Merry Christmas

I just got out of mass at a little church in Brighton – we Irish Catholics can’t help ourselves – and I just wanted to wish all of you a merry Christmas.

For me, it has been a bit of a challenging year. Among other things, I’ve become reacquainted with betrayal. I don’t recommend it.

But 2020, and the new decade, are going to be a great finale. And I want to sincerely thank all of you – including the many folks reading these words who I’ve never had the honor to meet face-to-face – a heartfelt thank you. Your support and your kindness helped a lot. A lot.

So, a merry Christmas – and a happy Hanukkah – to you and yours. You are all awesome and me and my kids – and Joey and Roxy – wish you the very best.




2020 New Year’s Levee

It’s been a crappy year. You all know why. And all of you have been pretty amazing to me.

So, I’m going to have a New Year’s Day levee thing at my place in the County to thank you. Drop on by, try out some of the excellent local wines and beers, say hi.

If you are going to be in or around the County on New Year’s Day, let me know at wkinsella@gmail.com and I will get you the deets.

And thank you.


Joe Strummer, gone so long, gone too soon

The sticker affixed to the London Calling album shrink-wrap, so many years ago, boldly declared that the Clash were “the only band that matters.” If that is true – if it was more than record company hyperbole – then Joe Strummer’s death 17 years ago today, of a heart attack at age 50, was a very big deal indeed.

It wasn’t as big as John Lennon’s murder, of course, which came one year after London Calling was released, and shook an entire generation. Nor as newsworthy, likely, as the suicide of Nirvana’s Kurt Cobain in 1994. No, the impact of the sudden death of Joe Strummer – the front man for the Clash, the spokesman for what the Voidoid’s Richard Hell called, at the time, “the blank generation” – will be seen in more subtle ways.

For starters, you weren’t going to see any maudlin Joe Strummer retrospectives on CNN, or hordes of hysterical fans wailing in a park somewhere, clutching candles whilst someone plays ‘White Riot’ on acoustic guitar. Nor would there be a rush by his estate to cash in with grubby compilation and tribute discs. Punk rock, you see, wasn’t merely apart from all that – it was against of all that.

Punk rock was a specific rejection of everything rock’n’roll had become in the 1970s – namely, a business: an arena-sized, coke-addicted, utterly-disconnected-from-reality corporate game played by millionaires at Studio 54. Punk rock, and Joe Strummer, changed all of that. They were loud, loutish, pissed off. They were of the streets, and for the streets. They wanted rock’n’roll to matter again.

I met Joe Strummer for the first time on the night of October 16, 1979, in East Vancouver. Two of my Calgary punk rock buddies, plus my girlfriend and I, were loitering on the main floor at the Pacific National Exhibition (PNE). We were exhilarated and exhausted. We had pooled our meager resources to buy four train tickets to Vancouver, to see Joe Strummer and the Clash in concert. Their performance had been extraordinary (and even featured a mini-riot, midway through). But after the show, we had no money left, and nowhere to stay.

The four of us were discussing this state of affairs when a little boy appeared out of nowhere. It was near midnight, and the Clash, DOA and Ray Campi’s Rockabilly Rebels had long since finished their respective performances. Roadies were up on stage, packing up the Clash’s gear. The little boy looked to be about seven or eight. He was picking up flashcubes left behind by the departed fans.

We started talking to the boy. It turned out he was the son of Mickey Gallagher, the keyboardist the Clash had signed on for the band’s London Calling tour of North America. His father appeared, looking for him. And then, within a matter of minutes, Topper Headon appeared, looking for the Gallaghers.

Topper Headon was admittedly not much to look at: he was stooped, slight and pale, with spiky hair and a quiet manner. But he was The Drummer For The Clash, and had supplied beats for them going back almost to their raw eponymous first album, the one that had changed our lives forever. We were in awe.

Topper asked us where we were from and what we thought of the show. When he heard that we had no place to stay, he said: “Well, you’d better come backstage with me, then.”

Sprawled out in a spartan PNE locker room, Strummer was chatting with lead guitarist Mick Jones and bassist Paul Simonon, along with some Rastafarians and a few of the Rockabilly Rebels. They were all stoned, and grousing about an unnamed promoter of the Vancouver show, who had refused to let them play until he was paid his costs. The Clash, like us, had no money. That made us love them even more.

Joe Strummer, with his squared jaw and Elvis-style hairdo, didn’t seem to care about the band’s money woes. While Mick Jones flirted with my girlfriend, Strummer started questioning me about my Clash T-shirt. It was homemade, and Strummer was seemingly impressed by it. I could barely speak. There I was, speaking with one of the most important rock’n’rollers ever to walk the Earth – and he was acting just like a regular guy. Like he wasn’t anything special.

