#white man in hammersmith palais

[page-28]

#white man in Hammersmith palais #the clash

[rastronomicals]

5:18 PM EDT April 8, 2024:

311 - "White Man In Hammersmith Palais" From the tribute album   Burning London: The Clash Tribute (March 16, 1999)

Last song scrobbled from iTunes at Last.fm

#311 #Burning London: The Clash Tribute #White Man In Hammersmith Palais

[hateful1979]

okay update on the open mic i think i'm forcing myself to go and i've got 3 songs lined up so 😍😍

#i couldn't sleep last night thinking about it so i might as well get it over with to get myself to stop thinking about it 🙈🙈🙈🙈 #gonna play white man in the hammersmith palais by the clash then violet by hole then where did you sleep last night covered by nirvana #🙈🙈🙈🙈🙈🙏🙏🙏🙏🙏🙏🙈🙈🙈🙈🙈🙈🙈🙈🙈 #feeling silly (my brain is overdosing me with adrenaline) #izzie.text

[punkrockhistory]

45 years ago today

(White Man) In Hammersmith Palais" is a song by the English punk rock band the Clash,originally released as a 7-inch single, with the b-side "The Prisoner", on 16 June 1978

#punk #punks #punkrock #theclash #history #punkrockhistory #otd

[wamnak]

The Clash “The Clash (US Version) 1977/1978

Foundational music for me right here. If you stopped me and checked what I was playing on my Walkman at school in 1987 and 1988 more than likely this is what was listening to. This band, Joe Strummer in particular, probably had as influence on me as my parents! Definitely the roots of my love Jamaican music come from here. I don’t play as often as I should these days but I still I know every nuance in these recordings.

#the clash #Spotify #come for the punk rock stay for the reggae

[theclasharchives]

the clash playing (white man) in the hammersmith palais on their pearl harbour tour of 1979 at rex danforth theatre in toronto

#the clash #punk #uk punk #70s punk #classic punk #joe strummer #paul simonon #mick jones #topper headon #new wave #70s #80s #punk aesthetic #rock music #1979 #audios

[odk-2]

The Clash - I Fought the Law (1977) Sonny Curtis from: “I Fought the Law” / “(White Man) in Hammersmith Palais” (US Single) “The Cost of Living” (EP) "The Clash” (US LP)

Punk | UK Punk | Punk-Pop Crickets Cover | Bobby Fuller Four Cover

JukeHostUK (left click = play) (320kbps)

Personnel: Joe Strummer: Lead Vocals/ Rhythm Guitar Mick Jones: Lead Guitar / Backing Vocals Paul Simonon: bass / Backing Vocals Topper Headon: Drums

Produced by Bill Price / The Clash

Recorded: @ The Wessex Studios in London, England UK 1979

Single Released: on May 11, 1979 CBS Records

"The Clash" Album Released: on July 26, 1979 (US Version) Epic Records

#Sonny Curtis #I Fought the Law #The Clash #Joe Strummer #UK Punk

[0rph3u5]

The Clash   Safe European home 

I was at Rex Danforth Theatre concert in 1979, Toronto’s east end, sadly the photos didn’t survive one of my moves, lost the negs and prints in 1985.

the set list

I'm So Bored With the U.S.A.

Guns on the Roof

Jail Guitar Doors

Drug-Stabbing Time

Tommy Gun

City of the Dead

Career Opportunities

Clash City Rockers

(White Man) In Hammersmith Palais

English Civil War

Stay Free

Police and Thieves (Junior Murvin cover)

Capital Radio

Janie Jones

Garageland

(White Man) In Hammersmith Palais

Julie's Been Working for the Drug Squad

Complete Control

London's Burning

White Riot

[is-she-suffering]

8 April 2000 -Telegraph Magazine

Disturbed and disturbing, Katie Jane Garside fronted the band Daisy Chainsaw, prophesied the end of the world - and then disappeared. Seven years later she’s back, ready to shock again.

QUEEN ADREENA were on stage for only half an hour or so. The audience at London’s Hammersmith Palais had come to see Bush and the collected youths did not know what to make of this support act. It’s lead singer, Katie Jane Garside, is thin, provocative and confrontational. She has uncut Miss Havisham hair and wears pervy Victorian underwear. Twisting and squirming in the dark, often screaming, often prostrate, often turning her back to the audience, she is a performance artist rather than some chart-lipsticked Everywoman. Sexual in a very weird way, she looks as if she is lap-dancing in a gas-chamber. The blokes stare in disbelief. They shuffle about. Then, as the mike goes between her legs, they jump up and down.

