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.

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.
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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.

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. 

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!
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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.

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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.

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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.

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.

dedicated to his close friend since childhood, kindred spirit and deceased former bandmate D. BOON, WE JAM ECONO: THE STORY OF THE MINUTEMEN (ROCKET FUEL FILMS, 2005) is an intimate documentary largely narrated by MIKE WATT about his former band, the highly idiosyncratic and influential 1980s HARDCORE band THE MINUTEMEN.

hailing from SAN PEDRO just as the SOUTH BAY was taking over the LOS ANGELES music scene with a more volatile and aggressive wave of PUNK ROCK that included the likes of BLACK FLAG, CIRCLE JERKS and THE DESCENDENTS, THE MINUTEMEN represented the conceptual and artistic vanguard of the scene.  their lyrics were opaque and their sound kinetic yet off-kilter, skittish and dare i say it, funky.  in a scene where subtlety was not the norm, both sonically and in terms of lyrical content, THE MINUTEMEN effectively expanded the out realms of the genre in the same way HUSKER DU had done in their respective scene at the time.  

the core of the band existed before HARDCORE emerged, but in that scene they saw a freedom and artistic opportunity.  D. BOON was an accomplished visual artist and had a way with lyrics where he could evoke images with a minimum amount of words.  this efficiency likewise found its way to his guitar playing, which borrowed from various genres and transcended the extreme buzzsaw tempos of his label-mate and fellow scene participants, BLACK FLAG.  in essence they had a chemistry that came from years of camaraderie and basically exemplified the DIY ethos of PUNK ROCK.  they were completely self-made and unique.

can't say the same for the construction of the documentary itself.  it drags a bit and has a very uneven pacing throughout.  it could use another edit, which is unfortunate as the band definitely deserves better. but where it lacks in professional sheen it makes up for in content.  its rough appearance may even make the film a better conduit for information as it provides a sense of intimacy, especially with regards to its interview footage.

this film includes archival live performances and then-recent interviews with the likes of peers such as IAN MCKAYE (MINOR THREAT), JELLO BIAFRA (DEAD KENNEDYS), MILO AUKERMAN (THE DESCENDENTS), KEITH MORRIS (BLACK FLAG / CIRCLE JERKS), J MASCIS (DINOSAUR JR), MIKE MILLS (R.E.M.), DEZ CADENA, CHUCK DUKOWSKI & HENRY ROLLINS (BLACK FLAG), KURT KIRKWOOD (MEAT PUPPETS), JOHN DOE (X), FLEA (RED HOT CHILI PEPPERS / FEAR), THURSTON MOORE & LEE RANALDO (SONIC YOUTH), ROBERT HOLZMAN (SACCHARINE TRUST), RICHARD HELL (TELEVISION / THE VOIDOIDS) and COLIN NEWMAN (WIRE) among many others.

worth checking out only if you are a deep fan of the genre or the artist, but may be less interesting for those not familiar or eager to explore either.  there are other documentaries that are arguably a better introduction to the scene in general like AMERICAN HARDCORE (AHC PRODUCTIONS, 2006) or PUNK: ATTITUDE (3DD PRODUCTIONS, 2005).

SING BACKWARDS AND WEEP (HATCHETTE, 2020) is probably one of the more harrowing memoirs i have ever come across.  its author MARK LANEGAN, gifted singer/songwriter and former frontman of SEATTLE ALTERNATIVE ROCK icons SCREAMING TREES, recounts an drug-addled existence that ranged from the 1980s through his final successful rehab stint in the early 2000s.  and that addiction literally cost him everything he valued: relationships, collaborations, touring opportunities, friends, love, money.  the list goes on and it is brutal.

there is no doubt that many who investigate this book are interested in the PACIFIC NORTHWEST INDIE/PUNK music scene that exploded in the early 1990s, of which LANEGAN was a central  figure within.  there is some ink here dedicated to his relationships with other participants such as KURT COBAIN (NIRVANA) and LAYNE STALEY (ALICE IN CHAINS), but the real dominant actor here is DRUGS.  and by that i mean literally every make and stripe.  COBAIN, STALEY as well as numerous other victims such as KRISTEN PFAFF (HOLE) and JEFFREY LEE PIERCE (THE GUN CLUB) are integral to his narrative in that they exemplify the cost of participation in this downward spiral of needless suffering.

