photos by nacrowe
been a fan of JANE'S ADDICTION since my teens and are my all-time favorite rock band. only THE SMITHS and DEVO, two very different bands, come close in admiration.
luckily i've gotten to see the band play in various iterations over the years, but none more bizarre than a 2015 gig in TOKYO at OZZFEST 2015. first off, the show itself was all kinds of strange as you had two main stages, one with american bands of various genres like A DAY TO REMEMBER, HATEBREED, BLACK LABEL SOCIETY and OZZY & FRIENDS and the other japanese bands, namely BABY METAL. japanese metal is weird, its all mixed with J-POP music so there is lots of hand-clapping and choreographed dance moves. BABY METAL has a legit rhythm section so they absolutely crushed, if you ever get the chance definitely hit up their live gigs. BLACK SABBATH had to back out due to health concerns surrounding TONY IOMMI's battle with lymphoma, so essentially OZZY & FRIENDS was the legendary singer with his band plus guest guitarists DAVE NAVARRO, TOM MORELLO and his first performance with ZAKK WYLDE in over 10 years. too bad OZZY sounded awful. he just sounded old and tired. i left early.
but my reason for going was strictly JANE'S ADDICTION. living in the greater LOS ANGELES area in my formative years, i have memories of riding around with my dad heading off to soccer games in at-risk MEXICAN soccer leagues listening to K-ROQ blasting songs off RITUAL DE LO HABITUAL (WARNER BROS, 1990). to me, JANE'S ADDICTION is LOS ANGELES, the land of my youth.
the show was great with the requisite dancers and swinging models fearlessly suspended above the fray with hooks in their backs (a then-recent hobby of guitarist DAVE NAVARRO). it was everything you'd expect from them, something a bit raunchy, dangerous and obscure to go with a setlist made up primarily of their transcendent genre-defining efforts NOTHING'S SHOCKING (WARNER BROS, 1988) and RITUAL DE LO HABITUAL. if they never do anything of merit again, those two records are canonical in my opinion.
so in summation, having attended several OZZFESTS in the early 00s, this version had little of the feeling of those events which was as much due to the lineup as it was about the location. it was more like a LOLLAPALOOZA/OZZFEST hybrid which was fine by me, although historically a bit absurd given that OZZFEST was created by SHARON OSBOURNE after not being able to secure her husband/client OZZY a gig on one of the initial LOLLAPALOOZA. regardless, i had a great time soaking in the absurdity of it all and JANE'S ADDICTION sounded killer. too bad OZZY had an off night. he really should retire. he more than deserves his time off. ALL HAIL!
photos by nacrowe
i'm not gonna lie, SOUTH KOREA is a strange place.
and that is from the perspective of someone who practically seeks out unfamiliar cultures and actively attempts to understand them on their terms. for most visiting westerners, especially americans, it is easy to get caught up in the neon lights and dizzying hustle and bustle of SEOUL and its labyrinth of cavernous subways and seemingly infinite shopping destinations. the place basically has no central district with multiple competing neighborhoods basically competing for influence. at the time i was living in JAPAN outside YOKOHAMA and for me SEOUL seemed to me a more bloated version of TOKYO for reasons already described.
but what got me about this country wasn't its massive cities but the insular nature of its people. living in JAPAN i often felt quite isolated, which to me was funny because at that point i had lived for years in politically and economically depressed countries like ALBANIA and VENEZUELA that were a step removed from mainstream "world culture." yet i never felt alone there. i always felt welcome and not a curiosity. JAPAN was very much a situation where you never felt welcome. people were impeccably polite but it was a politeness that acted as a barrier. its hard to verbalize what i mean. there was a definite insularity and rigidity of thought, a lack of curiosity. i found JAPAN jarring but SOUTH KOREA was another level indeed.
i worked at an international school in JAPAN and there were several CANADIAN counterparts of mine that had JAPANESE spouses. i learned that in SOUTH KOREA dating was carried out with the forethought and determined specificity of two merging corporations as families would want to the income and occupation of not just you, but up to three generations before you. the two participants were just an afterthought in this intense negotiation that had as much to do with standing and honor as it did about commitment and love.
and i get why. the JAPANESE were absolutely brutal to the KOREANS during their occupation and post-KOREAN WAR this country had to basically pull itself up by its bootstraps and make something from basically nothing. literally nothing. most of their ancestral architecture was defiled and destroyed by the JAPANESE. most or all you see today of past royal palaces are works-in-progress recreations. its funny now because SOUTH KOREA has basically followed JAPAN into consumer electronics and beaten them at their own game. revenge indeed.
but much like JAPAN, SOUTH KOREA has a problem with teen suicide and depressions. families have few children and put a lot of resources into their education, putting excessive pressure on them to succeed and procure employment that pays off this investment. what results is that you have a country that sees value only in your ability to produce. i have teacher friends out there that i stayed with and it felt claustrophobic being around that educational culture. all students played violin or cello or piano not out of interest but out of needing something to fill out your college application out with. everything seemed backwards like the kids were supposed to fit into a pre-conceived mold. it was conformity of the most intense variety. even pop culture (K-POP specifically) was about meeting a predetermined standard of demeanor, purity and naïveté.
i found the place claustrophobic and is one of the few countries i've visited that i don't have any real urge to revisit. people there are treated as a commodity by their families and it makes perfect sense to me why so me seek a way out, suicide itself being a normative means of maintaining family honor in a warped moral landscape.
and i haven't even gotten to talking about NORTH KOREA yet. stay tuned.
photo by karl burhop
ok i admit that its more than a little strange to write a profile on yourself. but here i go.
as creative director of DEER GOD i basically have a hand in everything we do that is non-audio. that basically boils down controlling/editing all things visual and written. of course we work as a team and frequently collaborate and take cues from one another, but i more or less take these efforts and produce the final product.
out of the whole team i am probably the last to the party in that i was not involved with audio or video production until a few years ago when i returned from overseas. for the better part of the last decade i was involved with education having taught secondary english abroad at international schools in MYANMAR, JAPAN, VENEZUELA as well as a stint as a peace corps volunteer in ALBANIA. my start as an educator was in NYC where i got my masters at COLUMBIA UNIVERSITY and had brief stints teaching at both BROOKLYN TECHNICAL HIGH SCHOOL (student teacher) and STUYVESANT HIGH SCHOOL (long-term substitute). my bad timing entering the field in the wake of the great recession meant that no new positions were available as older teachers delayed retirement and an effective freeze was put on new hires. thus i had an IVY LEAGUE degree and recommendations from two of the top public high schools in the nation, but no prospects.
so i went and taught overseas.
due to my parents work i spent time overseas growing up in NIGERIA (middle school) and KUWAIT (junior year of high school) and attended high school in both MASSACHUSETTS (NORTHFIELD MOUNT HERMON) and CALIFORNIA (ROCKLIN HIGH SCHOOL). oh yeah, and i was born in SPAIN.
my passion as long as i can remember photography as i would take photos of my travels (somehere around 60+ countries). i think my passion for other cultures and worldviews informed my (brief) teaching career and most definitely is a part of what i bring to my current visual work here at DEER GOD. if interested, check out my photos above.
the rest are linked HERE.