Category: Culture

  • Numb

    Dublin, October 1992.

    Well he hugged me and he said that it was time for a change. We need to get closer to nature, to believe in hope and he started saying things about the harvest and…

    Where was he this time?

    South Africa. It seems that he spent an afternoon in Mandela’s farm and probably they chatted about agriculture.

    Brainwashed by Mandela.

    Jaysus, he couldn’t stop talking about him, about his wisdom, his efforts, his fucking antelopes.

    Tell me honestly, does he want to write stuff about Africa? Fela Kuti style?

    No, thank god he didn’t mention it. He just said something about the real nature of sounds but I dropped the conversation.

    I like Afro stuff.

    Shut up Clayton.

    And, funny thing, Mandela gave him vanilla seeds as a symbol of universal peace.

    Doesn’t it grow in places like Madagascar?

    Not in Killiney for sure. But you know Paulie? He bought a glasshouse.

    So compulsive.

    Well, he showed me a machine that can reproduce a microclimate with a constant humidity of 95%. But really, he was talking too much.

    I think I know what you mean.

    Anyway, there is a good thing about that. He wrote some commandments to let vanilla grow properly.

    Really?

    It’s a list of things that you don’t have to do. Like a negative mantra. Things like don’t whisper, don’t talk, don’t run if you can walk or don’t grab, don’t clutch, don’t hope for too much. He put a blackboard on the glasshouse wall and he wrote commandments down. Seriously. And he insisted that I read and repeat them before entering the glasshouse. It was 37 degrees, no oxygen inside and Paulie kept talking about Mandela and I had an idea for a song.

    Whoo!

    Yeah, It came out quickly. It’s me repeating things that you don’t have to do in the same key. Simple as that. I want to call it Numb.

    Like I feel numb.

    Shut up Clayton!

    But Paulie doesn’t have to sing. He would sing it too much and he would ruin everything.

    Do you think he will agree?

    I wrote some vocals for him to sing in falsetto on the chorus.

    Hmmm.

    Yes, I know. Probably we’ll have to create a mystical explanation for it. Something about, I don’t know, the voice of angels or shit like that.

    I think we need Mandela to convince him.

    Well, do you remember when he wanted to shoot a video on the top of the Column of Victory in Berlin and they told him that it wasn’t possible and he started shouting and crying and he wanted to talk with Helmut Kohl?

    Yes.

    Well, Helmut Kohl called back. He said he is sorry, we can make the video. I was thinking about telling him the good news and maybe…

    We have to find Mandela’s phone number.

    You are probably right .

    Thank to the effort and the intercession of Nelson Mandela, the song Numb was released as a single in June, 1993.

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  • Kaleida’s Vesper Wood on her First Solo Album ‘Instar’

    C.V.: Your album is entitled ‘Instar’, meaning ‘a phase between two periods of moulting’, which might indicate that you are at a vulnerable stage in your personal life. Can you explain a little about this?

    C.W.: I chose the title less to mean vulnerable, and more to indicate growth and transformation…and the process of presenting myself as a solo artist … shedding an old skin … celebrating eternal change… Actually I first came across the word in a Rebecca Solnit book called A Field Guide to Getting Lost. She wrote: ‘Instar describes something both celestial and ingrained, something heavenly and disastrous, and perhaps change is like that, a buried star, oscillating between near and far.’[i]

    Instar album cover – photo by Marisa Marulli, album artwork design by Haris Fazlani.

    You enjoyed global success as one part of electro-pop duo Kaleida. Does this solo album project indicate that you are taking a separate path, or will your collaboration with Cicely Goulder continue?

    It will continue! We’re working on another album at the moment.

    How has it been to be a female duo in a business that tends to be male-dominated?

    Sometimes frustrating (we frequently get asked what our producer’s name is, where is HE based etc.) but we have been pretty successful in creating a protective environment for ourselves by sticking together and maintaining creative control over everything we put out. Sometimes this means the process takes longer and we have to learn along the way, but we have avoided being ‘shaped’ by a male producer, or really by any men in the industry. We’ve put together a really supportive team around us too, of both men and women, who respect us for the quality of our work.

    During that period which gig did you enjoy the most?

    Probably opening for Alt-J in Prague. It was a beautiful evening, sun-set, and the Czech love to dance, no inhibtions…a great, open-hearted crowd.

    How would you distinguish the Instar sound from Kaleida’s?

    It’s more stripped back, less electronic, more organic, raw. I kept things pretty close to the demo’s as I wanted the tracks to retain an intimate, un-refined, transparent feel.

    Growing up what kind of music did you listen to, and how has that informed your song-writing career?

