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EMM: EMMpowering Women While Building a Music EMMpire


Special To Topanga Journal

EMM. She’s an accomplished classically-trained musician, R&B and pop music singer-songwriter and producer, social media and blog whiz, as well as a philosopher, self-help guru and self-proclaimed feminist. The question had to be asked of this eclectic, prolific young woman:  

Mary Crescenzo

By Mary Crescenzo

TJ: How did you become so wise?

EMM:  I’ve always been kind of weird. From the time I was little I was a deep thinker. My parents taught me to ask questions, question everything. Their advice has helped me to think things through as I go through life, not just react and listen to other’s reactions.

 

TJ:  Your parents are professional musicians who teach at Interlochen. Do you recall your first experiences singing around the house?

EMM: I started piano lessons at age five or six. The first thing I did at the piano was make a melody.  Since then, I’ve always made melodies to sing along with. If I wrote or sang anything I kind of felt judged, but that just made me want to do better. Encouragement was a constant in my house, and it really helped me creatively. 

“I started piano lessons at age five or six. The first thing I did at the piano was make a melody.  Since then, I’ve always made melodies to sing along with.” EMM

TJ:  What was it like growing up in Traverse City, Michigan?  

EMM:  It’s a stunning little artist community on Lake Michigan but as far as socially, it was hard. I never really fit in. I listened to music that most people my age weren’t listening to – classical music, Aretha, Prince and Tina Turner. My experiences there were mixed compared to my friends’ experiences, but it made me who I am.  

 

TJ:  Tell me about the evolution of your name, from your birth name, to EMM, the EMMpire and your EMMpowerment group.  

EMM: Originally I used “M” as my name. My management at the time persuaded me to change it to Emm, and it stuck. They told me that no one will ever find me with a one letter name on the Internet.  When I was young, everyone called me Emm or Emmie, so it felt natural. EMMpire was created by a fan who sent the word to me and created a fan page with it, so we decided to run with it. As for the EMMpowerment group, one of my best friends texted the word to me, and we chose it as a brand to speak to women.

 

TJ:  You went to New York to pursue your musical career, and you were mugged in Harlem. How did that event effect your songwriting?

EMM:  I was seventeen when it happened. It was 2 a.m., and I was coming home from the studio a block away from my apartment. It was a bad neighborhood. My laptop was stolen with all my music on it. It taught me that there are bad people in the world. My hometown was a small peaceful place, a religious community, and nothing like that had ever happened there. With music, it helped me understand that not everyone has good intentions, not everyone has your best interests in mind. I can empathize and have totally forgiven the person who mugged me. I’m not sure what he was going through at the time. I had to let it go, but it opened my eyes to be aware that people will take advantage of you. 

 

TJ:  After New York, you moved to Los Angeles to continue your career goals. How is navigating the music scene different in Los Angeles as compared to New York?

EMM:  In New York I was so young, so I couldn’t get into clubs, couldn’t get into real networking experiences. My mom came with me the first couple of times. The musicians in New York are absolutely incredible. I worked with powerful management in New York and learned how they worked in the studio. In LA, the musicians are more laid back in general. It’s been much more fruitful in LA since I can get into the rooms I need to perform. I’ve learned a lot here.

 

TJ:  You performed the Star Spangled Banner in Dodger Stadium and sang at LA’s Staples Center. How does singing in a huge venue compare to performing in an intimate club?

EMM:  It’s funny, but I get more nervous in a club than in an arena. I feel really calm in a big space.  There is so much energy there, and I feel fully grounded.  In a club, I see all the faces and that can be overwhelming. Singing in an arena is the best feeling in the world.

 

TJ: Your writings include many thoughtful and empowering statements. One is, “Another woman’s beauty is not the absence of your own.” How did you come to this belief? 

EMM:  Every girl goes through this, so I’d like to be open about it and make it clear:  We don’t exist for the attention of men. I think a lot of girls feel this too, but there’s this unspoken feeling that we are in a competition for men. It’s not healthy, but we see it in our culture. Girls can be catty towards each other, rather than supporting each other as sisters and friends. 

