The only recording in circulation is incomplete with only 11 track's, the first and last incomplete and the songs crudely edited together between songs.
Its an audience tape that suffers from loss of clarity, some distortion, and the taper is well back from the stage. There are also some tape problems. The sound is dull with little range but its not awful by any means, with lead guitar coming through quite well. I have never seen fuller versions in circulation. Better sound than Santa Monica but its incompleteness makes it less enjoyable.
This has been know to turn up as Canadian FM recording but it isn't.
Video: Bo Diddley reminise
Bo Diddley talks about his experiences opening for the Clash on their 1979 US Tour. This interview took place in November 2002 at the Rock Nightclub in Maplewood, Minnesota.
Bo Diddley opening for the Clash At Ontario Theatre, Washington DC
"smashed the neck off my fuckin' guitar though, funny I used to hate bands that smashed their instruments"
Back on the bus again to the now defunct Ontario Theatre in Washington DC. Mick received a message saying Washington was the City of the Dead, evidence that the words were getting through to US audiences despite Joe stating otherwise in his sarcastic between song comments on this tour.
Mick thought it was a good gig "smashed the neck off my fuckin' guitar though, funny I used to hate bands that smashed their instruments". Mick had received shocks throughout the gig from his trusty Les Paul finally losing patience on London's Burning. The sceptical Allan Jones writing in Melody Maker witnessed the gig and wrote that Hate & War collapsed into chaos (little evidence of that here), City of the Dead "this one's for Sid" had rescued it, Safe European Home continued it but Police & Thieves was stumbling and ragged
Flyer
Pass, tickets
Flyer
Phil Demetrion - February 15, 1979. Ontario Theater, Washington DC. Bo Diddley opens for The Clash on their first American tour. (Photo by Phil Demetrion.) Facebook
The Ontario Theatre, Washington
The Ontario Theatre was a neighborhood theatre in the midtown business section. It opened November 1, 1951 with Ray Milland in "Rhubarb". It was originally operated by K-B Theatres as a first-run theatre. All seating was on a single floor. It was remodeled and reopened by the Circle chain back in 1985. I vividly remember that it was a rather grand affair, with spotlights above the city, when the theatre showed the 70mm presentation of "Lifeforce". The theatre still smelled of paint on the walls and seats as my friends and I took in the then state-of-the-art Kintek sound system and large screen. I saw "The Color Purple" at that theatre before it was abruptly shut down due to heavy losses. The theatre had no parking and was not really close to a Metro station to fill it capacity. It became a mom and pop retail shop, and was demolished in October 2013.
"I had the tremendous good fortune to see the DC show at the age of 17 and I was just completely blown away. I changed my college major. I went into radio then clubs and promotions. The show altered my life path. I think that at most 300 were in attendance. There was a crude merchandise stand up front selling buttons and t-shirts. It was snowing that night. I spent my gas money on a plain medium white t-shirt with the cover of GEER on the front and back. 8 dollars. The D-Ceats played their last gig opening for Bo who did a 17 minute version of Who Do You Love. The Clash came on to USA. I distinctly remember Mick snapping his les paul against the stage left amp stack.
Leaving the show I remember looking down at my feet on the show covered sidewalk at Ontario & Columbia RD NW just to check and make sure that I was still on terra firma. I *felt* as thought I was floating on air.
Young Punk met Old Punk at the Ontario Theater last night as The Clash and Bo Diddley tore the sold-out house apart
By Harry Sumrall, February 15, 1979 at 7:00 p.m. EST
Young Punk met Old Punk at the Ontario Theater last night as The Clash and Bo Diddley tore the sold-out house apart with two generations of rock 'n' roll.
The Clash are latest sensations in the world of punk, that riotously ridiculous form of music that refuses to die. Like all self-respecting musicians of their sort, their music was a droning mass of power chords, static rhythms and off-key ranting that was propelled by sheer energy and not much else.
