The Clash was a constant contradiction. They were anti-establishment but they signed to a major recording label. The band kept the price of their records low but insisted on lavish tour accommodations. They were a rock band but it was a disco dance beat that brought them their greatest fame. They were punk but they were so much more than a four letter scene. And at the heart of this contradiction, undeniably, was Joe Strummer.

Resource: September.11th.2001

"…Country Music that the Punk Rockers are Going to Hate."

Popular music critics have hijacked American audiences. Heralding Bruce Springsteen's The Rising as the definitive response to September 11th within popular music, critics would have audiences believe The Rising accurately embodies the emotions felt by survivors and witnesses to last year's tragedy. Like near-sighted lemmings, the critics rushed to applaud The Rising, giving little attention to the work of other artists addressing 9/11, as if Springsteen ushered in a new era of musical social criticism or a more valid musical witness to 9/11. A form of cultural imperialism, this universal praise underlines the serious lack of diversity within circles of popular music critics. The manner in which critics praised The Rising serves to grant popular music a deceiving sense of accomplishment and dangerously conditions appropriate social responses to 9/11.

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