promo courtesy of MAKE HER SPACE
make sure to tune in to MAKE HER SPACE RADIO HOUR on MAKERPARKRADIO.NYC this morning at 10AM EST to hear JEN and MAGIE interview SARAH VALENTINE, baton twirler and organizer of the HUNGRY MARCHING BAND and PUSSY GRABS BACK BRASS BAND as well as grassroots organization HONK NYC.
all photos by nacrowe
in december of 2015 i took a trip by myself to CAMBODIA while on winter break from my teaching gig in JAPAN. i was there for over a week and split my time between SIEM REAP and PHNOM PENH. if you are interested in seeing my selected photos from that trip click HERE.
i was very excited to visit the region as i had been interested in the history and culture surrounding BUDDHISM and HINDUISM going back to my high school years when i first took a comparative religions class freshman year.
ANGKOR WAT was an obvious highlight that i'd put on par with visiting THE PYRAMIDS, MACHU PICCU, THE COLISSEUM, GREAT WALL OF CHINA, CHRIST THE REDEEMER STATUE, THE TAJ MAHAL or even SUN STUDIO in MEMPHIS. it is often regarded as the most refined architectural expression of the HINDU concept of MOUNT MERU in the world and seeing it in person met and exceeded the hype surrounding it.
but what made the 12th century expanded structure compelling to me as an english teacher were its endless depictions of deities that seemed perfect for understanding the concept of POST-STRUCTURALISM, something i was teaching at the time due to the IB CURRICULUM my school employed. case in point is BAYON temple, which is at the center of the ANGKOR WAT complex and intriguingly showcases 216 depictions of the boddhisatva AVALOKITESHVARA, meant to depict his infinite compassion in almost kaleidoscopic fashion. it really is something to behold. but knowing the backstory of the structure also clues you in to the fact that the depiction of this boddhisatva was very similar to the MAYAHANA BUDDHIST king that had it built, JAYAVARMAN VII, so its very much understood that people also understood it as a depiction of his omnipresent power. when you are at the upper levels of this temple, it is possible to be surrounded on all sides by these lumbering heads peering outwards from several massive towers. later on when hindus took over the complex they chose instead of scratching out the face (as they had done with smaller depictions throughout the complex), instead choosing to add dots on the foreheads. thus transforming them into SHIVA. when later THERAVADA BUDDHISTS (a more strict sect with no belief in boddhisatvas) took over control they reinterpreted the site as the traditional GAUTAMA BUDDHA.
so summing all that history up into post-structuralism. one signifier: the statue. four concepts signified: AVALOKITESHVARA, JAYAVARMAN VII, SHIVA and GAUTAMA BUDDHA. pretty incredible.
TUOL SLENG GENOCIDE MUSEUM
whereas ANGKOR WAT was a mind-blowing, reassuring experience for what the heights of human creativity and collective cooperation are capable of, sites surrounding PHNOM PENH associate with the brutality of the KHMER ROUGE during the CAMBODIAN GENOCIDE of the late 1970s showcased the opposite, what humankind is capable at its most base and deplorable. it is estimated that 1/4 of the population perished during that campaign of terror. an estimated 1.5-2 million people. teachers, workers, professors and their families. basically anyone that was perceived as a threat to the regime.
now i know some people may find offense to my visiting sites that are associated with war crimes. i get it. my response is that it is our responsibility to understand the past and be a witness to history. too many times in western media atrocities are gleaned over and DISNEY-fied as to not disturb viewers or children. this leads to a distortion viewpoint and ultimately a confirmation bias that inaccurately depicts the reality of world events. i have seen this time and time again and i really feel that it leads to a lack of curiosity and compassion on our part.
