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photo & text by nacrowe
the standalone graphic novel JUST SO HAPPENS (ABRAMS COMICARTS, 2015) authored and illustrated by FUMIO OBATA is an interesting examination of how one's sense of identity and rootedness is transformed when navigating two cultures. in this case the main protagonist is a young JAPANESE woman named YUMIKO who works for a LONDON design firm and is engage to a ENGLISHMAN when she returns to JAPAN for the funerary rights of her recently deceased father. being the daughter of divorced parents and a stridently independent mother who left to pursue her educational goals and a career as an literary intellectual, YUMIKO is caught between traditional JAPANESE cultural prescriptions of passive femininity and the empowered WESTERN model of the self-sufficient woman.
in a sense she sees the benefits of both. this appreciation is seen through the visual metaphor of classical NOH THEATER, which finds a masked actor following her in her dreams. this deeply traditional style of drama, much like other JAPANESE pursuits, is intensely formal to the point that all GESTURES, POSTURES and MOVEMENTS have been passed down for generations upon generations. in fact, the formal elements of these performances are so entrenched that they subsume any sense of ego or expression on behalf of the actor. going through the motions of participating in the traditional JAPANESE BUDDHIST funerary rites regarding her father, there is an implied connection to this sense of extinguishing the ego. these rituals are not about satiating the needs of the living. they are about continuing a pattern, fulfilling an expectation. FUMIKO seems to learn that there is comfort in the formal procedures and rituals not only associated with death, but with life as well. having worked in YOKOHAMA myself for a year teaching LITERATURE at a private secondary school, i think it is quite impressive how OBATA is able to identify and explore this point of tension between EASTERN and WESTERN culture. i remember how seemingly difficult it was to navigate a culture where everyone was so impeccably polite. they werent being INAUTHENTIC, but there always seemed to be this distance. that is until there wasnt. i got the sense that once my JAPANESE peers realized that i was respectful of their culture and embraced the formal elements of their behavior (which is an adjustment for a WESTERNER), it was only then that i found myself joking with people. it was an interesting experience and something i often think about. growing up as a THIRD CULTURE KID, you are perennially stuck between multiple worlds, multiple modes of being and understanding life. i'm still navigating it even when on "home" soil. its still an adjustment much like it is for YUMIKO when bridging ENGLISH and JAPANESE culture. i thoroughly enjoyed this graphic novel and recommend it immensely. 
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join us TONIGHT at 8PM EST for an all new episode of DEER GOD RADIO on MAKERPARKRADIO.NYC with a playlist celebrating metal gods JUDAS PRIEST!
past episodes of DEER GOD RADIO as well as other MAKERPARKRADIO.NYC shows like MAKE HER SPACE, NOWHERE FAST, THE SYNTHESIZER SHOW and CLASSICAL-ISH WITH NUTMEG are available here at the DEER GOD website. and if you haven't done so already get the FREE PHONE APP for IOS/ANDROID and enjoy listening to MAKERPARKRADIO.NYC 24/7 at your convenience! 
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join us TONIGHT at 10PM EST for an all new episode of DEER GOD RADIO on MAKERPARKRADIO.NYC with a playlist that explores the influential HIP HOP / R&B / INDIE ROCK / FUNK music that has come out via the iconic indie label STONE THROW RECORDS over the years.
past episodes of DEER GOD RADIO as well as other MAKERPARKRADIO.NYC shows like MAKE HER SPACE, NOWHERE FAST, THE SYNTHESIZER SHOW and CLASSICAL-ISH WITH NUTMEG are available here at the DEER GOD website. and if you haven't done so already get the FREE PHONE APP for IOS/ANDROID and enjoy listening to MAKERPARKRADIO.NYC 24/7 at your convenience 
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click HERE for the latest episode of THE NOWHERE FAST SHOW on MAKERPARKRADIO.NYC as host TOM FERRIE presents an ALL (MOSTLY) VINYL playlist on what must bet the first day of spring in STATEN ISLAND!
past episodes of THE NOWHERE FAST SHOW as well as other MAKERPARKRADIO.NYC shows like DEER GOD RADIO, MAKE HER SPACE, THE SYNTHESIZER SHOW and CLASSICAL-ISH WITH NUTMEG are available here at the DEER GOD website. and if you haven't done so already get the FREE PHONE APP for IOS/ANDROID and enjoy listening to MAKERPARKRADIO.NYC 24/7 at your convenience! 