Stumbling across the stage, dressed in tight black pants and greased-back hair, they were like visions from an earlier age of rock 'n' roll. What their set lacked in musicality, it more than made up for with excitement, but after awhile even too much excitement becomes a bore.
While Bo Diddley isn't exactly a punk himself, his music was a prototype for that style. The block-like chords and pounding beats of his classic songs had the crowd on its feet, yelling, "Hey Bo Diddley," along with the chorus. Dancing and strutting about, with his famous box-guitar, Diddley sang with a sense of freshness that has withstood a quarter-century of rock history.
They look like a latter-day version of the Dead End Kids and sound like the caterwauling of alley cats set against the crumpling of steel girders.
They are Nicky (Topper) Headon, Mick Jones, Paul Simonon and Joe Strummer, collectively known as the Clash. They are, if not the absolute last of the British punk bands, then certainly the last of any consequence.
The Clash has just completed a seven-city tour of the United States following the release of their first American album, "Give 'Em Enough Rope," including a sold-out show recently at Washington's Ontario Theater.
Given the Clash's popularity in England ("Give 'Em Enough Rope" entered the British charts at No. 2) and critical acclaim in the United States (including a favorable review of the album in these pages last month), an obvious question becomes what expectations the group has for achieving here the kind of popularity it enjoys abroad, something no punk group has been able to do.
"Pretty limited expectations," answered Strummer, lead singer, chief spokesman and, with guitarist Jones, author of the group's sometimes angry, sometimes ironic, often lyrically obtuse but always powerful songs of a world in confusion. Dressed offstage in a nondescript sport coat with a flower in the left lapel, over an open-collar knit shirt, with slick-backed black hair, Strummer looks the part of the quintessential British working-class anti-hero popularized in the Fifties novels of John Wain, Kingsley Amis and Alan Sillitoe.
No threat to the Bee Gees
"If you want to sell records, you have to be prepared to lick your way to the top, smile and shake hands," he continued. "None of us like that. So I don't think we can sell that many records in the United States. As far as being the next Bee Gees, forget it."
The Clash's show is not exactly designed to be ingratiating to a wider audience, either. At the Ontario, the group opened its straight-on attack with "I'm So Bored With the USA." The song off their first British album entitled "The Clash" rails against the evils of the exportation of American culture and politics.
The pace was frantic, with one high-energy song immediately following another and the best saved for last: a four-song encore that begins with "Julie's in the Drug Squad," arguably one of the best cuts on "Give 'Em Enough Rope" and one that proves that the Clash, and Strummer in particular, is capable of subtlety as well as bombast, and ends with the raw, angry "White Riot," a classic song of rebellion.
One of the more interesting aspects of the Clash tour was the presence of the near-legendary Fifties-rocker Bo Diddley as one of two opening acts. Musically, the similarities between Diddley and the Clash were striking; both emphasized spare, often frenetic guitar work. But where the lyrics to Diddley's songs are simple, often silly, those of the Clash are pointed.
"We went looking for him," Strummer said, explaining how Diddley came to be part of the tour. "It's a dream of a lifetime to be on a bus with Bo. It's like rolling the clock back. He's made so many great records. They're ones we're constantly listening to."
The burden of rebellion
Strummer said the members of the Clash began listening to Diddley after listening to groups like the Rolling Stones and the Who and then discovering "who they got their music from and black music." rockabilly
The Clash formed just after the Sex Pistols. Within a year, as the Sex Pistols degenerated, the Clash became Britain's pre-eminent punk band.
Bearing the burden of rebellion of British youth was bound to produce its own conflicts. Already there have been complaints in the British press that the Clash has lost a lot of its hard-toned edge on its second album, a criticism Strummer dismisses as spurious.
"The ones who saw us two years ago want to have something over the people who're discovering us now," he said.
That criticism hints at what would seem to be an essential artistic dilemma of punk rock: Can a group continue to define the world for an angry, frustrated underclass when its very success removes it farther and farther from those for whom its music is intended?
"How can we possibly be as hungry and lean as we were?" Strummer asked in mocking response. "I try and have at least one meal a day.