so go ahead and think what you will, but visiting the TUOL SLENG GENOCIDE MUSEUM was a visceral experience for me. as a teacher it was astonishing to walk through a former school that was turned into a unnamed torture center, as they had in various other anonymous similar sites throughout the country. POL POT was a teacher by the way. i won't even get into the ways that people were tortured, mostly because it may be misconstrued as celebrating extreme sadism (which i understand) but also i don't think its that interesting a detail. what i did find interesting was the spirit of reconciliation that took place after the war and to this day, my tour guide having lost an uncle to the regime. everywhere you went you met people with relatives, parents, sisters, brothers, friends, etc. that were maimed or killed. much like visiting BOSNIA or speaking with people in KOSOVO during my time as a PEACE CORPS volunteer in ALBANIA, there is something about these experiences were people choose to pull together as a community. they choose to seek common humanity. for me that was the power of visiting CAMBODIA, a beautiful country with a complicated history. one of my top trips ever.
whenever i feel down about the cultural and political tribalism going down right now in the UNITED STATES, i wince at the idea of what is to come but also hopeful that we can muster a collective effort towards reconciliation post-TRUMP regime. if CAMBODIA could heal than so can we.
but man, shit is seriously fucked right now. kids in cages.
for those about to rock, you can watch HERE our most recent episode of DEER GOD RADIO dedicated to australian legends AC/DC.
past episodes of DEER GOD RADIO as well as other MAKERPARKRADIO.NYC shows like MAKE HER SPACE, NOWHERE FAST, and THE SYNTHESIZER SHOW are available here at the DEER GOD website.
photo by nacrowe
fans often have a misconception that bands are democracies.
perhaps this has to do with the very nature of being a fan, which entails the capacity to project yourself and your feelings, fears and aspirations onto an external entity like an artist, band, politician or even a sports team. the payoff for this projection is the reciprocal confirmation of whatever narrative we like to tell and delude ourselves with. in this manner being a fan is very much about you the audience and not the artist.
so when you learnt that bands have less than savory internal dynamics where power, creative control and finances are not co-equal, for some this is a hurdle. an autocracy like SMASHING PUMPKINS with the pumpkin king BILLY CORGAN is hard to stomach given the open ethos and message of exclusivity of his music. its easier to come to terms with the fact that NINE INCH NAILS is the front group of auteur TRENT REZNOR in my mind because of the singular misanthropic nature of his lyrics and sonic palette.
enter DEATH METAL and the legendary namesake band for the genre DEATH. a recent documentary DEATH BY METAL (MENTAL PICTURES, 2016) delves into the life and legacy of frontman/songwriter/guitar virtuoso CHUCK SCHULDINER and his pioneering sound which further refined THRASH METAL into a whole world of technicality and brutality.
through 7 albums over an 11 year span he did not repeat the same recording lineup twice. keep in mind that all these albums absolutely slayed which is testament to his vision, passion and technical abilities. it also gets into the nature of megalomania and the challenges of maintaining a singular focus. there are lots of bands that function on a high level with a seemingly regular interchanging of musicians around one visionary artist, namely QUEENS OF THE STONE AGE, BLACK SABBATH, MEGADETH, KING CRIMSON, THE MISFITS, ANTHRAX, and GUNS N' ROSES to name a few. with the exception of QUEENS OF THE STONE AGE, most of these groups have one lineup from which they derived their cult status and later permutations were meant to maintain some semblance of legacy stature on subsequent tour packages.
not the case with DEATH. if anything their music became more progressive and technically demanding as the "band" continued onward. people have several arguments for which lineup was the definitive "classic" permutation of the band, which to me is amazing. this documentary really gets into gritty details of how SCHULDINER pulled off this streak and how his singular focus was both an inspiration to his former band-mates and the bane of their existence while in the eye of the storm.
highly recommended this documentary and for the record, personally i'd put SCHULDINER on the REZNOR end of the cultural spectrum as CORGAN has been exposed as a joke and a fraud in recent years. definitely dont want to confuse that issue.