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sometimes you come across something that feels like both an extension and an innovation from what youve heard before. MDOU MOCTAR plays a hypnotically, percussive style of electric guitar that is deeply rooted in the TUAREG culture of his native NIGER. to my ears it sounds reminiscent of music i heard when living in KUWAIT and traveling throughout the MIDDLE EAST and parts of NORTH AFRICA. i dont know if it is the scales being used or the rhtyms, but MDOU MOCTAR inexplicably has somehow melded his ethnic music traditions with what could pass for INDIE ROCK. it is quite striking.
its interesting and entirely original and i invite anyone and everyone to check out the music MDOU MOCTAR. 
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check out HERE this recent streaming video episode of DEER GOD RADIO showcasing VOLUME 2 of all the bands i've been writing about on the CHECK OUT THIS BAND section of the DEERBLOG. enjoy. if you're interested here is a link to VOLUME 1.
​ ​past episodes of DEER GOD RADIO as well as other MAKERPARKRADIO.NYC shows like MAKE HER SPACE, NOWHERE FAST, THE SYNTHESIZER SHOW and CLASSICAL-ISH WITH NUTMEG are available here at the DEER GOD website. and if you haven't done so already get the FREE PHONE APP for IOS/ANDROID and enjoy listening to MAKERPARKRADIO.NYC 24/7 at your convenience! 
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my experience with having a radio show precede DEER GOD RADIO and go back all the way to high school. i was lucky in that the boarding school i attended had a radio station that they fully encouraged students to participate in. for me it was a game changer because 1) even back then i was always exploring music and this provided a platform to share such with 2) a new community that i inadvertently joined in the process. the more i got involved the more i listened to other shows and learned about new music. so in essence it was an all-around great vicious cycle to be a part of that i really enjoyed.
during that period of my underclass years in high (roughly 1998-2000) i discovered 1980s HARDCORE. bands like BLACK FLAG, MINOR THREAT, THE GERMS, REAGAN YOUTH, VOID, DESCENDENTS, MDC, YOUTH BRIGADE, THE MIDDLE CLASS, DOA, THE CIRCLE JERKS, and of course, DEAD KENNEDYS. believe me, that list goes on... and on. some of those bands i learned from classmates, but the majority of them were from the shows of upperclassman at the station. for me, DEAD KENNEDYS stood out because of their musicality and the strident, confrontational nature of their rabidly political lyrics. frontman JELLO BIAFRA was also highly charismatic and funny, something i dont think he gets credit for. i think the lyrics of FRESH FRUIT FOR ROTTING VEGETABLES (ALTERNATIVE TENTACLES, 1980) songs like "KILL THE POOR" and "LET'S LYNCH THE LANDLORD" work because they are so hyperbolic yet earnest. it felt even two decades later like he was very much playing with fire with a smirk and a sense of mischief as well as purpose. its an interesting mix. undoubtedly the reference in his name to the NIGERIAN BIAFRAN WAR also drew my attention, given that i had recently relocated to my boarding school from a middle school in LAGOS. i cant say that association wasnt an initial detail that peaked my interest at the time. in songs like "CALIFORNIA UBER ALLES," "HOLIDAY IN CAMBODIA" and even "VIVA LAS VEGAS" there is a sense of reducing AMERICAN MIDDLE CLASS VALUES of CONSPICUOUS CONSUMERISM and POLITICAL ACQUIESENCE to their end extremes. in an era of TRUMPISM and the efforts of extreme elements with the conservative movement actively corroding democracy itself, these songs seem more of a harbinger of things to come than silly pastiche. obviously BIAFRA saw something in RONALD REAGAN's AMERICA that portended things to come. the last thing i'll mention is the guitar work of EAST BAY RAY, which at times delves into ROCKABILLY and even SURF MUSIC. despite