"Punk is not a limitation," he added. "It's merely a convenient word. When we go in a studio, anything goes, even if it comes from 30 trumpets."
In fact, though the Clash's songs suggest otherwise, Strummer professes to be less interested in making a political and social statement than he is in making music in his own mold.
"When you turn on the radio, where's the rock and roll?" he asked.
The Clash, from left: Mick Jones, Paul Simonon, Joe Strummer, Nicky (Topper) Headon. Not ready for prime time?
That leads back to the original question about the level of popularity the group's music can achieve in the United States.
"I think the fans in America are miles ahead of the radio programmers," Strummer said, suggesting the Clash could have more than a limited appeal if only given the proper airplay, a lament not restricted to punk groups.
Another theory is that the Clash may be ahead of America, that the rebelliousness that British youth find so appealing may not play so well here.
But that may change as good jobs here become scarcer and opportunity and affluence dwindle, leading today's prospective business administration major to become tomorrow's malcontent.
In the meantime, the Clash is proving a point for anyone who cares to look and listen. The point was made at the Ontario Theater, where a television crew came to film Bo Diddley and left before the Clash ever appeared. This came as no surprise to a representative from Epic Records, the group's label, who said, "I wouldn't even try and get the Clash on TV."
The point is, sometimes the best rock and roll is not always fit for prime time.
By Desson Howe - Staff Writer
Copyright 2002 The Washington Post
Joe Strummer wasn't Joe Strummer when I met him.
That was in the late 1960s, in England. He was John Mellor, a thin-lipped, sarcastic prefect sitting in his study. The younger students had big collective rooms for their homework. But prefects had private rooms, which they'd share with one or two senior colleagues. He was older than I was -- 17, I suppose. I was 11 or so, a new student at the City of London Freemen's School in Ashtead, Surrey, and a so-called "grub." I had been sent upstairs to summon him to "prayers," the boy boarders' nightly session of Our Fathers and so forth.
"It's prayers," I said, with no idea I had just transgressed the code. You never ran into a prefect's study unannounced. At this British private school, the prefects had an almost mullah-like presence. You had to do anything they told you, without hesitation. Some, I found to my distress, used that authority for physical and emotional cruelty. By blundering into his inner sanctum, I was asking for trouble.
Mellor looked up from his desk. Stared at the ridiculous "plebe" in school tie, short trousers and blazer before him. Curled his top lip and said: "Knock on the door, you crud."
I had to close the door and knock again. He waited a long time before telling me to enter. I opened the door and told him again.
"I bloody heard you the first time," he said.
Unlike the other prefects -- I can still see their dour expressions, pale skin, zip-up boots and pink shaving bumps -- Mellor had a fantastic, surrealistic and absurd sense of humor. And at the boarder gatherings, in which we stood in hushed, military lines before our housemaster, Mellor played to the gallery -- the grubs. We were so grateful. Prefects never gave us the time of day, except to beat us or force us to polish their shoes.
John Mellor was the one with the implied twinkle. Always playing pranks, mind games. Not as cruel as the others. Always funny. I suddenly remember that he once wore a T-shirt with a heart on it. It said: "In case of emergency, tear out." I never imagined how much it would hurt to think of that now.
"Howe, you're in for the high jump," he thundered one night, after catching me talking in the dormitory after lights out. I was shaking. Even Mellor could be like the rest of them, at times. This was going to hurt.
Solemnly, he made me stand in front of my bed. Withdrew a leather slipper from his foot and told me . . . to jump over my bed. End of punishment.
He used to make me sing the Rolling Stones' "Off the Hook." Every night. My voice hadn't broken yet. I sang it like a choirboy. ("Sittin' in my bedroom late last night," I squeaked.) It broke him up to hear my rendition.
He made me recite the names of the band members. Who plays bass? Bill Wyman, I told him. What about the drummer? Charlie Watts. Right, he said. Who's your favorite band? The Rolling Stones! Not the poxy Beatles.