    Lots of church choral music, as I was in the church choir in quite a traditional church. Then I had a phase of being obsessed with old Appalachian ballads, the kinds that were discovered buried deep within the mountain communities, that had hardly changed since the 1600’s and 1700’s when they were brought over from the British Isles. Old, medieval sounding music. After that I had a long long love affair with Bjork, The Knife, Scandinavian electronic music … still do I guess!

    Are you also influenced by poets and other writers in your choice of themes or lyrics?

    Yes, I get influenced by stories, identities, atmospheres I read about in novels or even in the news. One of the tracks on Instar, Carson, was inspired by Carson McCullers, who wrote the Heart is a Lonely Hunter. That book had a lonely, southern world that really got under my skin, having grown up partially in Kentucky. It has a sadness to it, and of course an outsider appeal, that resonated.

    Photo for single ‘descend’- by Linda Mason, single artwork design by Haris Fazlani.

    What advice would you offer to anyone who aspires to a career in music?

    Be recklessly driven and passionate about making music, and just keep going at all costs.

    You have enjoyed a parallel career in the environmental field. Has an elevated awareness of the natural world exercised a creative influence on you?

    I’m sure in some ways. Sometimes I think my link to the environment is more emotional than anything – a feeling for the beauty of it and the painful knowledge that we are destroying it so bluntly.

    To what extent is your art political?

    I’m not a very political person, but I do get pretty emotional about women’s rights, and what we’re doing to the environment. Sometimes these ideas trickle into the tracks. I battled a lot with my reproductive health in the last few years, and I had a lot of anger about the lack of awareness of women’s health issues in our society, which I was perceiving as symptomatic of our lack of equality. I think little boys should be raised to understand and respect women’s bodies, as should women of course – there is a whole miraculous but delicate and time-bound system of procreation going on in our bodies, and people should speak up more about honoring it. I’d like to see men support women more on their biology, instead of being afraid of it, or ignoring it…I encountered a lot of that along the way anyway. You’ll find a lot of my feelings about it in Instar…

    Where do you see yourself in ten years?

    A couple of albums down, several tours in, living between a city and the wilderness (the dream) with a loving family!

    Do you think you will ever make it over to Ireland to play a gig?!

    I would love to!! One day.

    www.vesper-wood.com
    Photo by Imani Givertz.

    [i] Rebecca Solnit, A Field Guide to Getting Lost, New York, Penguin, p.83

  • Double Take

    In 1973, my first time here,
    I’d stood in wonder with my head strained back
    As dizzily I’d tried to see how high
    The buildings had to reach to scrape the sky,
    Then lowered my gaze just like a steeplejack,
    Who staring straight ahead finds nothing sheer.

    Instead now I’m a resident who knows
    To cross Manhattan’s gridded streets it’s best
    When lights are red to zig and when they’re white
    To zag – a kind of crow’s rectangle flight,
    Combining north or south with east or west,
    Allowing chance to lead me by the nose.

    And yet my sights too low do I neglect
    The joys I’m underlooking as I pass?
    Careering too determined and hard-nosed,
    I miss those older buildings juxtaposed,
    With superstructures shaped in steel and glass,
    Where classical and modern intersect;

    Or how the scrapers taper, tilt or lean,
    To strike us with new beautiful contours;
    How topmost floors designed to counteract
    Excessive symmetry are stacked,
    And houses show surprise entablatures –
    So much unless we look remains unseen.

    On top of one apartment block my eye
    Picks out what seems at first some weeds grown wild,
    But they’re well-watered leaves of terrace trees
    Seen peeping over penthouse balconies –
    The rooftop plants you’d tended as a child,
    Still waste their green on earthbound passers-by.

    I can’t be too unworldly or withdraw –
    I live my lower days here down-to earth,
    Look horizontally for safety’s sake –
    But suddenly a higher double take
    Delights still in my love’s New York rebirth.
    I’m staring heavenward again in awe.

    Micheal O’Siadhail is the author of sixteen volumes of poetry. His latest book-length poem The Five Quintets was previously reviewed by Frank Armstrong for Cassandra Voices.

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  • No Comment – Saoirse Sexton

    All Images © Saoirse Sexton

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  • No Comment – Jenny Hauser

    All Images © Jenny Hauser

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  • Hello Julian Assange

    It was sunny outside. Manus still felt something akin to minor guilt at lying in bed on a sunny day. Just having the option carried a guilt. He had spent most of his life not having to get up in the morning, not working, living off social security benefits.

     There was a certain amount of guilt involved but it was easy to rationalize away. In a world that accepted the waste of half of its food production each day, and for thousands of kids to die of hunger each night, rationalizing guilt away came easy.

    He would have liked to fight against the injustices of the world but it seemed like a global system with no head to cut off that wouldn’t pop back up immediately. Manus had not spent his life researching and exposing corporate crimes or hacking computers. He wouldn’t know where to begin with research and when it came to computers he was technologically challenged.