the aura and charms of BIAFRA, the hidden ingredient are the decidedly tasty slap-back delayed, single-not soundscapes that mark much of the songs on this record and future DEAD KENNEDY records. much as BIAFRA infused his political screeds with humor, parodies and clever wordplay, the guitar work of EAST BAY RAY and its departure from the basic power chord monotony of HARDCORE really amplified and focused the attack and bite of the band. for me those are the two main ingredients that made their debut such a remarkable achievement. aside from being a definitive album of the period, this record likewise reminds me of the power of keeping an open ear to new music, which is something i continued in college as well as more recently with the nonprofit, streaming radio station MAKERPARKRADIO.NYC out of STATEN ISLAND of all places. like GEORGE CLINTON once said, "FREE YOUR MIND AND YOUR ASS WILL FOLLOW." 
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i recently came across this BBC4 documentary MARTY FELDMAN: SIX DEGREES OF SEPARATION (BBC, 2006) about the legendary BRITISH writer/comedian MARTY FELDMAN. obviously for me and many other MEL BROOKS fanatics, he will always have a special place in my heart for his iconic role of IGOR in YOUNG FRANKENSTEIN (20TH CENTURY FOX, 1974). i wasnt aware before viewing this documentary the full extent of his career or the distinct comedy lineage he saw himself a part of.
first and foremost this film emphasizes his central identity as a writer. this makes sense in that his first successes, much like PETER SELLERS, was on BRITISH radio comedies which obviously put a premium on the written word. from there he transitioned into television as a writer and became a noted collaborator, in fact most of the notable interviewees of this documentary including MONTY PYTHON members JOHN CLEESE and MICHAEL PALIN, lionize him for such. working on BRITISH television series during the 1960s such as DAVID FROST's THE FROST REPORT (BBC, 1966-1967), AT LAST THE 1948 SHOW (ITV, 1967), as well as his own MARTY (BBC, 1968) seems to be when he was in his element as both a writer and a performer. being a jazz aficionado, FELDMAN seemed to find a through-line between the improvisation required in both JAZZ and COMEDY. that boundless imagination and fearless ability to see possibilities within a comedic premise, especially during the writing process, appears to be where his strengths lay. that incredible CREATIVITY, IMAGINATION and FEARLESSNESS also informed his performances and mirrored that of his comedic idol, silent film icon BUSTER KEATON. this may seem odd initially given his background as a writer, but after watch several sketches from his 60s BRITISH television series, it is abundantly apparent what a gifted physical comedian FELDMAN was. his timing, commitment and charisma jumps off the screen, much like watching KEATON in a classic set piece. its unfortunate that FELDMAN's career mirrored that of KEATON as well, both being swallowed and spit out by an industry that cannibalizes its own talent. FELDMAN died suddenly of a heart attack on location in MEXICO during a film shoot for a long forgotten film, so his story feels incomplete. he had aspirations that didnt materialize in HOLLYWOOD and was rendered largely a footnote at the end of his career. i think that was the impetus for this film, to shine a light on his contributions to BRITISH COMEDY in all its mid-century phases, as well as his talent and generosity in the writer's room. it seemed he was in his element within a group supportive group context, which is the antithesis of the corporate, antiseptic and largely joyless mindset of HOLLYWOOD film production. he was an ideal TEAM PLAYER that excelled when put in an ensemble setting of elite talent and for some reason that seems distinctly BRITISH to me. or at the very least it isnt AMERICAN. interesting film worth investigating on a notable yet criminally overlooked COMEDY giant. 