photo & text by nacrowe
JOHNNY MARR is a singular talent whose legendary partnership with MORRISSEY in THE SMITHS puts him, in my mind, in the highest echelon of songwriting talents that rock music has ever produced. his story could've ended there but he went on to expand his musical vocabulary by pursuing an expansive career that includes collaborative efforts with the likes of TALKING HEADS, PET SHOP BOYS, BRIAN FERRY, THE PRETENDERS, THE THE, ELECTRONIC (with BERNARD SUMNER of NEW ORDER), BILLY BRAGG, KIRSTY MACCOLL, OASIS, BLACK GRAPE, MODEST MOUSE, THE CRIBS as well as a stellar string of successful of recent solo releases.
all that being said, what struck me most from reading his autobiography SET THE BOY FREE (DEY STREET BOOKS, 2016), which deals with him recounting his extraordinary career was his ability to be in the moment. this moment. i cant imagine what it must be like being defined work (however transcendentally awesome) you did as a teenager. for him it was a determined focus and drive, perhaps rooted in his struggling IRISH immigrant MANCUNIAN working-class upbringing, that allowed him to not get caught up in the hype and hysteria of riding such a phenomenal critical and artistic wave so early.
as a fan, i'm always struck by his career choices which always appeared to each be a labour of love and over time he cultivated a following that came with him, which is incredible given that most successful artists are mindful of no alienating their audience. if anything MARR is taking them on the journey with him.
i want to add that MARR's voice as a writer is very direct and deliberate and this has to be one of the better written autobiographies i have read in recent years. perhaps this shouldn't come as a surprise given the literary aspirations of his work over the years and the quality of project collaborators he has sought out. i wouldn't expect anything else but quality in his writing.
as NOEL GALLAGHER is apt to saying with regards to MARR, "dude is a fucking wizard." by all means, check out his work if you haven't and down the road after a lifetime of enjoying his music, consider reading his excellent autobiography.
THE COATHANGERS are a fiercely political garage/punk trio out of ATLANTA that have released a prolific six albums since 2007, all on SEATTLE-based indie label SUICIDE SQUEEZE. like many other metal knuckleheads, my introduction to them was their inventive video for "Follow Me" which had members of MASTODON (and fellow atlanta-ites) performing their song in drag.
what sets this band apart for me is their stellar songwriting and dual vocalists. both guitarist julia (a.k.a. CROOK KID COATHANGER) and drummer stephanie (a.k.a. RUSTY COATHANGER) have very distinct vocals that ultimately change the feel and aggression in their music, CROOK KID having a very pitchy, almost child-like voice that denotes innocence while RUSTY has a gnarly voice that sounds like she gargled razor-blades pre-performance. it really makes for a viscerally jarring listen, which coupled with their strident politics and fun sing-song melodies equates to a very unique sound.
whats also cool about them is that they often switch instruments mid-set, which just further illustrates their range and dexterity as musicians. could not recommend this band any more strongly. definitely check them out.
check in and listen to TOM's latest installment HERE of the NOWHERE FAST show on MAKERPARKRADIO.NYC with a vinyl selection straight from the shelves of his personal collection.
past episodes of NOWHERE FAST as well as other MAKERPARKRADIO.NYC shows like DEER GOD RADIO, MAKE HER SPACE, and THE SYNTHESIZER SHOW are available here at the DEER GOD website.
full disclosure: i'm a diehard LOS ANGELES LAKERS fan.
my youth in SOUTHERN CALIFORNIA was spent in the strange im-between doldrum years that marked the post-MAGIC JOHNSON era and the pre-KOBE BRYANT era. i grew up idolizing players like NICK VAN EXEL and TERRY TEAGLE, although i always disliked ELDEN CAMPBELL. that last bit is probably due to the fact that as a 3rd grader at a charity auction i asked him for an autograph and he asked me for $50. wasn't worth it then and its still not worth it. BYRON SCOTT, CHICK HEARN (R.I.P.) and all the previously mentioned players were cool and signed willingly which totally made my year.