    His lifestyle choice to just take drugs and scrounge off the state as much as they would allow had been as proactive a revolutionary stance as he could manage, which the less enlightened members of society failed to understand, instead viewing him as a lazy good-for-nuthen-opportunist-bum, but Manus didn’t hold it against them. ‘There but for fortune’ after all.

    No, regardless of mainstream social exclusion, condemnation and relative poverty for someone living in the privileged sector of the planet, Manus had often enjoyed his choice: to lie in or get up.

    This morning, however, he had allowed himself to be robbed of all enjoyment.

    This morning he was cursed with the knowledge that he had pushed a young woman away from him.

    She liked to keep her options open and he had texted her more or less demanding that she give him a definite date for their next meeting. In a ‘normal relationship’ this might well have been acceptable but this was not a ‘normal relationship’. In fact this was not a ‘relationship’. Avril had insisted from the start. She didn’t want a ‘relationship’. She liked to call round. Once or twice a week. Just for sex. And sex had nothing to do with anything. So Avril said.

    But after a few months, Manus got used to her and when she didn’t call for a week or so he was pushing her for rights he didn’t have.

    It was in the contract. She was younger than him by over two decades. All she wanted was a bit of fun and instead of being grateful he had pushed the last woman who would ever fuck him away. Now there was guilt.

    He didn’t want to get out of bed all day. He was stupid and now he was condemned for his crime. Sentenced for the rest of his life to be alone.

    (It wasn’t really true as his thirteen year old daughter who lived with him seventy-two hours a week every weekend would have been quick to point out. But this was the other ninety-six hours of the week, and he was alone.)

    Ah the suffering and the pain.

    He would lie with it all day. No, that might have been excusable had he been thirty or forty years younger, but he wasn’t and though he was very tempted to visit an old favourite familiar haunt, he was just too old. He knew he didn’t have that many days left to waste, no matter how favoured and familiar an old haunt it might be.

    And he had things to do.

    It was Assange’s birthday for a start. Manus was to meet people at Saint Stephen’s Green at a quarter past one. They were going to deliver a letter to the Australian embassy. Originally they had just talked of making a cake and Manus had thought to hassle a friend or two over to play guitar, and maybe see if they couldn’t get something like a small street party going. But that had been before Avril had ditched him. Since then Manus was lacking the strength or enthusiasm to hassle anyone. Yet again his broken heart had got in the way of political activism, or positive action of any kind.

    Ciaron O’Reilly had instigated the protest.

    Amongst other things Ciaron had taken a hammer in his hands and damaged American war planes that would otherwise kill or harm the poorest people in the world.

    Acting like a responsible citizen had earned Ciaron hard time in high security prisons, and Manus’s respect.

    So perhaps it was for Ciaron, as much as for Julian, that Manus would get out of bed and make his way into town. Manus imagined Julian Assange wouldn’t be overly impressed with their protest. Nobody could be. There would be half a dozen people, a dozen people at the most.

    Most passers-by wouldn’t know who Julian Assange was.

    Against a tsunami of banners and all the technology money can buy, which told people that what Julian Assange was doing just wasn’t important, Manus and a few others would stand with a single banner saying ‘free jullian assange’. The few standing with the banner, if they got noticed at all, would look like weirdo nutters. Manus was going to go, perhaps just to show some solidarity with the weirdo nutters.

    Around 11a.m. George Kirwan called for Manus.

    George was one of them smart ass bastards from a fairly privileged background; a former chairman of a Trinity debating society, who would come up with a nuanced argument against anything you said. Manus was one of those dumb ass fuckers from a fairly unprivileged background, where debating skills ran from shouting to yelling personal threats, to physical violence.

    Manus asked George why he wasn’t going to the protest. George said he didn’t protest anything because he thought it was ineffective. Manus asked if all ‘protest was ineffective’ then should we do nothing? George backtracked saying ‘he very seldom protested and saved his energy for the ones he felt were important, which did not include Assange.’  Furthermore, George wasn’t sure Assange was his political ally since Wikileaks had, ‘not just published, but directly funnelled leaked documents to the Trump campaign first’; George continued: ‘directly dealing with a dime store Hitler was naïve in the extreme and a wrong act’.

    It didn’t ring true for Manus that Assange or Wikileaks would be dealing directly with the Trump campaign, though as usual he hadn’t done much research and couldn’t say with any certainty. George as always was certain: ‘there was a server in Wikileaks communicating with a server in Trump Tower’, George swore it with rather more venom in its delivery than the truth needed. Trinity’s training got lost and George could be as emotive as any uneducated thug when he defended a false position.