photo & text by nacrowe
adolescence sucks for just about everyone. its an awkward time where you are experimenting and essentially defining an identity that will carry over into adult life.
i can't even imagine the difficulty in negotiating those same issues while coming out, especially in the 1990s when this memoir takes place. in my opinion HIGH SCHOOL (SIMON & SCHUSTER, 2019) by CANADIAN INDIE ROCK duo TEGAN + SARA poignantly explores this emotionally-wrought minefield in an honest manner that makes this memoir a must-read for anyone gong through the same situation or seeks to empathize with such a journey. i personally never went through this experience, but i have friends who did. especially when i attended high school in KUWAIT where anything HOMOSEXUAL-adjacent was literally a crime. in public there was always this front my friends had to uphold that seemed exhausting to me, CODED LANGUAGE and BEHAVIORAL TICKS manufactured in order to conceal their actual identity. this type of polari always fascinated and utterly horrified me despite the fact that it didnt directly affect me. in the case of the TEGAN + SARA, their story is one of SELF-DISCOVERY and any concealing behavior they exhibited was largely to protect family, friends and the reputations of their partners. the word SHAME is never brought up once in the memoir (which is structured with alternating chapters by each sister that serve as insightful vignettes), and yet it seems to be a central theme. SARA especially is an advocate to the community, calling out her FAMILY, TEACHERS and such for their HYPOCRISY; yet she is closeted for most of high school. it is through music that the sisters find a sense of agency and control over their own narrative. a sense of solace in that they can express themselves while still concealing in plan site their identity as members of the LGBTQ community. given the potency of their frustrations, confusion and heartbreaks in not being able to be open about themselves (or even having a definition yet for their own sexual preferences) makes this the perfect book for teenagers be familiar with, irrespective of their own SEXUAL ORIENTATION. if anything it promotes empathy, compassion and understanding for the hidden experiences of others and makes you think twice when allowing someone to utilize hurtful language regarding a minority group because they dont appreciate PC culture (im looking right at you STATEN ISLAND, SACRAMENTO, NIGERIA, KUWAIT, MYANMAR, JAPAN, ALBANIA, VENEZUELA and all the other HOMOPHOBIC communities i've called home at one point or another). HIGH SCHOOL should be read by everyone. can't recommend it enough. it is the rare memoir that seems entirely current to issues at stake globally right now regarding human rights and the common dignity we all deserve. all identities should be celebrate and cherished and this memoir provides an insight into that personal journey of accepting yourself at a point of emotional and physical transition we all go through as adolescents. 
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click HERE for the latest episode of THE SYNTHESIZER SHOW on MAKERPARKRADIO.NYC where Reed and Vince present a new playlist of ELECTRONIC MUSIC and discuss music production from two remote locations.
as always, you can access all past episodes of THE SYNTHESIZER SHOW via the DEER GOD website as well as those of MAKE HER SPACE, NOWHERE FAST, DEER GOD RADIO and CLASSICAL-ISH WITH NUTMEG. ​and if you haven't done so already get the FREE PHONE APP for IOS/ANDROID and enjoy listening to MAKERPARKRADIO.NYC 24/7 at your convenience! 
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watch the latest streaming episode HERE of MAKE HER SPACE on MAKERPARKRADIO.NYC as JEN presents an early playlist as she goes through her morning routine.
​past episodes of MAKE HER SPACE as well as other MAKERPARKRADIO.NYC shows like DEER GOD RADIO, NOWHERE FAST, THE SYNTHESIZER SHOW and CLASSICAL-ISH WITH NUTMEG are available here at the DEER GOD website. ​and if you haven't done so already get the FREE PHONE APP for IOS/ANDROID and enjoy listening to MAKERPARKRADIO.NYC 24/7 at your convenience! 