In this POW camp of a place, John Mellor was my Hogan.
We had graduated by the late 1970s when we learned he had formed a group called the Clash and, even better, become punk rock's hard-sweating leader. And he'd changed his name to Strummer. Joe Strummer. What a laugh.
But what music he played! Bloody brilliant. Forget the Sex Pistols -- they were just a spitting, guitar-thrashing Kings Road gimmick. The Clash were the real kings. "London Calling" was, and remains, one of the great rock albums of all time. Come on. Sing with me now: "Rudie can't fail, oh-no!"
After he left school, I didn't see John for years. Although there was that surreal afternoon when he visited City Freemen's on "Old Boys' Day," wearing an afghan coat. He was under the influence of something. Just grinned at us, still geeks in our school uniforms. Did you see Mellor? We asked each other later.
My family immigrated to America in the 1970s, so I followed "Joe Strummer" along with the rest of his American fans. Formed a band in 1979 with my friend Ken Cobb, who had become a big fan of the Clash. One of our cover songs was "London Calling." Did the Washington audiences get it at Mr. Henry's of Tenley Circle, or the Reeks club? We didn't care. We played it anyway.
I talked my way backstage at a Clash concert in the late 1970s, when they played at the Ontario Theater on Columbia Road. There he was, with that curled lip again. He didn't seem to remember me that well. But he was gracious. And I met the other members of the band: Mick Jones, Paul Simonon, Topper Headon. Bo Diddley was walking around backstage as well. Thick fingers festooned with rings. Bloody hell, I thought. John Mellor's got Bo Diddley opening for him!
And then came the most meaningful reunion of all. It was just last October at the 9:30 club, when Ken and I went to watch Joe Strummer and his last band, the Mescaleros, kick off their American tour.
He played such sublime music from his latest album, "Global a Go-Go," a world-music-loving classic of its own. From the new album, the high point was "Bhindi Bhagee," a lovely song with South African-style lead guitar, about a bloke from New Zealand who comes to the singer's neighborhood searching for a restaurant that serves the quintessentially Brit dish, mushy peas. And he played almost every classic a Clash and Strummer fan could ask for.
I realized what was so great about his songs: He didn't care if they made sense. They were beautifully, achingly personal. You got him or you didn't. We got him, all right. And we were lucky enough to get backstage and meet him afterward.
Someone pulled a curtain back, and there he was again. Older. Wiser. And now he seemed to remember me. No more curled lip -- he was smiling. He'd taken off his shirt because he was so hot. We sat there with him for hours, just talking. Others came around too, including Ian MacKaye of Fugazi. And I realized in a palpable way, he wasn't my John Mellor. He was everyone's Joe Strummer.
With other well-wishers, we migrated to another room, drank and spoke about so many things. I told him everything I could remember about the old days at Freemen's. He laughed. Joked into my ear. Ken spoke to him, too. And he allowed us to be the cheesiest fans of all, repeating his lyrics back to him. Singing in that nasal Strummer voice. He enjoyed them with us.
Finally, it was time to go. Our wives probably thought we were dead. I handed Joe my card. He told me to visit him at his farmhouse one day. Beautiful countryside. Shame about the telephone towers. It wasn't going to happen, the visit. But it was a heady thought. I imagined seeing him at his front door, a straw in his mouth, Wellington boots on. Waving.
That's where he died Sunday. At home with his wife, Lucinda, and his three daughters. Whom I've never met. I can sense a powerful, silent wave of appreciation from fans around the world.
Maybe Ken and I will raise more than one single-malt whisky to Joe, to John, and to whoever or whatever he's become. We'll play the music, of course. Talk to other fans. That's what you do. I don't care if I don't go to another concert again, Ken said Saturday night, the night before John died. It'll be nothing compared with our night with Joe Strummer. Bloody well right, mate. Bloody well right.
Copyright 2002 by the Washington Post Company. All rights reserved. This article was published on Tuesday, December 24, 2002, on page C01.