    Manus said that since he had started speaking for Assange he had heard all kinds of negative fact and fiction. All of which for Manus sidestepped the main issue.

    Publishing the crimes of the powerful should be applauded, not a punishable offence.

    For none of these other reasons, fact or fiction, would Assange be imprisoned.

    Wikileaks was known all around the globe for telling the truth. It had an effect on the way the world was perceived, with potential to affect how it’s citizens and environment were treated.

    Allowing the Wikileaks founder to be imprisoned would send a clear message ringing around the world. Exposing government and corporate crimes would not be tolerated.

    George lost some of his evangelical zeal against Assange and relented with, ‘their wasn’t enough evidence against him for a conviction, but enough to lose him the support of the left.’

    George spouted on then about some group in America who used to fight legal cases for poor black communists to have the right to preach communism and then they fought for rich white fascists to have the right to preach fascism. Then they decided they didn’t have enough resources to fight for both and decided to just fight for the Commies. Not that he was saying Assange was a fascist.

    How had the so-called left gone along with this crap? How had the most effective exposer of corporate and government crimes been turned into the left’s enemy, or person of no worth, or person they least wanted to defend? The answer was obvious, corporate power had attacked Assange because he exposed their crimes and the corporate media swamped the world with their attack, but it was the left’s acceptance of such obvious diversions and spurious attacks that bothered Manus.

    Manus had a frazzled brain. Too much: drugs, drink, punches to the head. He couldn’t always take in a lot of info and he could retain less. George hadn’t done half as much drugs or drink and had probably never been punched in the head in his life. Manus wasn’t fit for arguing with him.

    The two were friends of a sort. They had both protested against the Dublin Housing Crisis; they had both helped out at a social centre. They helped each other sometimes. For all their differences they had things in common.

    George had brought his three-year-old daughter Paulina. Paulina and Manus had gone through a number of high and low points over the three years of her life. Manus had been a fun distraction one night while both her parents had sneaked off but when Paulina became aware of the dirty trick that had been played on her she screamed all night. It had taken a long time but Paulina was gradually forgiving Manus. She got Manus to flush the toilet for her. Which Manus did again and again and again and again. Paulina was delighted. It was nice for Manus too, to perform a task that seemed a worthwhile and appreciated service.

    Nick phoned and arranged to meet Manus on Saint Stephen’s Green. Like Manus, Nick came from the North. Like Manus, Nick had been called names and spat at a lot when he walked the streets as a youth. They both shared the experience of gangs of loyalist thugs throwing bricks and bottles and chasing them. Manus was a taig in a mostly prod area and could run for one of the taig streets. Nick was actually a prod in a totally prod area but his family would have been the only black family in his whole estate. Loyalists in the North of Ireland were known for their sectarianism, but Nick’s family gave them a chance to prove they were just as racist. Nick developed fighting skills whereas Manus was just a great runner. Manus figured Nick had always tried and usually managed to beat the bastards at their own games. He could fight better, play sports or chess better and stand at the bar and talk bullshit about football better than anybody.

    Nick was over six feet tall and when he let his dreadlocks out of his big hat they came down to the floor.

    Manus and Nick had coffee, sat on the grass on Saint Stephen’s Green. Manus babbled about his own child’s graduation from primary school and how it looked like an American teen movie. And how he felt depressed since he had just pushed that woman away. And how he hoped to get a ‘coffee with Chomsky’ van together which would permanently play Chomsky speeches or Democracy Now! episodes or CounterPunch news, or any alternative to corporate news and views of the world. Everywhere you looked there was a corporate message. One small screen wasn’t going to achieve much, but it just might keep his personal sanity.

    Nick loved the idea. Nick was a cobbler by trade but still hoped to build a studio and record his own music. He had two grown boys up North who visited regularly, but Nick at fifty years of age now lived in Dublin with his new partner and their five year old son Thor.

    Nick babbled about his partner going to some medium who had said Thor was a really old soul. Manus’s mother used to go in for that type of stuff. Nick also went on about how England was still in the World Cup and how Manus, even though he wasn’t into football or nationalism, had to join in the world’s prayer that England couldn’t win the World Cup. The world would never hear the end of it. They still hadn’t shut up about their win in 66.

    At least, thought Manus, Nick didn’t repeat the football being more serious than life or death crap.

    Manus and Nick met May O Byrne at the main gate outside Saint Stephen’s Green. Nick had to go to pick up his kid but Manus introduced them anyway. Telling Nick: ‘come on and meet this one she’s cool.’

    ‘Nick this is May she’s an activist. May this is Nick he’s not stopping today but he’s one of us.’

    Nick went on and May and Manus stood alone.