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i was recently listening to an episode of THE SYNTHESIZER SHOW on MAKERPARKRADIO.NYC and this song "WAVES OF DEVOTION" immediately caught my attention.
i learned it was by the modern FRENCH music producer and recording artist RONE and the more i investigated his work the more i discovered a discography of consistently delicate, catchy and incredibly inventive sonic textures and melody lines. this is the type of artist i am constantly seeking to unearth. so definitely check out the incredible solo and collaborative work of RONE. RECORD REVIEW | "THE RISE AND FALL OF ZIGGY STARDUST AND THE SPIDERS FROM MARS" BY DAVID BOWIE4/1/2021 
photo & text by nacrowe
i remember my senior year of high school, a few months after relocating to SACRAMENTO from KUWAIT in the aftermath of 9/11, visiting a childhood friend in ORANGE COUNTY over winter break. i always find it interesting how music has a way of presenting itself to you at a point when you are ready to receive it. this friend had lots of opinions on music, some i agree with and many i dont, but i remember being in a car with him for that few days with a copy of DAVID BOWIE's THE RISE AND FALL OF ZIGGY STARDUST AND THE SPIDERS FROM MARS (RCA, 1972) on repeat. by the end of that trip i was a BOWIE fan by osmosis and basically sought out the rest of his discography.
i think what captured my imagination at first were the lyrics and how they utilized this premise of an otherworldly being as a rock star to showcase real emotions regarding isolation and being an other. im thinking of songs like "FIVE YEARS," "MOONAGE DAYDREAM," "IT AIN'T EASY," "STARMAN," and "ZIGGY STARDUST" specifically. you can read into that depiction a pretty powerful character study of what it must have been like to be a BOWIE or any cultural phenomenon dealing with issues regarding fame and mass adulation. on one had you are raised up and admired but that distance is cutting into your very sense of identity and personal self-worth. "ROCK N ROLL SUICIDE" and "HANG ON TO YOURSELF" really dig into that territory lyrically. i remember during my time working abroad i was constantly aware of my own exoticness and being an other, especially when living in MYANMAR, JAPAN and ALBANIA. you had to be aware that people noticed you and that it was nearly impossible to blend in and be anonymous. i think that is probably why i gravitated to this BOWIE album in particular when living and working overseas. i should also mention that guitarist MICK RONSON is a beast and the feedback-drenched saturated soundscapes he came up with for this record make it sonically transcend the FOLK MUSIC and acoustic foundations that obviously underpin it. this record was a gateway drug to another of my favorite artists, T. REX, and the whole back-to-basics, less-is-more mentality of 1970s GLAM ROCK in general. BOWIE obviously had a varied career with lots of creative peaks, this just being one of them, but the world opened herein made me receptive to new sounds and ideas which to me mark any work of significance. it literally expanded my appreciation for what could be accomplished within the construct of ROCK N ROLL. it made me a more receptive listener. 
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it is really hard to not love this guy. JEFF GROSSO was the type of opinionated curmudgeon you rooted for. i think this appeal was based in his intense love of SKATEBOARDING and its all-encompassing culture. his VANS YOUTUBE series JEFF GROSSO's LOVELETTERS TO SKATEBOARDING was an embrace of the CULTURE, COMMUNITY and the wider INDUSTRY and very much succeeded in spreading that contagious passion the sport. as he would always say with his fierce call to action, "why are you watching this? go out and skate!"