LANEGAN is unflinching in his account and i have no doubt that writing this must have been cathartic.  it also no doubt took courage to look at himself and unshrinkingly scrutinize his life's decisions and make them public without being patronizing or worse glorifying said behavior.  he seems to be a reliable narrator as he relates how the ever-present threat of dope-sickness and withdrawal effectively corrupted his moral compass and led to a never ending search for a fix to maintain his equilibrium and all its attendant decisions that resulted in the suffering of others.

in HUBERT SELBY JR novels there is often an inverse character arc at play whereby as the individual descends into MADNESS, it is their affliction (FAME, POWER, DRUGS, etc.) that prevails in equivalent fashion.  for me that is the feeling i get when considering the SEATTLE drug scene and its effect on several key participants in this book, COBAIN and STALEY being the prime examples.

there is a light and that is the MUSICIANS' ASSISTANCE PROGRAM that effectively saved LANEGAN's life.  that and his ability to forgive himself and the capacity for other addicts to enable each other in recovery, here COURTNEY LOVE (HOLE) and DUFF MCKAGAN (GUNS N' ROSES) being such examples.  you get the sense that despite the absolute depths of DEPRAVITY that drug addicts wade through, that there is an opportunity for RESTORATION.  that we can always be REHABILITATED, RECONSTRUCTED and REINVIGORATED by our choices and actions moving forward.

contrary to what others may read into this memoir, i found it inspiring, compassionate and intensely optimistic.  maybe this book is his way of paying it forward.

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FEVER IN FEVER OUT (GRAND ROYAL, 1996) by LUSCIOUS JACKSON was out for a few years before i first heard it while washing dishes my freshman year of high school.  the boarding school i was at actually made our parents sign off on some waiver to dismiss federal child labor laws in order for us to do manual labor at the school.  some students got farm work, others food preparation or light janitorial duties.  i got dishwashing for four hours twice a week.  and im not complaining in the least.  it was pretty cool in retrospect because you really developed an appreciation for manual work and having various janitors, cooks and farmhands being your direct supervisor.  you have to remember that kids who went to my school were the sons and daughters of national politicians, heads of industry and even foreign royalty.  nobody complained and it kept most of us in check.

so i was loading dishes with someone apparently in line to the throne of QATAR when over the white noise hum of the industrial dishwasher i heard "NAKED EYE" the first time.  i have a vivid memory of that.

obviously LUSCIOUS JACKSON get lumped in at times with the BEASTIE BOYS due to the fact that they were signed to their GRAND ROYAL record label and that their drummer KATE SCHELLENBACH was a founding member of the HIP HOP group itself.  aesthetically there is a definite lineage in their sound with NYC HIP HOP just in terms of feel and construction.  lots of sampling and found sound interweaving between break beats and guitar-based textures.  there approach always came off as a aural collage of sorts.  think of the ODELAY (DGC, 1996) record by BECK or the BEASTIE BOYS' ILL COMMUNICATION (GRAND ROYAL, 1994) as a reference.  for me what made this album standout were its striking melodies and the sense of interplay between the poly-harmonies created by JILL CUNNIFF, GABRIELLE GLASER and VIVIAN TRIMBLE.   songs like "UNDER YOUR SKIN" and "WHY DO I LIE?" specifically.  there is also a jazzy, almost psychedelic use of unique instrumentation (xylophones, woodwinds, etc.) on "MOOD SWING" and "WATER YOUR GARDEN" that combined with the aforementioned elements really makes this album a journey of sorts.

sadly by the time of its follow-up ELECTRIC HONEY (GRAND ROYAL, 1999), keyboardist TRIMBLE had departed leaving them with a more raw sound.  for me though this is the record i turn to when i need to relax and just drift.  the textures and harmonies with just an sheen of urban sophistication makes this a record well worth seeking out and revisiting more than 20 years later.​

i have to say i was a bit late to the game with SOLANGE.

and im not gonna lie, her obvious association with her famous sister probably influenced my overlooking her career in general.  but recently i came across her excellent recent two albums WHEN I GET HOME (COLUMBIA, 2019) and A SEAT AT THE TABLE (COLUMBIA, 2016) which have me convinced that she is this generation's FUNK / NEO-SOUL by way of HIP HOP interpretation of the likes of ERYKAH BADU, NINA SIMONE, JILL SCOTT and MARY J BLIGE.  