    May had the petition letter, but said she wasn’t that pleased with it because it quoted Obama. The fact that Obama had been responsible for so many deaths in his time put May off.  Manus shrugged. He didn’t reckon the Australian government would give a shit what the letter said. They were never going to protect Assange. What government in the world was going to thumb its nose at America?

    May was even older than Manus. She said her husband wasn’t well enough to attend. He was eighty-five. Her hubby had been a newscaster in Australia. She said he could see the telexes that came into the news office which never got read. After a while he found it impossible to put on a face that looked like it believed what it was reading and so he lost his job.

    May said there was another Australian coming. A woman called Kate. Manus tried to check himself from his ridiculous notions of finding a partner, long or short term, in Kate. At his age looking for a partner. How long did he think he had left? Still his mind ran on. She would probably have rolls of fat hanging over her pants and a squashed up ugly face. He was shallow.

    She turned up. Fit-looking and highly attractive.  When May went to shake hands Kate insisted on a hug. Manus got a hug too. A bit of much needed physical for Manus. She had been visiting her parents. Catching a flight back at the end of the week.

    Just right for a non-committal shag on a holiday thought Manus.

    Kate said she had emigrated to Australia on her own in the seventies. Had Manus heard that right. Emigrating in the seventies on her own made her around his age. Was that possible? Had he found an attractive woman from his own age group? Could she feel attracted to him?

    Youth went for sexual gratification, age expected accomplishments or at least a place in society. Manus was the least accomplished person in the world, with the lowest place in society.

    He had to stop with the negative self-image. It was that Avril ditchen him thing. It was the getting no nouky. Being the least accomplished person in the world or his place in society didn’t bother him so much when he was getting laid.

    Kate had been shoe-shopping. ‘Well shoes are just so expensive in Australia.’

    Believe in the corporate portrayal of the world or not you still had to live in it.  And despite his own choice, he understood that being a bum was not a popular preference.

    Sid turned up with his bowler hat, scarf, waistcoat and corduroy trousers. A talented singer song writer. Sid and Manus were close enough in years. They talked of Ciaron O Reilly’s unceasing efforts. They both did little bits now and again but Ciaron was full time, twenty-four-seven, year-in year-out. They talked of their kids. Sid’s daughter, born when Sid was in his twenties, was in her forties now. Sid said he had been there when his daughter was a child but he may as well not have been. Sid didn’t drink now but he had been a hard drinker. Manus was coming on fifty before a woman had decided not to abort his kid. Age must have granted him some semblance of sense then, as he had stopped drinking and hard-drugging in order to look after his daughter.

    It had clearly been the better buzz.

    Liam arrived. Almost in his forties, with a twenty-one year old son that he had fought for and gained joint custody over when the child was young. A clean cut man from a stable background. Manus and Liam had put the movie Underground: The Julian Assange Story on in a social centre before Assange’s sixth year in detention. They were useless at getting an audience. They got the usual suspects: June; Sid; Manus; Liam; Dave; and Brian (Brian couldn’t stay though, he was no spring chicken and probably didn’t enjoy the music plus, any talk of computers confused him. He had never used one). There had also been a new face, a Polish girl who actually came to the protest the next week. Liam had remained upbeat and positive. The Polish girl was a new convert. One at a time huh? Even if he was getting laid, getting paid and had a place in society other than lowest, Manus’s optimism couldn’t turn the idea of one person into the possibility of victory. Liam was realistic enough too though. Like Manus he saw no victory possible through their pathetic efforts. And like Manus he didn’t know any other tactics. And while the effort and its lack of effect made them feel useless, not to make the effort made them feel worse.

    Paul arrived. Manus didn’t know much about him. Seen him at a few protests. In his thirties maybe.

    He lived down the country somewhere, but if he was in the capital and something was happening he would go. He looked a solid, stubborn sort that would be good to have beside you in a line against thugs in uniforms.

    Ann arrived. Manus had never met her before. She was writing a piece for a Russian magazine. Younger than Manus by a few decades. In a flouncy dress. Manus’s attention switched. Them flouncy summer dresses always got Manus.

    Sometimes he could be such a letch.

    They walked through the park. Manus asked Sid if he had had much success as a singer-songwriter. Sid said, ‘No. Thank god.’ ‘Why? Did you not want success?’ asked Manus, to which Sid replied ‘my head’s so big already it would have blown up completely. Sure I’d a had to get myself a new hat and everything.’

    Manus understood how difficult it would be to cope with success. And agreed with Sid’s sentiment, but in actuality he could have done with a bit of it.

    They walked through the park and after a wrong turn or two found the embassy.

    Martine was there with his two kids who were both under ten years old. Martine had thought of becoming a priest, but had backed out at the last minute. Thank fuck.