Backstage afterwards the band squash into one of those huddles of Marlboro Lights and flushed analysis. There is a sign saying that CCTV is in operation and anyone taking drugs will be handed over to the police immediately. Orson, the bass guitarist, is wearing a long burgundy evening dress and complaining that his shoulder hurts because he fell off his horse. In Surrey. Very rock'n'roll. An individual wearing a jacket which looks as if it was made out of Wombles turns out to be Katie Jane’s boyfriend. She points to a huge man wearing black lipstick.

“That’s Billy Freedom,” she says. “He’s one of the weirdest people I have ever met.”

The lead guitarist, Crispin Gray, turns up. All eye-shadowed and Glam, Gray is from Islington and both his parents were West End actors. He understands theatre and has worn make-up for years, though not so much when he was signing on because he couldn’t face the hassle in the dole office.

“Quite a lot of girls seem to be attracted to the band and I’m sure it is because of Katie rather than me,” he says modestly. “Most guitar bands are still fronted by tough rock chicks trying to beat men at their own game, but Katie is not trying to be tough and I think girls like that.”

Katie Jane, ripped stocking, long lace bloomers, shoes that she has dyed herself, drinks quite a lot of red wine from the bottle and agrees that yes, she has come a long way since the days that she drilled babies’ heads

She used to shave her head. In 1992 she went around as Daisy Chainsaw, a short-lived, explosive act distinguished by the dramatic theatre of self-battery. In seizure to a megaphonic fuzz of electric guitar, she sang I Feel Insane and other loud angry songs coloured by dervish dancing and props - a doll, red paint, stained wedding dresses, wigs and dead flowers.

Those who went to see her perform in Deptford pubs described a grimy child-woman convulsing to ‘grandcore punk riffs’, and quoted scenes of fury. “I hit Crispin and he beats the shit out of me,” she said at the time. “Once he smashed me against a wall and I played a gig with blood running down my face.”

Daisy Chainsaw were managed by an ex-punk named Jason and they did pretty much as they pleased, turning down Glastonbury, Top of the Pops and advances from Madonna’s label, Maverick. “I think Katie is psychotic,” the bassist once said. “She lives through her emotions rather than her brain.”

She was accused of manufacturing her madness in order to merchandise pain, a useful pop trick subsequently deployed by Alanis Morissette et al. But Alanis is acceptable: she likes lipstick, takes a bath and conforms to the dreadful truth that a haircut can make you happy. Katie Jane is more unfathomable than this; she has no labels.

Pressed to explain herself she came up with a range of disparate theories founded on a basic witchy eccentricity that deviated into an offbeat belief system. She took on everything from white magic to David Icke, the former spokesman of the Green Party who announced that he was the Son of God.

“People can laugh,” she said at the time. “But I always realised the insignificance of role-playing and he gave me the courage to stand up for my convictions.”

In essence, she wanted to break down conditioning and communicate some of the terror and disillusion that we all feel. She enacted ugly sadness. Most of all, though, she was a fatalist. She did not think about where she would be when she was 30 because, she said in 1992, the world was due to end in 1998.

Daisy Chainsaw were not commercial and in 1993 they split up. The world did not end and now Katie is 30. She went away for five years, had a nervous breakdown, and now she’s back.

“I had worked really hard for a long time and given too much away. When I look back, Daisy Chainsaw represented a bottleneck of desperation and that is why it came out in such violence.”

The climate is different now. In 1992 the queens of the scene were L7, Babes in Toyland and Courtney Love’s Hole. They were linked by defiant unprettiness, crashing guitars and a Riot Grrrl wildness. But the backdrop was middle-class. Some of them had been high-school cheerleaders; Courtney Love arrived from suburban America.

The contradictions between the rockstar on stage and the real person who created the image caused insoluble tension, and one which arguably destroyed this genre. L7 disappeared; Hole simply sold out. There are no wild women now. No one dares to be odd or to flout the diktats of traditional beauty because they know it won’t get them on magazine covers. That is why Katie Jane is important. She is difficult to manipulate and difficult to package and thus encourages healthy deviance from the universal definitions of 'normality’.