 

TJ:  Another quote:  “Don’t be afraid to lose people. Be afraid of losing yourself by trying to please everyone around you.” What led you to this conviction?

EMM:  I saw this on Instagram. I identified with it, because when you’re an artist, especially before you’re established, there are a million people telling you what to do: Wear this, dress like this, sound like this, especially when you talk to producers. A lot of girls take orders, and I’m not like that. Men in this business don’t know what to do with a woman who knows what she wants. This business is especially sexist. It’s run by men and only five percent of producers are women. I’ve had moments where I’ve stood up for myself and said, ‘This is what I’m going to do.’ And, I’ve lost people because of that. But that’s not a loss, because at the end of the day, if you are being who you are supposed to be, and people’s egos are offended by you knowing what you want, then they are not your people.  

 

TJ:  Tell me about your writing team, ZOË  and Taylor?       

EMM: I met ZOË , who’s from my hometown, Traverse City. She was a student in a singer-songwriter program my dad started at Interlochen. We started writing together about a year ago. I always knew she was a great writer. I think our solid friendship gave us a solid sound. ZOË  knows my heart well enough that she can articulate my thoughts and feelings in a way a stranger can’t. I met Taylor through a mutual friend. In a few sessions, I knew he was the person I was waiting for to write with. We have the same ear, and he’s into classical and metal music, so he has an understanding of my musical background that others don’t.

 

TJ:  You mention in your blogs that there is a strong presence of God in your life. How did you come to that awareness, and what does that mean to you?

EMM:  I grew up in church, but I had a lot of negative experiences there because I asked questions.  Is this loving? If God is love, does this make sense? Do I want to believe in a God that approves of things that are not loving or kind? Over the last six years, I’ve been on this journey asking questions with an open heart and mind. What does love look like? I do believe God is love, so I’m in a thriving, vulnerable and personal relationship with this. My roots are in Christianity because that’s how I grew up, but I don’t identify with a lot of Christian tenets. I try not to put God into too many confines. I’m still trying to figure it out.  

 

TJ:  Your videos on Facebook and Instagram, your blogs, etc. are all direct, honest and positive.  Have you always been that way?

EMM:  Nope. When I’m talking on Facebook or Instagram to a large group of possibly young women, I step into their shoes and try to be inspirational and kind and courageous. I’d like to be like a big sister because that’s what I needed when I was a kid. So, if I seem really great and positive, that’s me trying to be great and positive for them.

 

TJ:  Your latest song is entitled, “No Gods,” is a powerful song that seems to address the society we live in today. Can you explain the title, “No Gods” and the song’s meaning?

EMM:  The title refers to the first line: “Got no Gods in the Wild, Wild West.”  “Got no Gods…” relates to the fact that the United States is referred to as a Christian country, but so many people are doing evil things. You can go on social media and post political comments, and you get the meanest, nastiest things said back to you because there’s a screen between each person. No one would ever say these things in person to you. Both sides are shouting to each other, “You can’t make me be like you.”  We can’t even hear each other over the noise. There’s no empathy, no compassion for the other side. We talk about this all the time in the studio. It’s depressing, but I’m not giving up hope. We want to point out in this song how this talk is not leading to solutions. We’re just hurting each other. We’re trying to say, “Guys, this is not working.” That’s the first place to start.

 

TJ:  I read your blog, “15 Reasons I’m a Feminist.” Your position is so clear and straight-forward.  How did you come to be a feminist and publish your list?

EMM:  I wrote this blog right after the Women’s March. Everyone was posting from my hometown about how feminism is a joke, and how it’s not needed or necessary. In my own life, I have so many examples of being wounded because of bigger issues that I didn’t understand at the time, like going to school and not being able to focus on my work because of people commenting on my body. With this blog post I wanted to tell my own story. It’s not that dramatic, but I’ve been deeply affected with the lack of feminism I experienced growing up. I just wanted to say that this is why I think feminism is necessary.  It’s much harder for people to judge feminism when they hear your personal experience. Any girl can relate to that.