    The letter requesting that the Australian government start looking after Julian Assange’s human rights, signed by two and a half pages of Australians living in England and further afield, was read. Photos were taken. Manus held a banner: ‘free Julian Assange’.

    That was it.

    Martine and his kids went off.  Everyone else decided to go to the park for coffee and tea and small buns with a single letter of the birthday boy’s name on each one. Thirteen buns.

    They had the banner spread out in front of them on the grass.

    Free Julian Assange.

    Kids were still starving to death while half the world’s food production was being destroyed. Ecological and nuclear disaster threatened the planet like never before while the corporations’ need for constant profit kept pushing us all towards said disaster. And Julian Assange was hold up in some room in London, threatened with life imprisonment for publishing the truth.

     And it was a beautiful sunny day in Dublin’s Saint Stephens Green.

    The group talked and exchanged phone numbers. Manus didn’t offer or ask and wasn’t offered or asked for a phone number.

    Sid called to him as though the two should walk off together, but Manus stalled. He wanted to walk with Sid but what was Kate doing?

    Liam was showing Kate where the museum was. Manus went too. Perfect, Liam would walk off and Manus could show her round. It was almost too pat. Walk and talk round a museum with an attractive woman he had met at a protest. Engaging conversation and curiosity glances. They would get some food. Time would pass and she would have to get the last bus back out the country unless she wanted to stay in Dublin for the night.

    As usual his mind ran on fantasies. but his mouth said nuthen.

    Liam hugged her goodbye.

    Manus hugged her goodbye too.

    On their walk through town Liam asked Manus if he would like to write a letter to Julian. Manus kina shrugged his laugh. Manus had spent his life trying to ignore or block out what he thought he could do little about. And now he wanted to write to Julian and say he supported him. Hopefully there were better more effective supporters than Manus.

    Did you know that Cassandra Voices has just published a print annual containing our best articles, stories, poems and photography from 2018? It’s a big book! To find out where you can purchase it, or order it, email admin@cassandravoices.com

  • Musician of the Month: Massimiliano Galli

    This statement might make me sound old, but I have been through many different phases as a musician during my fifteen year career. I began as the talented kid in the school of music, where I started playing guitar in the 1990’s. Next, I was the super-unprofessional teenager, with no clue as to what I was doing with my crossover band. There followed the wannabe rockstar period. Currently I am the Italian guy playing and producing music in Ireland. I am still discovering who I am as a musician.

    After many years of gigging and recording albums, I now find it most rewarding to integrate my research into my practice. This has influenced my sound – and also probably made my career more complex. Sometimes I think I overcomplicate things, at other times I fear I will be considered banal. The conclusion I have come to is that I just want to be authentic, and honest with myself. It doesn’t matter what anyone else thinks about what I do.

    Next year I will release my new album in Italy. Around ten years ago I founded a band called rumori dal fondo in my hometown of Milan. This will be our third studio album. During this period I moved to Ireland, in 2013, and there I developed, along with my musical brother Stefano Schiavocampo, another band called SignA. We played at most of the major Irish music festivals for a couple of years, an experience which helped me grow as a musician. I still learn a lot from Irish colleagues, and have met incredible talents like Villagers, Damien Rice, Bantum, Meltybrains, Donal Dineen, Fehdah and Loah, to name a few.

    Rumori dal fondo, Le Mie Facoltà

    Every musician has a different story to tell and tries to convey this to an audience. All of us want our music to be listened to, but the perception of success has changed so much over the last twenty years.

    I am increasingly uncomfortable with the way this industry works. We are living in a time when social media followers, views, likes, and tiny pixelated hearts are the main barometer establishing who is doing well, and who isn’t. Perhaps the difference between success and failure has always been based on superficial measurements, and this is simply the transition between analog and digital technology. It just seems part of the collective madness in our evolving relationship with technology.

    Social media seems to be the only show in town. Everyone must have a ‘presence’, even when, paradoxically, you are singing a song in opposition to the platform you are using to promote yourself (as we did, and will continue to do).

    Memory Shithole by SignA

    MySpace, then Facebook, now Instagram. Where has the damn music gone? An algorithm based system operates in the background, so people post anything just to gain exposure. We end up knowing more about a musician’s smile, workouts, or pet poodle than their songs.

    I start feeling a bit deranged when I think about these things. Perhaps it is because I grew up in the 90’s when the concept of fame was completely different. After a decade of glitter and glam in the 80’s, to be an outsider was suddenly cool. ‘Success’ itself was deeply uncool.

    Nirvana were the most popular band in the world, but the celebrity culture ate them alive, contributing to Kurt Cobain’s suicide. Perhaps this explains my resistance to the idea of ‘listener interaction’, or ‘followers’.