so that's just some context. back in the mid 90s i played in a league called NJB that was geographically covered (i believe) HAWAI'I, CALIFORNIA (southern and the central valley), NORTHERN ARIZONA and parts of NEVADA. needless to say i was pretty good and was an all-star center and prospect going into middle school. now spoiler alert: i ended up moving to NIGERIA for middle school and never returned, basically abandoning any chance of playing southern california basketball, a decision i am still very comfortable with.
i was at an NJB conference with my dad when i ran into KURT RAMBIS and spoke with him for a few minutes. first off, totally nice guy and i knew who he was immediately by his thick horned-rim glasses, plus he played with my man MAGIC a few years earlier. basically i talked to him about the fact that i loved basketball but that i wasn't digging all the parents living through their kids, that basically that outside pressure (not from my family) was making it not fun anymore. essentially i was describing LAVAR BALL before he was a thing. for me i had a hard time with the idea that my identity was wrapped around my being an athlete and that teammates had parents that would make them cry after games we lost. the whole thing had an air of desperation and was pathetic looking back on it.
RAMBIS said he totally understood. funny thing was that he was there to address a roomful of THOSE PARENTS shortly thereafter. being a former teacher i still cringe at the way parents take over their kid's games. this AAU circuit that has taken over competitive youth sports is next-level exploitation and make me depressed to consider how much they are crushing kids love of the game. it all just strikes me of ego, hubris and misplaced love of self. coaches and parents need to get over themselves.
then again i don't have kids so what do i know.
promo by nacrowe
watch the latest installment of THE SYNTHESIZER SHOW on MAKERPARKRADIO.NYC where hosts Vince and Reed talk about Vince's recent run of Mexico dates and dive deep into some classic electronic music.
as always, you can access past episodes of THE SYNTHESIZER SHOW via the DEER GOD website as well as those of MAKE HER SPACE, NOWHERE FAST and DEER GOD RADIO.
photo by nacrowe
rounding off our series highlighting members of the DEER GOD TEAM is our consulting manager and frequent collaborator, MAGIE SERPICA. originally from BROOKLYN, she has been a staple of the arts, business and advocacy communities in STATEN ISLAND for years now.
her interests are wide-ranging, as he is a talented visual artist and musician, as seen in her work with fellow SHAOLIN native THERINA BELLA in their acoustic, riot grrrl outfit DOLLTITS. a TATTOO ARTIST by trade, MAGIE was recently voted STATEN ISLAND's "best tattoo artist" by local paper SI ADVANCE and has recently opened her new THE BLACK LODGE TATTOO shop.
i have a hard time keeping up with her whereabouts and activities, as she is constantly planning ART INSTALLATIONS and providing painting/drawing classes in association with PROJECTIVITY, but your best bet is to follow her instagram linked here, as well as listen to her weekly MAKERPARKRADIO.NYC radio show with co-host JEN GALLO called MAKE HER SPACE where they interview (mostly) female guests from the local arts and social justice communities in STATEN ISLAND and beyond.
us here at DEER GOD are happy to be involved with her and look forward to continue to collaborate with her on future projects.
legendary german film director WERNER HERZOG is renowned for chasing extremes. at times his singular obsessive focus to get a shot has resulted in bypassing moral boundaries other directors would have long abandoned or outright not even considered.
his transgressive reputation is based in part on his self-produced films AGUIRRE, THE WRATH OF GOD (1972) and FITZCARRALDO (1982), both statrring KLAUS KINSKI and both dealing with the extreme emotions of obsession and mania. here i will go into FITZCARRALDO, but no doubt I will cover the former in another later entry.