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Never have I experienced what I experienced at that Clash show in 1979
"It was an explosive show - I was there right at the front of the stage and remember it well! Bo Diddley opened for them, as well as some friends of mine in a local DC band called the D.Ceats. Ahhh the good old days!
I have seen over 2000 concerts from 1977 to date. Classic bands, seminal bands - WIre Fall U2 REM, great zydeco, jazz and lounge - you name it. Nirvana the week Nevermind was released - you get the idea. Never have I experienced what I experienced at that Clash show in 1979. The energy, possibility, emotion and sheer sense of life itself emminating from the stage was without equal. They were the greatest live band of the past 40 years."
Tom Berard - I was at this show - 2/15/79. I was directly behind Nathan Strejcek. The chains attached to the back of his leather jacket were hitting me in the face as he pogoed up and down. Best night of my life.
John Klemann - Yep. I remember that!! I think Erick was working security.
Lisa Casson - Me too. I was security for green room. Nobody could get through our security team, we knew all of the tricks. LOL Great photos!!! Miss you much!
John Shipley - I was there and remember it well. My first sighting of the Clash.The weather was crappy, a mix of sleet & snow. My girlfriend drove us to the show. When I got there, I had to urinate as I drank beer on the ride from Towson State where we were attending.
When I went in the men's room to use an urinal, there was Joe about an urinal away. Too awestruck to say a word to him! Only thing that struck me then was he was short. Other than that, that show only crazed me for more of "The Greatest RnR Band In The World". Got the original poster & stub & backstage pass for that memorable concert.
Ear-splittingly loud, raucous, rearranging the fucking architecture of the Ontario Theater
Phil Demetrion - The Clash were just what we expected them to be: all white light, white heat, ear-splittingly loud, raucous, rearranging the fucking architecture of the Ontario Theater. As someone who had spent many nights at CBGB's in the mid-'70s, I felt at home in Washington for the first time.
Clarke Kelly- I think the DCeats stole that show. 1st time I saw Martha Hull. I still have a cassette of it(snuck a cassette recorder in). I loved the Clash, but they sounded much worse than their opening acts - all muddy distortion - and I have the tape to prove it.
A young Ian Mackaye and Henry Rollins were there
Andrew Strayler - Henry Rollins has talked to me about being at this show. A very influential experiance for him.
Patrick Curren - Was browsing the Washington Post just now and read an article that the Ontario Theater in D.C., Adams Morgan neighborhood, has been replaced with condos. Only time there was to see the Clash on their first U.S. tour, named the Pearl Harbor tour, for some reason. The late great Bo Diddley opened. An odd pairing.
Drove from Williamsburg in the black Gremlin with WCWM-FM buddy Susan Marquis for this show. Recall it was a kind of a dreary snowy day in Feb. 1979. Amazing show. Total hard core punk. Stayed over at her parents place in Virginia, maybe Falls Church, then drove back to the 'burg.
Know a bunch of 35mm negatives are stashed somewhere in my pix archives. Don't recall making prints. This is not my pic, but it shows the band around the same time. Always had great times with the wonderfully interesting and smart radio station girls. Delighted to be connected these days with four or five via Facebook. Patrick Curren | Facebook
Best concert I’ve ever seen.
Rex Vardeman - Saw them on that tour at the Ontario Theater in Washington DC. Best concert I’ve ever seen.
I snuck into the Clash's dressing room at the DC date of this tour
Dave Johnson - I snuck into the Clash's dressing room at the DC date of this tour. I got autographs from the band and Bo Diddley gave me this poster, but I was too young and stupid to get his autograph. [Pearl H]
Scott Pendleton - I saw that tour in DC at The Ontario Theater. Best I ever saw The Clash.
Dave Gonet - I saw the Clash and Bo on this tour. It was unbelievable.
Paul Nielsen - Bo Diddley was the 1st concert I ever went too took my girlfriend at the time we must have been the youngest people there 16 year olds he was brilliant.
