In the desolate depths of the mid-1970s, characterized by stagnation and despair, a new musical movement referred to as Punk rock blossomed, akin to a fresh rose; while its fiery petals captured the attention of the frustrated and disillusioned British youth, its thorns ruthlessly challenged the hegemonic music industry and societal norms of the time. Cynically, the more popular it became, the more the initial proponents of this anarchic message were engulfed by the same greedy system they
once opposed. In spite of that, one band mightily resisted stardom’s power to dehumanise: The Clash. This group of musicians managed to deconstruct the corrosive influence of capitalism through their
exemplary treatment of their fans and the content of their lyrics, which offered a transformative vision for a more just and equitable society. By employing a plethora of literary devices like imagery throughout their songs “Lost in the Supermarket,” “Career Opportunities,” “Rock the Casbah,” and “(White Man) in Hammersmith Palais,” the band authentically fueled the imagination and aspirations of many listeners.

Rightfully so, the first Clash song that comes to mind when discussing consumer culture, conformity, and the loss of unique identity in a world dominated by mass media is “Lost in the Supermarket.”
Its poignant and satirical lyrics tell the story of a character who feels disconnected from an increasingly commercialised reality. Indeed, a tone of disorientation is set promptly by the opening line “I’m all lost in the supermarket.” The rest of the chorus unveils the protagonist’s grim internal dialogue, flooded with criticism of the emptiness and superficiality of materialistic pursuits. No longer can he derive pleasure from shopping since he’s realized that his personality and self-worth have been hijacked by the shallow accumulation of consumer goods. The choice of setting by Joe Strummer is brilliant; the aforementioned supermarket is both a metaphor for modern life, full of consumer-driven artificiality covered up by special offers promising perfection, and an allusion to an actual store that Strummer encountered during his stay in a noisy high-rise. In the first verse, hinting at his own alienated youth in the suburbs, he traps the protagonist behind a blinding hedge, which serves as a symbol of the isolating effects of consumerism on the character. Unable to reach out to other individuals who also feel unheard in this
fictitious yet accurate capitalist society, he is left with no other choice but to “empty a bottle” in order to feel “a bit free.” Combined with the lines,“I wasn’t born so much as I fell out/ Nobody seemed to notice me,” Strummer communicates his own feelings of namelessness and facelessness in a world full of artificiality and conformity.

Slightly less obvious, “Career Opportunities” is another Clash song that employs imagery to convey critical perspectives of capitalism and consumer culture. All in the name of a more unprejudiced society, its listeners are encouraged to question and challenge the status quo, as well as reject pressures to conform to societal expectations. Right off the bat, The Clash critique the political and economic climate in 70s Britain, citing the scarcity of jobs available and the menial and dreary nature of those advertised to young people. Bus driver, ticket inspector, or someone who makes tea at the BBC – the lowest paid position at the broadcasting organisation – do not come across as enviable careers or fulfilling opportunities. Rather, they were desperate attempts by the establishment to lower unemployment figures and keep as many people as they could “out the dock,” meaning out of trouble. Thus, the chorus
controversially asserts that dead-end jobs are a form of control with the purpose of diverting the population’s attention away from questioning the systemic inequalities and power structures inherent in capitalist societies. Although these lyrics might not initially appear to be connected to consumer culture, it is important to bear in mind that the foundations of capitalism, such as the maintenance of competitive prices or the fulfillment of consumer demands, rest upon these hopeless positions. Lines
like “They’re gonna have to take away my prescription/If they wanna get me making toys” evoke an image in the listener’s mind of dissatisfied factory workers dedicating their lives to the production and consumption of goods they can never afford. The song ends by introducing the concept of a career that is “never gonna knock,” meaning an opportunity that won’t be handed to anyone, and for which the proletariat will have to fight like never before. It will have to entirely reject being reduced to a mere cog in the capitalist machinery and instead work towards an equitable society that goes beyond material wealth.

Doubling down on the idea that the achievement of a just society is within reach so long as the people collectively resist the enticements of excessive materialism motivated by capitalism, Joe Strummer insisted in an episode of his radio series London Calling that although greed is not going anywhere any time soon, uplifting the essence of humanity in this world is more than feasible. After all, “without people, you’re nothing.” This sentiment is repeated in a Clash song named “(White Man) in
Hammersmith Palais,” where the band critiques consumer culture and the commodification of rebellion. Very explicitly, the line, “Turning rebellion into money” warns Punk rock fans against the tendency of
influential music moguls and other capitalist conglomerates to co-opt counterculture movements for profit. More on the topic of equity, the band uses imagery throughout the verses to specifically discourage the white youth involved in music at the time from fighting with each other for meaningless causes such as “a good place under the lighting,” and instead employ the Punk ethos as a way to bring the government’s attention to the issue of economic inequality. However, their song “Rock the Casbah” foreshadows what can happen if the population puts too much trust in the ruling capitalist authority. Indeed, in societies driven by insatiable consumption, corporations represent a sly threat to democratic
decision-making, since they wield significant economic and political influence. Thus, Strummer urges fans all over the globe to protect Punk music from censorship, as Combat Rock is a uniting force and can cross all sorts of cultural divides. Through the caricatural image of an unjust Sharif banning “that boogie sound,” he pokes fun at authoritarianism and its inability to ever fully eradicate politically-charged songs, powerful weapons in the musical war for a more just and equitable society.

In conclusion, The Clash utilised many of its songs as canvases to paint a critical image of consumer culture and capitalism, all while decorating them with multiple literary devices. Whether it be a vivid portrayal of the alienation caused by the commodification of one’s identity in “Lost in the Supermarket,” a call to action to fight for a society that strives for more than material wealth in “Career Opportunities,” a criticism of the ignorant pursuit of fame in “(White Man) in Hammersmith Palais,” or a passionate caution against censorship in “Rock the Casbah,” the band certainly made their commitment to promoting a transformative vision for a more just and equitable society clear.

Works Cited

Strummer, Joe. “Joe Strummer – “Without People, You’re Nothing” (Official Audio).” YouTube, uploaded by Joe Strummer Official, 27 March 2020, https://www.youtube.com/watch?v=cckNE1kBagw

The Clash. “Career Opportunities.” The Clash. CBS, 1977. Transcript of lyrics.

The Clash. “Lost in the Supermarket.” The Clash. CBS, 1979. Transcript of lyrics.

The Clash. “Rock the Casbah.” The Clash. CBS, 1982. Transcript of lyrics.

The Clash. “(White Man) In Hammersmith Palais.” The Clash. CBS, 1977. Transcript of lyrics.