But he was, he was. From their first incendiary album in 1977 (wherein they raged against racism, and youth unemployment, and hippies), to their final waxing as the real Clash in 1982 (the cartoonish Combat Rock, which signaled the end was near, and appropriately so), Strummer was the actual personification of everything that was the Clash. They were avowedly political and idealistic; they were unrelentingly angry and loud; most of all, they were smarter and more hopeful than the other punk groups, the cynical, nihilistic ones like the Sex Pistols. They believed that the future was worth fighting for.

The Clash were the ones who actually read books – and encouraged their fans to read them, too. They wrote songs that emphasized that politics were important (and, in my own case, taught me that fighting intolerance, and maintaining a capacity for outrage, was always worthwhile). They were the first punk band to attempt to unify disparate cultures – for example, introducing choppy reggae and Blue Beat rhythms to their music.

They weren’t perfect, naturally. Their dalliances with rebel movements like the Sandinistas, circa 1980, smacked of showy dilettante politics. But they weren’t afraid to take risks, and make mistakes.

Born John Graham Mellor in 1952 in Turkey to the son of a diplomat, Strummer started off as a busker in London, and then formed the 101ers, a pub rock outfit, in 1974. Two years later, he saw the Pistols play one of their first gigs. Strummer, Jones and Simonon immediately formed the Clash, and set about rewriting the rules.

While political, they also knew how to put together good old rock’n’roll. Strummer and Jones effectively became the punk world’s Lennon and McCartney, churning out big hits in Britain, and attracting a lot of favourable critical acclaim in North America. Some of their singles, ‘White Man in Hammersmith Palais’ and ‘Complete Control,’ are among the best rock’n’roll 45s – ever. Their double London Calling LP is regularly cited as one of history’s best rock albums.

After the Clash broke up, Strummer played with the Pogues, wrote soundtrack music and formed a new group, the world beat-sounding Mescaleros. He married, and became a father. But he never again achieved the adulation that greeted the Clash wherever they went.

Strummer didn’t seem to care. When I saw him for the last time – at a show in one of HMV’s stores on Yonge Street in July 2001, which (typically) he agreed to give at no cost – Strummer and his Mescaleros stomped around on the tiny stage, having the time of their lives. They didn’t play any Clash songs, but that was okay by us. Joe Strummer’s joy was infectious, that night.

As the gig ended, Strummer squatted at the edge of the stage – sweaty, resplendent, grinning – to speak with the fans gathered there. They looked about as old as I was, when I first met him back in October 1979. As corny as it sounds, it was a magical moment, for me: I just watched him for a while, the voice of my generation, speaking to the next one.

I hope they heard what he had to say.


The Ballad of the Social Blemishes, 40-plus years later

Forty-two years.

Forty-two years ago tonight, the Social Blemishes – me, Ras Pierre, Rockin’ Al and a few others miscreants – took to the makeshift stage in the gym at Bishop Carroll High School in Calgary for the first-ever performance of a punk band in our hometown. In all of Alberta, too.

We were opening for local luminaries Fosterchild, and we were terrible. But we were hooked: maybe this punk rock stuff would never win us fame or riches or groupies, but could there be any better way to alienate our parents, teachers and peers?  Nope.

And, besides: it was fun. Case in point: we even got our picture in the Calgary Herald, up above.  The guy on the far left (ahem) was John Heaney, who went on to be Rachel Notley’s Chief of Staff; beside him, Ras Pierre, now a multimillionaire engineer in Alberta (and my best friend, still); Yours Screwly, in shades, homemade Sex Pistols T-shirt and (seriously) a dog collar; Rockin’ Al, a standout stand-up comedian and performer; Allen Baekeland, later a famous Western Canadian DJ; Pat O’Heran, an award-winning Hollywood filmmaker; and, behind the skins, Ronnie Macdonald, another successful engineering technologist type, but in B.C.

Me and Ras Pierre would leave the Blems to form the Hot Nasties – and Al and Ronnie would go on to the Sturgeons or the Mild Chaps or Riot 303.  Along the way, one of the songs we wrote, Invasion of the Tribbles, was to be covered by British chart-toppers the Palma Violets. Another one, Barney Rubble Is My Double, ended up covered by Nardwuar and the Evaporators.  And Secret of Immortality was to be covered by Moe Berg of Pursuit of Happiness.  Not bad.

Anyway, because I’m going to taking a dirt nap any day now – or so says one of my sons, now the same age I was in that photo, up above – I’ve immortalized the Social Blemishes in Recipe For Hate and its sequels, New Dark Ages and the just-out Age of Unreason. Meanwhile, The Ballad of the Social Blemishes is a song about our departed-too-soon former manager, Tom Wolfe, and came out on Ugly Pop Records – the video, showing rare Blems footage, is here.

Forty-two years: I can’t fucking believe I’m so old.

The only solution is to continue acting like I’m seventeen.  

Gabba gabba hey!