FITZCARRALDO relays true story of a fanatically industrious irishman attempting to build an opera house in the peruvian rain-forest despite several seemingly insurmountable technical obstructions. the climax of this film is the physical traversing of his steamship on land uphill so that he could traverse the PACHITEA RIVER from its neighboring UCAYALI RIVER. this is the height of insanity and HERZOG filmed it with the help of locals, some of whom died while making the film. in much the same way that the real-life FITZCARRALDO exploited the local population for his own ends, people have often leveled the same criticism at HERZOG himself.
if anything, this is a singular film with an epic performance by long-time collaborator KLAUS KINSKI in the title role. i'm absolutely ambivalent with this film in the same way i am with capitalism in general. i recognize fully that day laborers have toiled over the most of the food i eat, have been underpaid for the clothes i wear and bear the environmental burden for the technology i use and ultimately discard. i know there were costs and by consuming the product i am supporting its methods of production. i explored this dilemma earlier in my written piece on the artistic merits of LENI REIFENSTAHL's nazi propaganda films. with regards to FITZCARRALDO, i chose to view it as emblematic of the faustian bargain we are all a part of when tacitly buying into, pun intended, capitalism and its brutal, debased, inhumane underpinnings.
i highly recommend this film because it is artistically and morally complicated. you are amazed yet terrified by its production and real-world consequences.
watch HERE for our most recent episode of DEER GOD RADIO on MAKERPARKRADIO.NYC which explored the golden age of country and the modern americana movement that rediscovered that rootsy appalachian vibe. under no conditions did we ever consider playing any of that commercial pablum that passes itself as modern country. that stuff is utter shit.
past episodes of DEER GOD RADIO as well as other MAKERPARKRADIO.NYC shows like MAKE HER SPACE, NOWHERE FAST and THE SYNTHESIZER SHOW are available here at the DEER GOD website.
collage by nacrowe
earlier this summer i did a DEER GOD RADIO show on a topic i am particularly passionate about, INDIE ROCK.
i've spotlighted several bands in this genre (LA LUZ, JAPANESE BREAKFAST, EL GUINCHO, GIRL IN A COMA, DRAB MAJESTY, GRAHAM COXON) with several more planned in the coming weeks (WARPAINT, LA VIDA BOHÈME, THE COATHANGERS, IRON REAGAN, ANA TIJOUX, BATTLES, LE BUTCHERETTES). i've also written several book reviews on this topic (GIRL IN A BAND, LOVE ROCK REVOLUTION, MEET ME IN THE BATHROOM) with have several more lined up (SET THE BOY FREE, THIS BAND COULD BE YOUR LIFE, CLOSER YOU ARE, HUNGER MAKES ME A MODERN GIRL). all due to the fact that this is arguably my favorite genre. for me what edges it above METAL and HARDCORE is the experimental aspect of it, the fact that like HIP HOP, it is a form that at its core challenges the musician and listener alike to seek new sounds. this fact makes it infinitely intriguing to read about and explore as people came to it from different viewpoints along gender, class, geographic, political lines that ultimately complicated and strengthened the fabric of the by definition open community.
looking back, this was one of my favorite playlists yet. i see this specific show as being a sister piece to a previous episode dedicated to 1980s HARDCORE, since both were concurrent scenes that supported and in many cases had a similar DIY ETHIC surrounding it. if anything, i see MAKERPARKRADIO.NYC as a community built on that same ethos of independence, integrity and passion.
if the artwork didn't clue you into the playlist, you can always catch that at the episode's page HERE. take it all in and enjoy this show. i definitely had fun with it.
because of my father's job, my family spent part of the 90s living overseas in NIGERIA. during the summers stretching from 1996-98 we spent time with a british relative in a northern LONDON suburb of HATFIELD. that community was home to the DE HAVILLAND AEROSPACE COMPANY that during WWII produced the MOSQUITO fighter jet, of which my relative was a part engineer. dude was one of the coolest guys i've ever met, but that's for a later post.
it just so happened that those years were at the tail end of the BRITPOP explosion which exposed me to all sorts of bands from OASIS and BLUR to ELASTICA, PULP, SLEEPER, LUSH, SUPER FURRY ANIMALS, SUEDE, THE PRODIGY and beyond.
