VINTAGE CLASH T SHIRTS : VINTAGE CLASH

Vintage clash t shirts : Music for the masses t shirt : Little miss sunshine t shirt.

Vintage Clash T Shirts


vintage clash t shirts
    t shirts
  • (t-shirt) jersey: a close-fitting pullover shirt
  • A T-shirt (T shirt or tee) is a shirt which is pulled on over the head to cover most of a person's torso. A T-shirt is usually buttonless and collarless, with a round neck and short sleeves.
  • (T Shirt (album)) T Shirt is a 1976 album by Loudon Wainwright III. Unlike his earlier records, this (and the subsequent 'Final Exam') saw Wainwright adopt a full blown rock band (Slowtrain) - though there are acoustic songs on T-Shirt, including a talking blues.
  • A short-sleeved casual top, generally made of cotton, having the shape of a T when spread out flat
    clash
  • Meet and come into violent conflict
  • Have a forceful disagreement
  • Be incompatible or at odds
  • clang: a loud resonant repeating noise; "he could hear the clang of distant bells"
  • collide: crash together with violent impact; "The cars collided"; "Two meteors clashed"
  • a state of conflict between persons
vintage clash t shirts - London Calling
London Calling
London Calling
Digipak reissue of 1979 album. 2003

Bursting at the seams with creative energy, the Clash's stunning 1979 double album more than made up for the artistic and commercial disappointment of its predecessor, 1978's tried-too-hard Give 'Em Enough Rope. With ex-Mott the Hoople producer Guy Stevens harnessing their sound as never before, the band yielded what proved to be the best work of their career. Bouncing from hard rock (the apocalyptic vision of the title track) to rockabilly ("Brand New Cadillac") to reggae ("Rudy Can't Fail") to pop (the Top 40 hit "Train in Vain"), the Clash knocked down all musical walls and, in the process, ended the argument over punk's viability in the U.S. --Billy Altman

87% (8)
The First and Last Time I Saw The Clash (in the USA) Part 3
The First and Last Time I Saw The Clash (in the USA) Part 3
I was watching a bootleg version of Don Lett’s documentary of The Clash “Westway to the World” and was getting these interesting pixilated glitches (image of Joe above) and it got me going on The Clash (again). Here in three parts (over the next few days) is my essay “The First and Last Time I Saw The Clash (in the USA)”. Also shown above the Sex Pistols 45rpm “Holidays in the Sun” (in "Westway to the World", Joe says that when he saw the Sex Pistols he knew his current band, The 101ers, was “yesterday’s papers”) and The Clash 45 rpm “London Calling” b/w “Armageddon Time” - - - - - - - - - - - - - - - - - - - - - - The First and Last Time I Saw The Clash (in the USA) Part 3 The police state is a provocation. Order must be maintained and the enforcers of order cannot be implicated in disorderly activity. The police should be a pillar, a finely defined distinction between order and chaos, which when you come to think of it, is not the same as distinguishing between right and wrong. To say America is a police state is a provocation (I have to make clear: I didn’t say that). But there always is a part of the state controlled by the police, the State Police. The trial we just witnessed shows the increments of abuse that snowball into a police state, a means that justifies an end, a desire for expediency that may ruin one or two lives. After all The Clash had come of age during the clamp down, during the Brixton riots, and Tory economics. You dressed like a punk, and even with your white skin, you asked for a hassle (Police and Thieves). They were on the tour bus now, heading for New York City and their media designated rendezvous with rock history. Boston was just a blur in the tour haze. And anyhow, it was Cambridge. I saw The Clash four more times, and the shows become similarly hazy, details seep in and out of view and are corroborated or refilled by fanzines and dedicated web sites. It’s a matter of getting close to the stage, close enough to the crackling fire to do the eardrums some healthy damage, of cramming into oversold obscure college halls outside of the city. My brother and I became the bouncers’ next victims. The Clash railed at the “Red Shirts” (red shirted bouncers). It’s a staged war, a culture clash. As I’m ejected from The Orpheum I get real close to the ear of my assigned tormenter and whisper, “ . . .. you’re starving for knowledge . . .”. All the categories are capitalized. But the limits of the definition are never clear. All trends aspire to a kind of purity where the adherents attempt to own their name, but some of the followers just want a bowl of rice or a transcendent moment, and ultimately have other fish to fry. The band wants to self-describe its sound, which is harder than finding a band name. The Clash. Which bin did you find them in? They were waiting for their moment, and it happened to come when the empire’s fabric was fraying. Why aspire to professionalism in an incompetent world? But they could never get away from the aspirations inherent in their emulation of Junior Murvin and Bobby Fuller. Should we find them all in the Pop racks? But certainly not in the Disco bin, which the Clash absorbed like dedicated listeners, unlike the other white guys in the skinny pants and spikey hair with black T-Shirts bearing white lettering that said, “Disco Sucks”. Wherever the message is leaking out, that’s what you should notice, in Samba or Schmaltz. Read the code and play in backwards, exactly what the record company doesn’t expect. But The Clash wanted to make exactly what record companies desire: good songs. And they were highly convincing performers. We have reached the end of the story, when the stress of success is pushing hard against the ideological and aesthetic underpinnings of the band, where the exhaustion of fighting for control of the production and the spent fuel of touring have all come to a head. They broke the power brokers’ barriers with the release of “Rock the Casbah”, but one day on the couch, with that record’s cover in my hands, I realized my own fatigue and disappointment. When I began, at the beginning of this story, all I had left was a few well-scratched 45rpms to measure my past. I resisted going back to the market place for my lost collection until “Janie Jones” had rattled through my head ten thousand time, and then I thought, “This is a Punk album”. What band knows what they are creating as it comes out of the cracks? You work too hard on the three-minute form, and the energy dissipates. You have to let it hit you idly (in the groove), scribbling lyrics at the last minute on a napkin on the train on the way to the recording studio. This is the moment you can’t plan for, when you create a stew that has the correct amount of salt and pepper; simple ingredients added nonchalantly. Just the way Joe sings on “Police and Thieves”, the song I couldn’t recognize at first, warping his pub shout to adapt to Dready, making it something
Worn By T-Shirt - Chinese - worn by Ian Dury
Worn By T-Shirt - Chinese - worn by Ian Dury
A poet, an actor, and legendary frontman of The Blockheads, Ian Dury's legacy lives on long after his death in 2000. Seen as one of the true originals to emerge from the punk / new wave scene of the late 70s. Dury's lyrics often include social commentary and political thought emphasised in this t-shirt which questioned whether communist China was a friend or foe? The shirt was also worn by fellow politcal activist, Clash frontman Joe Strummer. This vintage style t-shirt was handmade in Europe from the finest 110gsm cotton and reverse printed for a super-soft vintage finish. All Worn By garments are sweatshop free, ethically sourced and imported by sea in an effort to reduce our carbon footprint.

vintage clash t shirts
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