By the year 2015, any band that made the cover of NME in the Seventies will have been the subject of either a feature-length documentary (with commentary by Bono) or frontman biopic. As one to whom pop music and film both have both meant a great deal, I can’t understand how this arrangement benefits either medium, but it’s obvious there’s money to be made, and so the process goes on. And if you’ve already forked out for your ticket to Control and you’re still waiting on the Captain Sensible musical, you may as well take in a boogaloo eulogy to the Clash’s dearly-departed Joe Strummer in the new doc Joe Strummer: The Future Is Unwritten by Julien Temple.
There are new reasons to dislike the Clash every day. Their storied eclecticism has recently lent them to citation by such imminently annoying figures as the New Yorker’s Sasha Frere-Jones, in his expose of the “whiteness” of indie rock (sample quote, re: Eminem: “He had to be better than the local black competition simply in order to be accepted–a fascinating inversion of the racism that many blacks have encountered in the workplace”), and the hologram created by refracted blog hype known as M.I.A., who samples ‘Straight to Hell’ on a recent single. Click here to read the rest of Nick Pinkerton’s review of Joe Strummer: The Future Is Unwritten.