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Dream Poet For Hire was on 6ABC Philly last weekend. Watch the full segment here: https://6abc.com/community-events/localish-presents-some-of-the-best-philly-has-to-offer/5799596/
Dream Poet For Hire was on Fox 29 Philly last night. Watch the full segment here: https://www.fox29.com/news/philadelphia-street-poet-has-a-way-with-words
Dream Poet For Hire was in the Philadelphia Inquirer last week. Read the full article here: https://www.inquirer.com/news/philadelphia/dream-poet-for-hire-marshall-james-kavanaugh-philadelphia-street-poet-20190828.html
a noise/poetry showcase presented by crass lips records. Let’s open some minds and conjure some higher frequencies.
LET US CALL OURSELVES ARTEMISIA VULGARIS
The difference between us and them is we spend too much time mourning our losses and not enough time celebrating what we still have.
Do the bankers or the developers or the fossil fuel execs worry about losing everything? No. They’ll work themselves bankrupt and this whole world into lack if there is a chance there is some sort of profit to be had. Shit, even when they are bankrupt they’ll work the system to bail them out. I mean, look at it this way, a man who lost $10 billion and has bankrupted more institutions than should even be possible in a single lifetime, is now our president. That is “them”.
We need to have that kind of fearlessness to protect what we still have. We need to develop that kind of fluidity to let go of what is already lost in order to save enough so that we have ground from which we can rebuild it. The radical left needs to become more agile. More able to take a blow and regroup with a new defense. We need to carry multiple flags, multiple hats, and at the same time refuse becoming too structured, too able to be cornered and had. Bought and sold. Our tears only more room for their profit.
We still have the Earth. We have her to lead us. Does the Earth mourn the loss of a single flower at the end of every summer? No. She puts all her intentions into the roots and accepts the cycle of winter, knowing the shadow is necessary before next year’s growth.
We must be more like the Earth. The Earth is the only true radical, and we are hers to hold. Our roots are still yet to be cut. Until they are, we must hold strong and be like the garden weed. Be like the mycelium. A network of roots springing up through out the ground, never to be dug up or struck down as long as the Earth still holds us.
We call them the Black Snake, but what is our antidote?
We must be less like gardeners and more like the actual roots of our garden. Let us call ourselves Bindweed. Or Morning Glory. Or Artemisia Vulgaris. Turn this whole land back into a swampy meadow.
THOSE KENSINGTON BLUES STILL RATTLING THROUGH
Something about the Kensington Blues. The way the L train yo-yo’s through everyone’s backyard. Toxic grit and refuse spattered across abandoned lot lawns. Contrast between condo and dilapidated dive bar. Brooklyn style gastro pub and abandoned warehouse. City of shells quickly being filled with new hermit crabs.
The setting for what once was a community of strong guitar savants. Those who stuck around seemingly rising to nostalgic fame. And yet, in their songs you can picture them sitting by themselves in their living rooms twiddling away on some chord progression that has the harmonics and melody of this desolation of peak capital.
Over and over again the same chord like a drone. Causing the body to whirl like in a dervish. An opiate nod between K & A. Soundtrack to post-apocalypse. Wild westerns just across the border in East Kensington.
It’s three or four songs in when the Solar Motel Band really starts creating some electric friction, and Chris Forsyth is shredding his guitar cable against the fret board amassing a wash of noise that shocks the inner core, when I realize all this while how the musicians of this corridor have developed not just their own style, but a pseudo-language in which they respond to one another. The former music scene that used to reside here now dispersed, replaced, growing up with new parts, but still these guitar heroes offering up their twin stacks full of feedback. I wonder if this song now being spun is a nod to Purling Hiss or Birds of Maya or going back even further in the lexicon to acknowledge the art warehouse foundations scoured by Bardo Pond.
