly. I think by then, he had heard the news that The Clash would be inducted into the Rock and Roll Hall of Fame, but the induction ceremony was still a few weeks away. I'd heard that Joe and Mick wanted to perform, but Paul Simonon didn't want to. The week of the ceremony, I got to interview Mick and Paul. I told Mick my story. He looked at me and nodded slightly. Not being a sentimental seeming guy, I think he apprecitated what I'd done (or didn't do).

I've heard that The Grammys are holding a vote on the best moments in Grammy history. I don't think that you can beat the Joe Strummer tribute. Most Grammy tributes fall short. There's too many people paying tribute, not enough time, it ends up being a medley, etc. But when Bruce Springsteen, Steven Van Zandt, Elvis Costello and Dave Grohl (with Tony Kanal of No Doubt on bass and Pete Thomas from Elvis' Attractions and Imposters on drums) performed "London Calling"... I just don't think you can beat that one. I've often referred to it as "the best four minutes in TV history," which may be a bit of an exaggeration, but it was pretty damn cool, and a fitting tribute.