one of my favorite groups from that era is BLUR, probably because aesthetically they were very much informed by the narrative songwriting of BRITISH INVASION bands like THE KINKS and THE WHO while also embracing the discordantly melodic and expressive qualities of more sonically experimental american INDIE ROCK music like PAVEMENT and DINOSAUR DJ.
those two tendencies in BLUR's music undoubtedly is rooted in the tastes of their two main songwriters, DAMON ALBARN and GRAHAM COXON. ALBARN is widely celebrated, for good reason, as one of the great songwriters of his era, having genre-skipped with delight throughout his numerous solo and side endeavors including GORILLAZ, THE GOOD THE BAD AND THE QUEEN and ROCKET JUICE & THE MOON, not to mention his production work with BOBBY WOMACK, AMADOU & MARIAM, THE STROKES, DE LA SOUL and numerous collaborations and film work. the vein through his work is his mercurial sense of songwriting brilliance that can navigate through seemingly any sonic texture or genre aesthetic.
but i feel that the work of COXON is equally as compelling, only the palette much more limited and the scope of his music more controlled, confined and determined. his songwriting is more along the lines of SYD BARRETT or NICK DRAKE in that he uses sound and lyrics to give off a vibe rather than a clear perspective. it is at once deliberate yet paradoxically opaque. whereas ALBARN tends to use music and lyrics as a way to draw the listener into a particular character or worldview, COXON invites the listener to enjoy the visceral ride and not get caught up in red herrings like meaning and interpretation.
i enjoy both songwriting traditions that each encompasses, but i just wanted to shed light on what a brilliant songwriter COXON has always been. if anything that push and pull of these two styles was a key element into what made BLUR such a creative and artistic force.
watch HERE for our most recent episode of DEER GOD RADIO which was all about the angular riffage, off-kilter instrumentation and experimental song construction of POST-PUNK bands from the late 70s and 80s.
past episodes of DEER GOD RADIO as well as other MAKERPARKRADIO.NYC shows like MAKE HER SPACE, NOWHERE FAST, and THE SYNTHESIZER SHOW are available here at the DEER GOD website.
photo & text by nacrowe
when the BRITISH concocted their COTSWOLD GAMES in the 17th century, a forerunner to the modern olympic games, they touted "amateurism" as a way of assuring that the sporting event was kept pure from debased notions of professionalism. after all, they wanted to showcase their self-assured physical superiority over the constituents of their imperialistic holdings without looking as if they actually tried.
this was the prism i viewed CALVIN JOHNSON and the cult surrounding his legendary indie label K RECORDS and the whole 1980s INDIE music scene of OLYMPIA, WASHINGTON through in general. primarily known for his decidedly non-professional musicianship in his notable group BEAT HAPPENING, as well as late projects including THE HALO BENDERS, DUB NARCOTIC SOUND SYSTEM, and THE HIVE DWELLERS, JOHNSON has been renowned for popularizing what has since to become known as TWEE POP. this genre usually denotes music by amateur or non-technical musicians.
before reading MIKE BAUMGARTEN's "LOVE ROCK REVOLUTION" (SASQUATCH BOOKS, 2012), i mistook JOHNSON and his ilk as being inept, arts-fartsy elitists that look down upon musicians with actual talent, like say the concurrent GRUNGE scene that blew in neighboring SEATTLE. perhaps that notion came from reading books about NIRVANA and PEARL JAM and SOUNDGARDEN and how acolytes of the underground made them question the purity of their careerist motives in making music.