on this first anniversary of his passing i wanted to pay respects and try to make people aware of his legacy. he was not the most athletic and had insecurities, but was brave enough to share his shortcomings and vulnerabilities with the world. LOVELETTERS TO SKATEBOARDING was his way of spreading the gospel and reflecting the full spectrum of talent and enthusiasm in the culture. and we are the richer for it. i remember being in college and taking a FRENCH FILM course knowing nothing about the subject. within a few classes and a few films i was made aware of the politics and aesthetic discourses at play and how such discussions transitioned over time. in turn, i became pretty intimately aware of a number of directors, actors, producers and production companies that hitherto i was blissfully unaware of. for me GROSSO and his LOVELETTERS are very much of that vibe. some competitors and online keyboard warriors have dismissed GROSSO and considered him a gatekeeper and a self-appointed arbiter of SKATEBOARDING history, but i feel like they miss the point. he was presenting his passion, his knowledge and his opinions. if anything he wanted to share that passion and i feel all the richer for it becoming aware of how SKATEBOARDING shifted in terms of TRICKS, CUSTOMS, TECHNOLOGY, PUBLICATIONS, GRAPHICS, PRODUCTS, OBSTACLES, PERSONALITIES and FASHION to what it is has become to day: an eternal youth movement based on individual expression that has influenced global culture. there is literally no wrong way to SKATEBOARD. i think one aspect of his influence that is often overlooked is his push for INCLUSIVITY, especially with regards to his efforts to push companies to promote women. he in essence leveraged his influence and attempted to make the industry more accessible and to a wider demographic that transcends GENDER IDENTITY, SEXUAL PREFERENCE, GEOGRAPHY and SOCIOECONOMIC STATUS. so yeah, in summation GROSSO in my mind was pretty PUNK ROCK. you cant watch his YOUTUBE series and not buy into his DIY ethos of just go make it happen. go skate. no expectations, just go. again, hard not to love the guy. rest in peace. GROSSO forever. 
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the recent documentary DEVIL AT THE CROSSROADS (ALL RISE FILMS, 2019) is an uneven documentary concerning DELTA BLUES icon and AMERICAN folk-hero ROBERT JOHNSON, who is a pivotal figure of the first order in 20th century world culture writ large.
this film attempts to bring context to his life, both in terms of his personal narrative and his influence on generations of musicians. participating musicians include TAJ MAHAL, KEB MO, KEITH RICHARDS, JOHN P. HAMMOND (son of the legendary JOHN H HAMMOND of COLUMBIA RECORDS), BONNIE RAITT and ERIC CLAPTON. i think where this brief (under and hour) documentary excels is in its dispeling of popular myths surrounding the BLUES that came out of the MISSISSIPPI DELTA region in the pre-WWII, post-reconstruction era. this includes the misconception that the BLUES came out of the church. if anything, according to this documentary, the southern BAPTIST churches of were the ones that demonized BLUES musicians, who often played for the sharecroppers while in the fields as well as at BLACK-owned juke joints at the edges of small towns. it was these southern BAPTIST reverends that popularized the idea of JOHNSON selling his soul to the devil in order to become a gifted guitarist. the documentary even goes so far as to decode some of the lyrics. for instance, references to women in lyrics by BLUES musicians that were played in the fields where not references to objects of affection who treated them poorly, instead they represented the plantation owners and how they exploited them and their race. specific to JOHNSON are coded references to the KLU KLUX KLAN, evading lynching and HOODOO beliefs in nation sacks. 
what comes across in the documentary is the struggle of a supremely gifted songwriter and musician who became proficient through dedication to his craft despite traumatic loss and isolation. his mother's first husband was a successful business who was run out by the clan, leaving her in the process. JOHNSON's father was a local he barely knew. she eventually settled with a sharecropper after years of wandering from town to town who would beat a young JOHNSON for not committing to working the fields. for JOHNSON, the fields was something to avoid, something to transcend. it is the belief by some that this breaking away was what made the BAPTIST church so envious of these truly independent musicians.