​her music feels fresh, adventurous and progressive while maintaining a sense of  rootedness in the best threads of traditional R&B.  im definitely on the lookout now for what she does moving forward.

i think people are aware enough of the innovative and controversial shenanigans that have taken place on the HOWARD STERN SHOW over the years.  it is pretty amazing that he is being finally recognized in his late career for his singular interviewing skills, i'd even argue that his shows now are among the best of his career.  just wish he'd stay off those lame network talent shows.

regardless i think often overlooked as well are the number of amazing music performances that have taken place on his radio show, mostly of the ALTERNATIVE ROCK, METAL and CLASSIC ROCK variety including the likes of CHRIS CORNELL, JOHN FOGERTY (CREEDANCE CLEARWATER REVIVAL), FIONA APPLE, DAVE GROHL (NIRVANA/FOO FIGHTERS), BILLY CORGAN (THE SMASHING PUMPKINS), ROB ZOMBIE (WHITE ZOMBIE), DAVID BOWIE, PERRY FARRELL (PORNO FOR PYROS / JANE'S ADDICTION)

definitely check some of these out and see what i mean.

while this is not the best R.E.M. album, OUT OF TIME (WARNER BROS, 1991) is very much one of those records i remember as a young kid (i was 7 when this was released) with songs like "SHINY HAPPY PEOPLE" and "LOSING MY RELIGION" became massive hits on the radio.  in fact i initially took guitar lessons in first grade because i was to learn those two songs.  ironically this was the mandolin-heavy record that guitarist PETER BUCK wrote when he was on sabbatical from the guitar, but that is neither here nor there.  for me this record was very much the entry point into the world of making and playing music.  sadly i quit shortly thereafter because my hands were not big enough to play barre and open chords, that came later in middle school.  my father took up lessons instead with my guitar teacher and several continents, 3 bands and nearly 20 guitars later he's still playing and learning his way around the instrument on a daily basis.

so yeah, thats what this record represents to me: my childhood and getting excited about guitar-playing in general.  i know for some die-hard INDIE ROCK fans "SHINY HAPPY PEOPLE" is kind of a black-eye in their discography as it marks a point of seemingly unadulterated commercialism, but i disagree.  there is nothing inauthentic about celebrating life and being content with oneself.  to me it is very much in keeping with what i interpret as the persona surrounding MICHAEL STIPE and his willingness to be vulnerable and see the good in people.  in a sense i view it as a song about FAITH, you are searching out for the good in people despite the fact that such leaves you susceptible to pain.  for me that song in particular is almost a the flip-side to that of the deep introspection and seemingly painful process of SELF-DISCOVERY and SELF-ACCEPTANCE at heart in "LOSING MY RELIGION."  its almost as if that sense of openness only comes from a sense of acceptance of ones own shortcomings.

i think this album often gets overlooked because of it singles but it is well-worth revisiting.  for me i hold onto it for sentimental meanings as it reminds me of my bonds with my father, which encompasses the better parts of my childhood.

L7 is the shit.

just wanted to get that out of the way right at the beginning.  i got their album BRICKS ARE HEAVY (SLASH, 1992) my senior of high school in the early 2000s after reading somewhere that BUTCH VIG produced them and that they were part of the early ALTERNATIVE ROCK scene before it blew up.  when i first heard them i remember thinking that this band is so heavy, so political and just so incredibly badass.  like i stumbled on my new favorite band.  specifically songs from that album like "SHITLIST," "WARGASM," "EVERGLADE" and, of course, "PRETEND WE'RE DEAD" as well as "FAST AND FRIGHTENING," "FUEL MY FIRE," and "ANDRES" from other albums just made me so content as an angry recently relocated teenager stuck in a boring suburban hell-hole.  it was just the aggression, attitude and assault of their sound.  very similar experience to when i discovered THE GERMS a few years before and GG ALLIN a few years later.

i recently came across this documentary L7: PRETEND WE'RE DEAD (BLUE HATS CREATIVE, 2016) which follows their career from navigating the concurrent LOS ANGELES 80s SUNSET STRIP / HARDCORE PUNK scenes to riding the ALTERNATIVE ROCK wave of the 90s as it ebbed and inevitably waned.  interviews with band members DONITA SPARKS, SUZI GARDNER, DEMETRI PLAKAS and JENNIFER FINCH as well as the  likes of SHIRLEY MANSON (GARBAGE), ALLISON WOLFE (BRATMOBILE/SEX STAINS), LYDIA LUNCH, VALERIE AGNEW (7 YEAR BITCH),  JOAN JETT, LOUISE POST (VERUCA SALT), EXENE CERVENKA (X), ALLISON ROBERTSON (THE DONNAS), CSS, BRODY DALLE (THE DISTILLERS/SPINNERETTE), KRIST NOVOSELIC (NIRVANA) provide context to their ability to conquer the competition and, even if misogynist fans or music magazine editors couldnt get past their gender.  it sucks having to even bring up gender at all, since it has literally nothing to do with their musicianship, but the fact is that stories like theirs is long overdue within the context of music history. it is too often overlooked.  hopefully this and other documentaries that have popped up over the past decade (THE PUNK SINGER: A FILM ABOUT KATHLEEN HANNA, JOAN JETT BAD REPUTATION, PUSSY RIOT: A PUNK PRAYER, PATTI SMITH: DREAM OF LIFE) will begin to reshape that unfortunate narrative.