Anthony Moriarty - It was the Pearl Harbour Tour '79 as i printed the tee's for it in London, Kamikazi Pilot on front & Aircraft Carrier explosion on the back. Joe Strummer Never Forgotten. RIP
@NICO9000 - I saw them for the first time on their first US tour in February 79 has gone down in history as a pivotal one for punk in the States. I was 19 when I first saw them, and it still stands in my top 10 of all time, along Springsteen, Nick Cave, and a few others. Such great memories!
Tom Berard - Mike Rep Hummel - I saw them on 2/15/79 in DC. Such an amazing show!!!!@rexvardeman521 - Saw the show from this tour at the Ontario Theater in Washington DC. They had Bo Diddley as the opener. Best show I’ve ever seen.
In Feb 1979 The Clash toured the US for the first time, taking along Bo Diddley as support, one of the greatest pioneers of American rhythm & blues and a Clash hero.
Diddley would recall an interview decades later that he found the volume and size of the band’s amp set up so loud that it left his ears ringing for days, ‘every generation has its own little bag of tricks’.
Joe Strummer remarked, “I couldn’t even look at him without my mouth falling open”.
By then, the band’s first album had reportedly sold 100,000 copies on import.
The six shows were billed as the ‘Pearl Harbour’ tour, and the group pulled no punches by opening their sets with the song “I’m So Bored With The USA”. The American audiences fell in love with them
Erik Bergman - Thanks to everyone who made today's #InternationalClashDay a huge success, particularly Council member Charles Allen who spearheaded the passage of the resolution declaring February 7, 2019 International Clash Day in Washington, DC!
The Clash chose to play The Ontario Theatre in Washington, D.C. on February 15, 1979, as the sixth show of their very first North American tour, and returned to The Lisner Auditorium on April 8, 1984, further endearing the band to a legion of fans that would go on to proclaim them “the only band that matters.”
The Clash inspired socially conscious bands such Bad Brains, The Pietasters, Teen Idles, Minor Threat & Fugazi to form in order to advocate for disadvantaged people in their city and
NOW, THEREFORE, BE IT PROCLAIMED BY THE MAYOR OF WASHINGTON, D.C.
THAT FEBRUARY 7TH 2019 IS International Clash Day
We encourage all residents to Rock the Casbah.
The Clash - Ontario Theatre 15 Feb 1979
Superb photos c.Peter Muise
The Clash Ontario Theater Washington DC 15 February 1979 Photo copyright Don Hamerman IG@dhpictures
Setlist
1
2
3
4
5
6
7
8
9
10
11
Guns on the Roof (edited)
Jail Guitar Doors
Tommy Gun
Drug Stabbing Time
Hate and War
City of the Dead
White Man
Safe European Home
English Civil War
Clash City Rockers
Stay Free (edited)
Extensive archive of articles, magazines and other from the Pearl Harbour Tour of the US, February 1979
by Johnny Green (Author), Garry Barker (Author), Ray Lowry (Illustrator)
Pearl Harbour Tour pg129
Vancover pg131
Seattle pg133
San Francisco pg134
Berkley pg138
Filmore pg139
Santa Monica pg140
Cleveland pg145
New York pg147
Johnny Green first met the Clash in 1977 and was their road manager for three years. Ray Lowry accompanied the band as official "war artist" on the second American tour and designed the ' London Calling' album cover. Together, in words and pictures, Green and Lowry give the definitive, inside story on one of the most magnificent rock 'n' roll bands ever.