less interesting in this documentary is their brief run through of how WHITE AMERICA got interested in his music and the influence of his playing and songwriting on later generations of BLUES players and ROCK AND ROLL musicians, all who essentially are playing on variations of his music. what particularly annoyed me about this film was the mention of the "27 Club" of prominent musicians that passed on unexpectedly at that age at the peak of their powers. its a tired cliche that isn't deserving of mention in the telling of JOHNSON's story and actually diminishes the seriousness of his work (as well as that of JIM MORRISON, JIMI HENDRIX, AMY WINEHOUSE, JANIS JOPLIN, KURT COBAIN, etc). ditto for the constant mentions of him selling his soul to the devil where it is said at face value. seems to me that whenever someone or something is beyond comprehension, our knee-jerk reaction is to ascribe some sort of divinity or wacky supernatural fairy dust on top of it. JOHNSON didn't pay any price for his talents by being poisoned at a juke joint. he hit on the wrong person's girl and paid the brutal consequences of that decision. the real tragedy is that nobody spoke out about it, because in essence he was on the edge of society, even black society. because he was, after all, a BLUES musician. if anything he sacrificed himself to their escapism, their religious delusions, their hypocrisy. im with the grandson of JOHNSON who states that the meaning of the crossroads is what each of us is willing to sacrifice in order to achieve greatness. i say amen to that. BOOK REVIEW | "SWEAT THE TECHNIQUE: REVELATIONS ON CREATIVITY FROM THE LYRICAL GENIUS" BY RAKIM3/29/2021 
photo & text by nacrowe
RAKIM is a wordsmith of the first order, a rapper's rapper.
its definitely not a coincidence that EMINEM makes a direct reference to being a "product of RAKIM" in a verse in his ode to lyrical dexterity, "RAP GOD." being a fan of his work with ERIC B, i was game to explore his memoir SWEAT THE TECHNIQUE (AMISTAD, 2019) which finds him explaining his writing process. obviously as a former ENGLISH teacher this is a subject i am doubly always interested in. essentially he describes some pretty boilerplate techniques in expanding your options as a lyricist. such as: BE OBSERVANT, READ EVERYTHING, WRITE ALL THE TIME, etc. what was more impactful was how he came to appreciate these ideas in a cultural landscape where such was not immediately encouraged, the exception being his parents and especially his father. when he put in the work he saw results, whether that be in football or on the mic at informal parties in his neighborhood in LONG ISLAND. its my argument that his work ethic and ability to appreciate and take advantage of opportunities around him, as well as a fair amount of bravado and natural charm, that led him to where he is today, considered by fans and peers alike as one of the preeminent lyricists of his generation, if not the top MC outright. where he loses me is in the second half of the book where he begins to go on about his involvement with the FIVE PERCENT NATION and the NATION OF ISLAM. on one hand i get it. these groups espouse an ideology of self-empowerment and community in what is essentially a vacuum created by AMERICA's inability to address the needs of minority communities for generations. the need to take care of your own is understandable and arguably inevitable. its just that when he goes on about his beliefs it just comes off like pseudo-intellectual gibberish. i dont need to go over LOUIS FARRAKAN's anti-semitism, but i'll link to what the SOUTHERN POVERTY LAW CENTER says about him. its just disappointing to see that such a supremely gifted wordsmith who has honed his craft over decades at heart is involved with figures that espouse anti-white ideologies. my hope is that he would be more empathetic and use his gifs to uplift, but maybe i misjudged him. i also found it hard to comprehend his argument that in order to be humble, one needs to accept the idea of a higher power. that seems bogus to me, and not just because i dont share his belief system. i just thought it showed a lack of understanding of religions outside the judeo-christian and islamic constructs he appears trapped in. you can be atheist and agnostic and be empathetic and a good servant to your neighbors, just like you can be a devoutly religious person and be a horrible human being. its not a prerequisite. so in summation i found this book deeply fascinating, but not how i expected. i found myself deeply troubled by the implications of his worldview. the anti-WHITE stuff i still dont get, even in retrospect. my hope would be that the values of HARD WORK and EMPATHY that he attributes to his father's influence would have carried over into his belief system, but that appears to not be the case. its disappointing, especially with someone so profoundly gifted. 