    My theory is that Kurt understood the game, but ended up playing it against his better judgment. Undoubtedly it was easier to tour in a comfortable bus, and sleep in decent hotels, but after a while he became an alternative Madonna in the mainsteam. It was a twist of fate that has cost us all. Now every time I spot a Nirvana t-shirt in a H&M shop I think how disappointed he would be to see his face in there, especially next to a Guns & Roses t-shirt, a band he despised.

    Kurt Cobain interview

    What kind of game are we all playing were anyone is able to produce their own album in the comfort of their own living room with a computer, before releasing it as a product on every digital platform in the space of twenty-four hours?

    What happens if no one likes what you produce? A world where success is measured in clicks could be tricky to handle, especially for an sensitive young person, struggling to find their place in the world.

    On my new album there is a song called Abilità (Ability), which is about not falling apart if you struggle to reach the goals you have set. There is a sort of autoanalysis: a pathway towards overcoming the disappointments you feel at failing to achieve life, work, or relationship aspirations.

    I realise, at the end of the day, that remaining true to oneself is the only way forward. Sometimes this can be difficult, because not everyone will appreciate what you do.

    Everyone is unique and reacts differently to challenging situations, but I thought my experience might be useful to others making their way. I once saved myself from myself by making music. I am sure it will continue to save me, no matter who, or how many people, are listening.

    I love to do it and I always will.

    Massimiliano Galli is the musician of the month for December, 2018.

    Did you know that Cassandra Voices has just published a print annual containing our best articles, stories, poems and photography from 2018? It’s a big book! To find out where you can purchase it, or order it, email admin@cassandravoices.com

  • Artist of the Month Luz Peuscovich: ‘the power of the bonds’

    Nothing is born alone. We all come from somewhere and are the result of thousands and thousands of bonds over time.

    To be an explorer of nature is to discover those webs, networks, circuits and fluids. And reconnect with the subtle dimensions of nature, looking over those multiple and diverse universes of the organic kingdoms.

    That is the collection phase. But the work does not end there, then comes the construction stage.

    But what to build? For What, Whom, and Why?

    My work is an ongoing research into the perception of the senses in space – of the body in different contexts. I am interested in the experiences that we keep in our memories and unconscious. I am fascinated by the integration of human beings with nature, and in re-evaluating the forgetfulness that we suffer from in city life. But what is fundamental for me is to talk about the environmental realities of the places I visit.

    The process begins with trips to explore the territory, to know the particular qualities of its ecosystem and collect carefully the necessary materials.

    Thus I present a conglomeration of unique information from each site. This set of experiences results in the development of installations that operate as symbols and formal configurations, habitable, immersive and floating spaces.

    The REFUGE is a central concept, as well as life in COMMUNITY, and the search for the SUSTAINABILITY of the work. In that intention to reconnect with nature and its forms, my research brought me into closer contact with native communities. I have witnessed the links they keep with the natural world in their daily habits, but also (like us) living under this sad domestication of capitalism, and the enormous complexity of living in a system that does not measure the true cost of consumption in terms waste.

    Over time I have discovered that the collection outings and subsequent construction of installations are ways of weaving points of view and amplifying perceptions.

    This involves reevaluating found objects; linking similar materials from different places, and at the same time meeting the same human reactions on one side of the world as another. This brings my interest to a point of integration. I channel the bio-diversity that surrounds us in order to revisualize our relationship with Earth, our planet, and question our ways of inhabiting it.

    The power of these bonds offers a possibility of a broader understanding of Who we are, What we are doing, and Why that is.

    Luz Peuscovich is our Artist of the Month for December. For more details her website is www.luzpeuscovich.com; follow her on Instagram @luzpeuscovich.

    Did you know that Cassandra Voices has just published a print annual containing our best articles, stories, poems and photography from 2018? It’s a big book! To find out where you can purchase it, or order it, email admin@cassandravoices.com

    [Best_Wordpress_Gallery id=”24″ gal_title=”Luz Peuscovich”]

  • Two Poems

    All the while the windows wait for no one

     

    While there were those who climbed,

    It was only you who knew the spaces through the ladders.

    The dent of shadows

    Upon the tumbling walls.

     

    When the door is too small to walk through

    And the gate shifts at your hip.

    All the while the windows wait for no one.

    Like miniature hats.

     

    Where idle hope feasts on the cavities of the rooms

    As soaring beginnings roar.

    Where the seamless thread that shapes your brow

    Falls hollow into your skin.

    As the walls of the dolls’ house

    Can no longer keep you in.

     

    *******

    I am not…

     

    I am not just around the corner,

    Or held in the palm of your hand,

    like a scent escaping the rose.

     

    I am not fully heard in the howl of the gulls,

    Or in a scattering of dandelions raw through the air,

    like condensed smoke.