The language in its current evolution a pop rock that speaks to a wider audience, and yet sets it on repeat in order to break it down, piece by piece, until the whole shit has gone up in flames, and then they rebuild it. Bass rumbling through a fine walk around town, while guitar flutters between verse and solo and static and wall of frequencies both angelic and alarming. The audience stuffed into a dark, low-lit room, with an open window to the L train and Front Street as the backdrop to the stage. A “Renaissance painting” of viewers looking in from the outside.
Almost five years gone by since I left this neighborhood to the vulture capitalists, only to come back and find the artists have dug into their trenches and become even more prolific.
There are dream tones in the Kenzo Haze that impregnate even the most obstinate transplant. Perhaps the language between these guitarists is not theirs, but the land’s. Open terrain that was consumed by a wave of development, and yet still there are still these white elephants of warehouses glowing brightly under the moonlight full of such brilliance waiting to be repossessed. The great art factories of the River Wards.
It’s almost midnight and the song, at least now an hour and half long continues to hum out into the open air. It seems to say, “This ain’t the Grateful Dead. This is the Grateful Living!”
I wonder what the passengers on the L train rattling through these Kensington Blues are dreaming of tonight.
THE URBAN MYTHOS
The Zen Lunatic sits at the center of the garden and pulls at the mugwort. His motions are deliberate and fluid demonstrating how he is one with his surroundings. This little patch of Earth amidst the concrete chaos surrounding it. Attentive to detail, over the years he has carved out this niche for the concrete to rewild.
As he pulls at the roots, he talks about the herbs and medicinals and wildflowers that surround him that most people would consider weeds. He talks about the dead nettle and the red clover and spring mint and of course the mugwort.
“Last year, I really whacked away at the red clover and I don’t think it was too happy with me. It just didn’t flower that much, even where I wanted it to.”
“But I thought we gathered the red clover last year.”
“No. That was two years ago.”
“Oh, I thought that was last year.”
“No. That was two years ago.”
“This year I’m just going to let it do what it wants to do. And I think we’ll both be happier”.
He motions me over to where he’s standing and points at the pathway in front of us.
“I think the plants have finally figured out where they’re supposed to grow. They’re growing in these borders around pathways and then where people walk there’s more of this groundcover type stuff that lays low to the surface.”
He kicks at the ground to show how low lying the plants are where there is a pathway from people consistently walking on it over the years. Then he shows how the ground is sinking in some places.
“I want to build a multi-level terrace around here leading down to where this tree is growing. But I might need a team for that. I could probably do it myself, but it would take a while.
“That’s something that always impressed me about this land. It has so many interesting contours and subtle slopes for the plants to navigate.”
I snap a photo of a pair of red Air Jordans hanging from the telephone wire glowing orange in the golden hour of the setting sun. It’s interesting to me how the background of the photo is what makes the photo. The shoes alone describe the setting, but they need pieces of the setting like the one-liner tags sprayed on the concrete wall in the lot across the street and the water tower a few blocks away beside the back sides of several dilapidated rowhomes to describe perfectly what the shoes represent.
I snap another photo of the new Comcast tower downtown framed by two abandoned row homes and a whole bunch of wild space from where we stand. I talk about how I could post these photos on Instagram but I don’t think the audience there understands the language they work in.
“It’s like an old language that I was used to when I first moved to Philly that you could find all over the place in publications like Megawords, but I don’t know if anyone pays attention or knows how to read that language anymore.
“Like the language is saying this is blight and that is the ivory tower of corporate powers that profit off the poverty here. But there’s also beauty here. Like the land is rewilding out here. It’s free. It’s a jungle. It’s a type of landscape the people that live over there have no understanding for.”
He leads me over to the mugwort border wall near the entrance in front of the Aztec sculptures that greet all who enter.
“Look at this pathway here. The garden grew this one all on its own.”
It’s a natural zig zag in the clover and mugwort. It’s like a giant snake slithered and sidewinded through the garden recently. I look at the dragon sculpture next to me glowing red and orange with a beard made of flames.
“Hey, man! I think it’s that dragon. He came to life and slithered through the grass.”
“Yeah, man. It’s like the garden grew a tail.”