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join us TONIGHT at 8PM EST for an all new episode of DEER GOD RADIO on MAKERPARKRADIO.NYC with a playlist that explores more than 40 years of LOS ANGELES PUNK ROCK!
past episodes of DEER GOD RADIO as well as other MAKERPARKRADIO.NYC shows like MAKE HER SPACE, NOWHERE FAST, THE SYNTHESIZER SHOW and CLASSICAL-ISH WITH NUTMEG are available here at the DEER GOD website. and if you haven't done so already get the FREE PHONE APP for IOS/ANDROID and enjoy listening to MAKERPARKRADIO.NYC 24/7 at your convenience! 
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click HERE for NUTMEG's latest streaming CLASSICAL-ISH radio show on MAKERPARKRADIO.NYC as she presents "a classical and experimental show of all female composers. You’ll hear everyone from Baroque composer Élisabeth Jacquet de la Guerre to Pauline Oliveros to Anoushka Shankar to that sh-t-starter Dame Ethel Smyth."
don't forget that you can also access other MAKERPARKRADIO.NYC shows like MAKE HER SPACE, NOWHERE FAST, THE SYNTHESIZER SHOW and DEER GOD RADIO here at our website. ​and if you haven't done so already get the FREE PHONE APP for IOS/ANDROID and enjoy listening to MAKERPARKRADIO.NYC 24/7 at your convenience! 
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anything SHOEGAZE or DREAM POP, especially when it is well-constructed and executed, hits me right in the sweet spot. whether it is LUSH, NO JOY, SLOWDIVE, JAPANESE BREAKFAST, MY BLOODY VALENTINE or BEACH HOUSE, i enjoy discovering bands that make ethereal, impressionistic, guitar-based music that use feedback as a means of washing over and smothering you to blissful oblivion. that is a sonic experience i am always game for.
i cam across TORONTO's TALLIES recently and i could not be more taken by their intoxicating jangly yet echo-and-reverb-drenched sound. and then there is that voice. guitarist and vocalist SARAH COGAN is someone to look out for in the future. great promising young band well worth checking out. 
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there's something to be said about musicians interview musicians. there is a telepathy and a common wavelength at work that transcends superficial aspects like genre and style. it probably comes from a rooted common experience and mentality of persistence that comes with "making it" in a band setting. IT'S ELECTRIC! (APPLE MUSIC) was a in-person, pre-pandemic podcast where METALLICA drummer LARS ULRICH interviewed peers like JERRY CANTRELL (ALICE IN CHAINS), NOEL GALLAGHER (OASIS), JAMES MURPHY (LCD SOUNDSYSTEM), MAYNARD JAMES KEENAN (TOOL/A PERFECT CIRCLE), BILLY CORGAN (THE SMASHING PUMPKINS), LES CLAYPOOL (PRIMUS), GREG PUCIATO & BEN WEINMAN (THE DILLINGER ESCAPE PLAN), DAVE GROHL (FOO FIGHTERS/NIRVANA), JOAN JETT, JACK WHITE (THE WHITE STRIPES) and TOM MORELLO (RAGE AGAINST THE MACHINE) among many others.
whats interesting is that ULRICH, despite his notorious reputation for talking (and talking and talking), within the confines of these interviews he is mostly listening. in fact, i'd argue he is an incredible astute interlocutor that gently guides his subjects through insightful productive conversations. most teachers know that the longer you speak the less impact each word has on your students. i was really taken when recently rewatching these interviews to see just how gifted an interviewer ULRICH was and how engaged his follow-up questions were. you didnt get the sense that he had a list he wanted to get through, rather in an almost HOWARD STERN-like manner allow the subject free reign to drive the conversation as he gently steers it. to pull this off you must be a really good listener, which in popular culture i think ULRICH never gets credit for. makes sense though, given the fact that he is often a key composer within METALLICA who often deals with arrangements, a practice whereby you need to listen with intention to surmise the best presentation of musical ideas for maximum impact. i hope he gets back to this podcast post-pandemic, because it felt like he was really on a roll with it. and it seemed like he was genuinely in his element and having fun. selfishly i just found the conversations compelling and insightful, more so than the vast majority of ROCK AND ROLL interviews you find online. |
April 2021
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