     

    I am not in the taste of the salt of seawater,

    Whose splash is seeped into your skin.

     

    I am not to be touched through your feet on the grass,

    Or in the chill of the heat of your summer’s loss.

     

    I do not scream through the silence of the stars,

    I am not hounded by your tears

    Or held in the rubble of your fingertips.

     

    I am not in the sworn word that returns to your mind,

    As sword or scythe through the kind air.

    If you see me in the shadows I am not there.

     

    I am far closer than all of this.

     

    Paul Downes’ poetry has been published in the Wallace Stevens Journal and EUR/OPEN. He has also published books and journal articles in areas of philosophy, psychology, education, law, anthropology and social policy and has given keynote lectures and invited presentations in 29 countries. His books include, The Primordial Dance: Concentric and Diametric Spaces in the Unconscious World (2012), Inclusion of the Other: Concentric Space as a Life Principle Beyond Schopenhauer, Nietzsche and Ricoeur (Routledge, forthcoming 2019). He is Associate Professor of Psychology, School of Human Development, Dublin City University, Ireland.

    Did you know that Cassandra Voices has just published a print annual containing our best articles, stories, poems and photography from 2018? It’s a big book! To find out where you can purchase it, or order it, email admin@cassandravoices.com

  • Musician of the Month – Branwen Kavanagh

    I recently sweated in a dark, low tent.  Fifty other bodies squatted close to mine. Rich, pitch black darkness surrounding us. I sweated until I nearly passed out. Sometimes singing, sometimes close to vanishing in the damp air. Every now and then I glimpsed the faint glow of hot basalt stones steaming in the pit. An occasional foot might brush off my leg. Heavy breathing and steaming water a constant song. A voice emerging from the darkness might offer some profound words and they would sweat their way into my subconscious. All of us in there together, forgetting everything but that moment and the lilting heat. And that very rare collective vulnerability and trust and intensity.

    That experience spoke to the deepest part of me. I didn’t realise how much I needed to be a part of a space like that. I realised that Art for me is an attempt to create that space. A sense of being met exactly as you are, where you are. Feeling that you are allowed to relish in your humanity for a moment, blind to all of the mental projections and madnesses of modern living, To feel surrounded by understanding and compassion when you are in the darkest of places. To accept and allow ourselves to see those twisted thoughts and broken parts and feel safe enough to do so. Just for a moment. Art is a little voice of guidance in the darkness and for me the role of the Artist is to be there in a symbolic solidarity in those darkest and most intimate of moments.

    I can’t deny that I have always been attracted to the beauty that can be found in ugliness, things beyond their purpose, re-imagined ideas of how things come alive. And I have always been attracted to unearthing the truth. It’s different for everyone, but there is something collective about the search. I know that the path towards truth is a tough one, filled with brambles and thorns and long, slow moments of seeing who we really are and what we are really doing, and most people don’t want to do that. But that’s what art is for. Little glimmers of things we have discovered and want to share. And the fun part is finding new ways to express those things so that they are abstract enough to feel universal and specific enough to hit us where it resonates. A good dose of the ridiculous is always great to shake things up! Someone recently told me that a performance piece I did was like the Blair Witch Project in a bouncy castle! This will be appearing as a tagline on everything I make henceforth!

    Sometimes I am surprised by what comes out of me, and sometimes I work with the grittiest of revelations because they are the most challenging and often the most interesting.  Art is not there to be liked or disliked, to be deemed good or bad. It’s just there and we nurture it if we chose to. Samhain is upon us and the darkening of the year. And there is the eternal task of transformation, turning darkness into light. Seeing the beauty in what appears to be ugly.  Fifty sweating bodies, anonymous in the darkness was one of the most beautiful and profound experiences of my life.

    I emerged first, a quick breathless burst into the freezing, late October air, too hot to stay for the last moments. I threw my body down on the cool grass and watched the dry leaves fall from their trees, the smell of smoke and wet earth delighting my senses. Some kind of ritualistic rebirth. Like every song, it arrived to greet me. Asking for a living form. I am not afraid of where music and art might take me, because I know it’s doing something that has nothing to do with me. And life is far more interesting when we acknowledge that we are not in the driver’s seat. That we have very little control, so we might as well let those beautiful, strange, subconscious expressions lead the way! It’s certainly brought me to the most magical, surreal and delightful of places. If there is one thing in life that I don’t ever doubt, it’s my commitment to art. As my shirt was steaming in the cold air, after one of the most intense experiences I had ever put my body through I knew that to be absolutely true. And to quote my mother I hope that the things I create can be ‘postcards to a darker hour’. Maybe my songs or performances will sweat in the dark with you sometime! Hah!