i remember watching an interview with GARBAGE once where they described the beginning of the millennium as a pivotal moment in their career, basically because file-sharing had cut into their record sales.  L7 ended in 2001 but little mention is made regarding such factors as widespread piracy.  sales dwindled after HUNGRY FOR STINK (SLASH, 1994) only matched its predecessor, BRICKS ARE HEAVY (SLASH, 1992) in sales and they were eventually dropped.  i mean it all makes sense that they were never huge because of said reasons earlier, they were authentically aggressive with attitude and a bludgeoning sonic assault.  they were too original i guess.  i thought it was real interesting that the only mention of technology was how fans gathered online and effectively forced the band to reunite in 2015 and tour.

this is mentioned in the film, which released in 2016, but it also makes sense that they released a new album in 2019 on JOAN JETT's label.  women supporting and promoting women.  L7 did the same when they started ROCK FOR CHOICE nonprofit back in the 1990s to promote FEMALE REPRODUCTIVE RIGHTS, they just put themselves out there.  im glad that they are similarly being supported by the wider rock community writ large in recent years.

that and they came back to take on TRUMP with their latest album and how can you not love that?

written between the 1965-66 season after having won eight of his eleven total championships with the BOSTON CELTICS (whom i despise more than you can possibly imagine), GO UP FOR GLORY (PENGUIN, 1966) is a memoir by BASKETBALL legend and CIVIL RIGHTS icon BILL RUSSELL that is as much about the fight for human dignity as it is about professional competition at an elite level.

i found this book to be fascinating in how RUSSELL presents the reader with an isnide perspective on the beginnings of the NBA as a business and how race played a part right from the start.  i had no idea that ABE SAPERSTEIN, founder and owner of the HARLEM GLOBETROTTERS effectively strong-armed the league into limiting integration for years.  he did this through threatening team owners with boycotting their stadiums (all the original teams were created by owners of arenas, the league much like professional hockey was an excuse for attendance).  RUSSELL was the second BLACK player to ever play for the CELTICS and there was very much an unpublicized but very hard quota on the number of BLACK players on each team throughout the late 50s and early 60s.

RUSSELL fought this injustice by being outspoken about the quota.

due to my time in high school in MASSACHUSETTS, i will always hate all professional teams from that region, especially the CELTICS and RED SOX.  but RUSSELL is beyond reproach even in my knee-jerk insane fandom.  not to lionize him too much, but like that of MUHAMMED ALI, JIM BROWN, JACKIE ROBINSON, KAREEM ABDUL-JABAR, ROBERTO CLEMENTE and COLIN KAEPERNICK, he is a the embodiment of a deeper humanity we should all aspire to and very much took took risks when others didnt for the sake of everyone.

for me this book is very compelling since RUSSELL showcases a period when the CIVIL RIGHTS movement was very much in its nascent stages from the perspective of a national sports figure.  the striking thing is how such a platform rendered him nothing outside the confines of the basketball court.  in the arena he was unstoppable, outside he was just another target of dehumanization by a racist backward society bent on its own destruction.

i could go on about this, but even during the height of his playing career (he still had another three championships to go!) he somehow had the perspective to recognize the importance of the moment and the courage to share his unique perspective as a prominent professional athlete in a nation that dehumanized him.  i cant even begin to imagine the courage.  its like LEBRON JAMES staring down FOX NEWS expanded exponentially.

deeply impressive memoir by an AMERICAN icon.  should be read in schools.  end stop.  or at least i should have been given the option to back in the day instead of the recycled meaningless dribble they force down your throat.

join us TONIGHT at 8PM EST for an all new episode of DEER GOD RADIO on MAKERPARKRADIO.NYC with a playlist that explores the sonic experimentalist of the singular TRIP HOP icon TRICKY.
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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!

cover by nacrowe

click HERE for NUTMEG's latest streaming CLASSICAL-ISH radio show on MAKERPARKRADIO.NYC as she presents a new playlist in honor of BLACK HISTORY MONTH made up entirely of black classical composers and players.

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!

POTTY MOUTH is just punchy powerful POP PUNK perfection.

i'm a sucker for great melodies and this WESTERN MASSACHUSETTS band delivers.  almost a send back to the 90s heyday of the genre or better yet this is straight up CHEAP TRICK.  forget 90s POP PUNK, this is almost 1970s POWER POP.

most definitely worth checking out regardless of the recent lineup change.​  and im a little biased since i spent countless hours in NORTHAMPTON (where they hail from) checking out record stores way back in high school.