BAUMGARTEN's portrayal of JOHNSON in essence is that of a curious music fan that sought out an artistic community that didn't exist in his youth. the narrative of K RECORDS is the story of his efforts to nurture that community, employing a strong DIY ETHIC that put artistry above profit margin. this mindset comes directly out of his involvement with various INDIE and HARDCORE scenes in the early 80s and his connections to institutions like DISCHORD RECORDS and arguably most importantly, EVERGREEN STATE COLLEGE's unconventional KAOS 89.3FM college radio station. if anything, the story of the label is an outgrowth of the community surrounding the radio station, university and the underground independent tape-trading communities across the nation.
i can understand how successful GRUNGE musicians felt pigeonholed by "Calvinist" acolytes from OLYMPIA and the burgeoning scene including fiercely strident labels like KILL ROCK STARS. by making their bed with the "corporate ogre," they were essentially a part of the machine, a by-line on a quarterly report, a commodity and they knew it. yes, the music produced by K RECORDS was decidedly unsophisticated and had what FRANK ZAPPA famously coined in another era as "zero commercial potential," but their motivation was to sell records but to showcase artistic freedom.
and on that scale he flourished having collaborated with/and or helped promote a fertile cultural scene that gave the world HEAVENLY, BIKINI KILL, MECCA NORMAL, BRATMOBILE, HEAVENS TO BETSY / SLEATER-KINNEY, UNWOUND, HEAVENLY, MAKE-UP, THEE HEADCOATS, KICKING GIANT, THE GO TEAM, D+, THE MICROPHONES, BECK, MUDHONEY, TIGER TRAP, THE MELVINS, and even NIRVANA.
so there you go. K RECORDS is almost a modern VELVET UNDERGROUND-like phenomena in their cultural relevance wasn't rooted in the records they sold, but in the bands they influenced. and their influence according to the book was their DIY ETHIC, GRUNGE bands be damned.
when i listen to the music of THE POGUES and read the lyrics of SHANE MACGOWAN i hear longing. there is something achingly irish about this body of work.
in my teenage years i was lucky enough to have visited IRELAND, but i have to say growing up a kid who was thrown from school to school, literally continent to continent was more of an education into what it means to be irish than any book i read or place i visited. there is something to be said about the complicated long-distance relationship between the irish and their beloved ireland. i think it can be boiled down to the experience of an immigrant.
full disclosure: my paternal grandfather's side of the family is of irish-descent having left the small village of CAPPAWHITE in COUNTY TIPPERARY just over a century ago for NYC.
a national identity surrounding displacement is something i've seen again and again overseas. when i was in KOSOVO there were grandmothers i interviewed that longed to meet their sisters and cousins in ALBANIA that some hadn't seen since childhood. songs from their childhood were passed down to ensure a sense of identity even though their circumstances, (political, financial and otherwise) prevented such. it was heartbreaking to hear.
family of albanian descent i interviewed in kosovo. photo by nacrowe
when i listen to the work of SHANE MACGOWAN i hear that subtext. to me it is synonymous with the unique, often pitchy but unequivocally authentic tone of his voice. he may be singing about romantic love, but in my mind he is channeling his collected experiences of growing up irish in england as a first generation immigrant. there is a pride in that resilience which is all over his lionizing of the immigrant experience in songs like "thousands are sailing" and "fairytale of new york."
what i find truly heartbreaking is the inevitable miscue that happens when the public confuses pride in one's community and their resilience through trouble times as something unique to them. in my mind descendants of irish immigrants should be the first ones to welcome and support newcomers since they should the one's most aware of their sacrifice in leaving home. they should have empathy.
but i have the music of THE POGUES. sometimes i wish people could just harness and embody the ideals of their message and celebrate our collective community, because last time i checked when i was in ireland, to the irish EVERYONE IS FROM IRELAND.
photo by magie
watch HERE as JEN and MAGIE interview urban healer and podcaster AKASHA. check out the interview and definitely check out her dualiTEA podcast!
past episodes of MAKE HER SPACE as well as other MAKERPARKRADIO.NYC shows like DEER GOD RADIO, NOWHERE FAST, and THE SYNTHESIZER SHOW are available here at the DEER GOD website.