parodies by nacrowe
i was listening the today to long-time noted tech journalist KARA SWISHER's interview with biographer WALTER ISAACSON about ELON MUSK, the subject of an upcoming, as yet untitled book. for those who dont know, ISAACSON trades in narratives about INNOVATIVE SCIENTISTS, POLITICIANS, PHILOSOPHERS and ENTREPRENEURS who left their mark on society; everyone from BENJAMIN FRANKLIN, LEONARDO DA VINCI, HENRY KISSINGER and ALBERT EINSTEIN to JENNIFER DOUDNA (pioneer of GENE EDITING and CRISPR) and STEVE JOBS. his work leans towards HAGIOGRAPHY and his arguably UNCRITICAL approach spares things like the CHARACTER FLAWS and PROBLEMATIC viewpoints of his subjects in order to shed light on the achievements that differentiate them from their peers.
SWISHER admittedly takes ISAACSON to task for glossing over the TROUBLING aspects of MUSK's NARCISSISTIC personality and SOLIPSISTIC worldview, such as his wanton CRUELTY on TWITTER, punching down on less POWERFUL people with repeated VILE HOMOPHOBIC, MISOGYNISTIC, TRANSPHOBIC, XENOPHOBIC and RACIST garbage. he's beyond a troll. he's an ASSHOLE of TRUMPIAN proportions and ISAACSON is SYCOPHANTIC towards him because he has a space ship and manufactures electric cars. it got me thinking about how as a society we treat this class of ENTREPRENEUR differently, going back to HENRY FORD, HOWARD HUGHES and THOMAS EDISON. that in a sense we are all COMPLICIT in this whitewashing of history and that over time MUSK will be no different. a century from now his net positives for humanity related to TECHNOLOGICAL ADVANCEMENT in SPACE EXPLORATION and BATTERY STORAGE CAPACITY will supposedly outweigh the copious MISANTHROPIC BILE he continually spews upon the most VULNERABLE populations on TWITTER. according to APOLOGISTS and ENABLERS like ISAACSON.
when issues like this are raised i always think about my own COMPLICITY in the matter. being a participant in a CAPITALIST SOCIETY, by definition i am benefiting on the EXPLOITED LABOR of some NAMELESSS, FACELESS person in a faraway land. unlike most AMERICANS, ive seen this dynamic at play up close in SOUTHEAST ASIA, LATIN AMERICA, EASTERN EUROPE and WEST AFRICA during my time overseas. its the underbelly of CAPITALISM nobody wishes to acknowledge.
in a way the same goes for music and film. there are countless ASSHOLES in each industry that have done some terribly MONSTROUS things and we are all COMPLICIT, knowingly or unknowingly, in their cultural ascension by admiring and taking to heart their creative work. the second DEER GOD RADIO episode was about this very COMPLICATED dilemma of attempting to compartmentalize the artist from the art. i dont think we differentiate such, but we do and in the long arc of history the films of WOODY ALLEN and ROMAN POLANSKI and the music of R KELLY, MICHAEL JACKSON and CHUCK BERRY will undoubtedly outlive us all.
i am in SWISHER's corner but ISAACSON sadly might be on to something. and thats TRAGIC and UNFORTUNATE. i just try to think past and ignore DEGENERATE MISANTRHOPES like MUSK who ironically have MARTYR COMPLEXES and EPIC DELUSIONS regarding personal crusades and corporate missions to save humanity. just leave me out of it!
embedded below is the second DEER GOD RADIO episode on nonprofit internet radio station MAKERPARKRADIO.NYC, which originally aired this week five years ago in march 2018. the playlist includes some unquestionably SENSATIONAL music created and performed by some truly UNSAVORY and AWFUL human beings. enjoy!
this veritable shitlist of musicians does not include THE CRAMPS.
viva POISON IVY y LUX INTERIOR para siempre!
photo manipulation by nacrowe
second acts in music are always difficult. its arguably even more difficult when coming off a successful stint in a well-known band. it goes exponentially from there if you're former bandmate was your abuser.
such is the case with ALICE GLASS, former front-woman for influential CANADIAN ELECTROCLASH/SYNTHPOP duo CRYSTAL CASTLES. i almost feel guilty even mentioning such since her association with that situation should not define her, but i would be remiss in not mentioning it is part of her history. in a sense her persona as an artist embraces it.
in my opinion her solo work holds up to her previous gig, albeit with a less abrasive edge and more conventional pop hooks. part of the appeal of CRYSTAL CASTLES was their extreme use of texture and clipping, red-lined vocals that distorted in a beautiful cacophony over hard driving synth beats. with her recent solo work it is almost like a veil of noise has been lifted and you can really appreciate her voice as it is no longer muddled in the mix. its an aesthetic decision, albeit a more mainstream one, but in a way it is almost like you are hearing her for the first time minus the extreme processing of her voice.
i'd recommend her CRYSTAL CASTLES work, as it is excellent, but there i a part of me that doesn't want to support her abuser who has carried on that outfit without her.