In 1992, Katie Jane signed on, drove her 'patchwork’ Mini on a ley line from Cornwall to Norfolk, recorded the wind on DAT, mucked about with a musician from Test Department (a cutting-edge industrial band), stayed in a haunted house, did some group therapy, had visions, nearly went mad, but avoided prescription drugs.

“The doctor told me that, emotionally, some people have a football pitch and some people have a rocky landscape. I chose to stay with the rocky landscape. It was what I was born with.”

You have to trust nature, she believes. “I don’t think psychotherapy works. It simply creates a new set of crutches.”

She laughs and tells a story about the afternoon she was sitting in the hollow of a tree and all these blue tits flew around her in a huge flock. Very strange things have always happened to her. “I do hear voices,” she admits. “But it’s not a regular thing.”

Her life is full of entities and strange synchronicity. There is a Zulu warrior that watches out for her - “I have seen his face,” she says. She could be psychic or she could simply be someone who looks at a lot of different ideas, feels everything and understands empathy.

One day, a year or so ago, she was walking down a street in Belsize Park and ran into Crispin Gray. They had not seen or spoken to each other since the Daisy Chainsaw days. He had tried to run the band without her and it had not worked. They needed a singer. “It did not end properly,” he says. “And I knew it wasn’t over.”

Katie Jane re-entered the music business in her own inimitable way. One meeting with a record company executive was staged on Hampstead Heath.

“There is a beautiful undergrowth bit,” she says. “My friend Louise led him to this clearing. Then we stood there and did a cappella. I said nothing and he gave me a big lump of money.”

So now they are back with a manager, an agent and a public relations company. Their name, Queen Adreena, arose from Katie’s dream about a warrior queen. Later, looking in a book by Annie Sprinkle (a porn star/performance artist) she noticed that 'Queen Adrena’ was the name of a legendary Californian dominatrix.

There is a new album, Taxidermy, and a CD-ROM of their new songs played to complement a black and white film made by Martina Hoogland-Ivanow, a 25-year-old photographer/director.

Katie Jane Garside grew up in Salisbury, the child of an army background. When she was 12 her father announced that the family were going to live on a 33ft yacht. The sailed around the world for four years. As teenage girls, Katie Jane and her younger sister, Mel, saw deserted islands, ate meals out of tins and disappeared into the realms of imagination.

Finally, they ended up near Poole where Katie attended a rough state school. She was beaten up for many things, but mostly because she had very small bosoms, a memory which transmuted (as these things do) to become a part of her work.

At 17 she arrived in London, penniless but determined. Then she met Crispin Gray when she answered an advertisement in a music paper, and her professional life, from then on, was about working with him.

The voyage around the world had left her feeling different and displaced. She was left with a love of the ocean, and indeed all places that allow a person to be alone. She is still displaced. When you ask her where she lives she says she doesn’t really know. She has lived in a lot of places. She wanders around in her thrift-store chic, with a battered brown leather suitcase containing all her possessions, her pale flesh bruised from falling around on stage. There is an atmosphere of acceptance around her. She will end up where she ends up.

“You might become a major rock icon,” I say, thinking this would be a good thing.

She smiles. “That would be a funny place to be.”

Jessica Berens

#queen adreena #interview #2000 #taxidermy

[erenaeoth]

🎶✨when you get this, list 5 songs you like to listen to, publish. then, send this ask to 5 of your favorite followers🎶 hiiii i want to see more of your Music

lex how can you do this to me when i gave u a 100 song playlist of my fave tunes

here are probably my favourite songs:

Celebrate the Bullet - The Selecter

White Man in Hammersmith Palais - The Clash

Target Practice - Asian Dub Foundation

One - Metallica

Gaddaar - Bloodywood

some honorouable mentions:

Autonomy - The Buzzcocks

Armagideon Time -The Clash

Warhead - UK Subs

Roots - Sepultura

Bastard Coppers - The Filaments

Blood on My Hands - The King Blues

Speed of Light - Asian Dub Foundation

Immigrint Punk - Gogol Bordello

Zumbul - Kultur Shock

i'll put some song links under the cut

#music i love #asks

[rastronomicals]

6:31 AM EST December 13, 2023:

311 - "White Man In Hammersmith Palais" From the tribute album   Burning London: The Clash Tribute (March 16, 1999)

Last song scrobbled from iTunes at Last.fm

#311 #Burning London: The Clash Tribute #White Man In Hammersmith Palais

[writteninscarlet]

For the mun, what songs have you been listening to lately?

unprompted asks ;; always accepting

Ooc;;

see this is bad timing because i’ve shuffled my music because i’ve been doing chores and bits and pieces so… like, my music taste is all over the place and I’m just gonna list some of the last songs that have come up. but for real, judgement free zone…

so there was ‘yes sir, i can boogie’ the fratelli’s version, because go scotland! we’re shite but proud!