Brixton Academy 8 March 1984
ST. PAUL, MN - MAY 15
Other 1984 photos
Sacramento Oct 22 1982
Oct 13 1982 Shea
Oct 12 1982 Shea
San Francisco, Jun 22 1982
Hamburg, Germany May 12 1981
San Francisco, Mar 02 1980
Los Angeles, April 27 1980
Notre Dame Hall Jul 06 1979
New York Sep 20 1979
Southall Jul 14 1979
San Francisco, Feb 09 1979
San FranciscoFeb 08 1979
Berkeley, Feb 02 1979
Toronto, Feb 20 1979
RAR Apr 30 1978
Roxy Oct 25 1978
Rainbow May 9 1977
Us May 28 1983
Sep 11, 2013: THE CLASH (REUNION) - Paris France 2 IMAGES
Mar 16, 1984: THE CLASH - Out of Control UK Tour - Academy Brixton London 19 IMAGES
Jul 10, 1982: THE CLASH - Casbah Club UK Tour - Brixton Fair Deal London 16 IMAGES
1982: THE CLASH - Photosession in San Francisco CA USA 2 IMAGES
Jul 25, 1981: JOE STRUMMER - At an event at the Wimpy Bar Piccadilly Circus London 33 IMAGES
Jun 16, 1980: THE CLASH - Hammersmith Palais London 13 IMAGES
Feb 17, 1980: THE CLASH - Lyceum Ballroom London 8 IMAGES
Jul 06, 1979: THE CLASH - Notre Dame Hall London 54 IMAGES
Jan 03, 1979: THE CLASH - Lyceum Ballroom London 19 IMAGES
Dec 1978: THE CLASH - Lyceum Ballroom London 34 IMAGES
Jul 24, 1978: THE CLASH - Music Machine London 48 IMAGES Aug 05, 1977: THE CLASH - Mont-de-Marsan Punk Rock Festival France 33 IMAGES
1977: THE CLASH - London 18 IMAGES
Joe Strummer And there are two Joe Strummer sites, official and unnoffical here
Clash City Collectors - excellent
Facebook Page - for Clash Collectors to share unusual & interesting items like..Vinyl. Badges, Posters, etc anything by the Clash. Search Clash City Collectors & enter search in search box. Place, venue, etc
Clash on Parole- excellent Facebook page - The only page that matters Search Clash on Parole & enter search in the search box. Place, venue, etc
Clash City Snappers Anything to do with The Clash. Photos inspired by lyrics, song titles, music, artwork, members, attitude, rhetoric,haunts,locations etc, of the greatest and coolest rock 'n' roll band ever.Tributes to Joe especially wanted. Pictures of graffitti, murals, music collections, memorabilia all welcome. No limit to postings. Don't wait to be invited, just join and upload. Search Flickr / Clash City Snappers Search Flickr / 'The Clash'
Search Flickr / 'The Clash' ticket
I saw The Clash at Bonds - excellent Facebook page - The Clash played a series of 17 concerts at Bond's Casino in New York City in May and June of 1981 in support of their album Sandinista!. Due to their wide publicity, the concerts became an important moment in the history of the Clash. Search I Saw The Clash at Bonds & enter search in red box. Place, venue, etc
Loving the Clash Facebook page - The only Clash page that is totally dedicated to the last gang in town. Search Loving The Clash & enter search in the search box. Place, venue, etc
Blackmarketclash.co.uk Facebook page - Our very own Facebook page. Search Blackmarketclash.co.uk & enter search in red box. Place, venue, etc
Search all of Twitter Search Enter as below - Twitter All of these words eg Bonds and in this exact phrase, enter 'The Clash'
Video Bo Diddley opening for The Clash
The Ontario Theatre was a neighborhood theatre in the midtown business section. It opened November 1, 1951 with Ray Milland in "Rhubarb". It was originally operated by K-B Theatres as a first-run theatre. All seating was on a single floor. It was remodeled and reopened by the Circle chain back in 1985. I vividly remember that it was a rather grand affair, with spotlights above the city, when the theatre showed the 70mm presentation of "Lifeforce". The theatre still smelled of paint on the walls and seats as my friends and I took in the then state-of-the-art Kintek sound system and large screen. I saw "The Color Purple" at that theatre before it was abruptly shut down due to heavy losses. The theatre had no parking and was not really close to a Metro station to fill it capacity. It became a mom and pop retail shop, and was demolished in October 2013.
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The Official Clash 
Clash City Snappers