‘white man in hammersmith palais’ by the clash because… i dunno. the last lines hit hard. i dunno.

‘dead girl walking’ from the heathers musical. I’ve sang along to candy store recently too.

‘i’m like a lawyer…’ from fall out boy.

then the real judgement song…. ‘scotty doesn’t know’, lustra.

and i’m done thank you. but this is just a very small snapshot of my playlist i swear I have other things. for sure.

[longliverockback]

The Clash The Story of the Clash Volume 1 1988 CBS ————————————————— Tracks LP One: 01. The Magnificent Seven 02. Rock the Casbah 03. This Is Radio Clash 04. Should I Stay or Should I Go 05. Straight to Hell 06. Armagideon Time 07. Clampdown 08. Train in Vain 09. The Guns of Brixton 10. I Fought the Law 11. Somebody Got Murdered 12. Lost in the Supermarket 13. Bankrobber

Track LP Two: 01. (White Man) in Hammersmith Palais 02. London’s Burning 03. Janie Jones 04. Tommy Gun 05. Complete Control 06. Capital Radio One 07. White Riot 08. Career Opportunities 09. Clash City Rockers 10. Safe European Home 11. Stay Free 12. London Calling 13. Spanish Bombs 14. English Civil War 15. Police & Thieves —————————————————

* Long Live Rock Archive

#TheClash #The Clash #Terry Chimes #Topper Headon #Mick Jones #Paul Simonon #Joe Strummer #The Story of the Clash Volume 1 #The Story of the Clash #Compilation #Punk #1988

[r0b0tb0y]

the size of the dog in the fight: playlist

borrowing heavily from many Guy Ritchie soundtracks, here's what I've had on repeat for the past month:

That's Entertainment - The Jam

What Do You Want From Me - Monaco

Ever Fallen In Love - The Buzzcocks

The Only One I Know - The Charlatans

Friday I'm In Love - The Cure

Damaged Goods - Gang of Four

What Difference Does It Make - The Smiths

Animal Nitrate - Suede

Coffee & TV - Blur

Pumping On Your Stereo - Supergrass

19-2000 (Soulchild remix) - Gorillaz

No More Heroes - The Stranglers

Girls & Boys - Blur

Disco 2000 - Pulp

Bitter Sweet Symphony - The Verve

Message In A Bottle - The Police

Just - Radiohead

Ghost Town - The Specials

Suffragette City - David Bowie

(White Man) in Hammersmith Palais

Crimson Moon - T. Rex

Angel - Massive Attack

The Rip - Portishead

Push It - Garbage

A Girl Like You - Edwyn Collins

Hush - Kula Shaker

Children of the Revolution - T. Rex

Love Will Tear Us Apart - Joy Division

Twisted - Skunk Anansie

Two More Years - Bloc Party

Roads - Portishead

Golden Brown - The Stranglers

Man Machine - Robbie Williams

I Can Dream - Skunk Anansie

Connection - Elastica

Close To Me - The Cure

Common People - Pulp

Hundred Mile High City - Ocean Colour Scene

Fuckin' in the Bushes - Oasis

Song 2 - Blur

Tubthumping - Chumbawamba

Hold Tight ! - Dave Dee, Dozy, Beaky, Mick & Titch

Spitfire - The Prodigy

Inertia Creeps - Massive Attack

Rock & Roll Queen - The Subways

Destroy Everything You Touch - Ladytron

#the size of the fight in the dog #or; a select history of britpop #spotify has my Whole Civilian Name on it so you gotta go make your own <3

[wamnak]

Joe Strummer left the world twenty years ago today. It would be safe to say that starting from the time I was in seventh grade that no person that I’m not related to has had more of an influence on who I am and how I approach the world than he has. I missed his last US tour thinking I’d catch him the on the next one. That was a mistake I’ll forever regret.

#joe strummer and the mescaleros #joe strummer #the 101ers #the clash #punk rock #punk rock warlord #1952-2002 #Spotify

[johnpeelsession]

#Spotify