 

TJ:  The Me Too movement seems to be saying:  No longer will women be afraid to speak out about the inappropriate actions of men; it is the men who are to be afraid of perpetrating acts of sexual harassment, assault and rape against women and men, because women and men will speak out. How is this movement being reflected in the music business?

EMM:  I think a wave is about to hit the music industry as it has in the film business. There’s never been a movement like this since I’ve been alive. 

 

TJ:  Is touring and new music coming soon? 

EMM:  We’re in rehearsal but my events will be posted on the website, http://www.emminreallife.com .We’ll be releasing music for the rest of the year, so lots of new music is coming.

 

ON THE WEB:

http://www.emminreallife.com


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Goh Kurosawa: Hitori

Goh Kurosawa Hitori

Flamenco, Classical, Jazz, Brazilian, Tango, North Indian, Free Improvisation, Rock, Balkan and Afro-Beat music – it all adds up to Global Fusion and a deep interest and talent for both acoustic and electric guitar. A finger-style guitar player, Goh Kurosawa’s wood and strings becomes an entire set of instruments, much like the cross-sections of the places he has performed: the United States, France, South Korea, Canada, Mexico and Japan. The common thread between it all is the Orient.

Kurosawa’s homeland is Japan. From ages three to six, Kurosawa lived in the United States. He came back in 1996 to study at Washington University in St. Louis, Missouri and at the California Institute of the Arts. Kurosawa blends a cultural mix of world music into each stroke and hand tapping. He lets the guitar tell an intimate story of foreign lands in a familial tie to American Jazz. He finger picks his way across florals brought to life by musical notes.

It might be better said Hitori is an experiment on Global Infusion.

MAJ: What does Hitori mean?

GOH: Hitori simply means “Alone” in Japanese. I composed this solo work right before I went to a week long festival in Mexico back in 2005. The festival presenters were initially interested in having me come down with my brother (Kai Kurosawa – featured member of Sharp Three) to perform duets, however at the end they decided to book me as a soloist. Rather than feeling bad or sad about this decision they made, I took this experience as a chance to make a piece that stood strong on its own alone. Hence the title Hitori came to mind. There are two major sections: the first is a slow and free intro; the second is a powerful funk-like groove which makes your body move. A friend of mine suggested that I divide the composition into two tracks for the CD to make things radio friendly. It was a good idea, since these days DJs seem to prefer shorter songs to be played on air whether if listeners prefer that or not. This song without words has been serving me as an opener at concerts and events for many occasions, and is one of my most well known solo tunes today.

MAJ: Why did you choose to come to the States to study music when your native Japan is so rich with music and culture?

GOH: First of all, thank you for mentioning that Japan is rich with music and culture. This is so true, however I think lots of Japanese, especially the younger generation today, do not realize this fact. Honestly speaking I was once blind myself, but living far away from home has been helping me awaken to the unique and beautiful things only Japan has to offer. My initial visit to the States occurred when I was just three years old, and I stayed until I was six. I came back to go to school at Washington University in St. Louis in 1996, moved to Los Angeles in 2001, and have been living here ever since. When people ask if I am bilingual, I answer by saying that I am bicultural. Although I was not completely certain what I would be pursuing at that time, my decision to come study here was a natural move. I simply like the States, and as a result, the time I have been living here could be evenly divided, making myself natives of both Japan and the States.

MAJ: Why have the Balkans had such an impact on your music?

GOH: I relocated to California for one reason, and that was to study with Miroslav Tadic who is a well-respected musician and guitar monster. He could play anything, and I mean anything, and is also a pretty good chef who likes to cook Thai food, don’t ask why, for his friends and neighbors from time to time. Miro-slav is the one who introduced me to Balkan music, and what fascinated me the most were the rhythms of this culture. More than 90 percent of the songs played on American radio stations are constructed in the meter of either 4/4 or 3/4. Some of the meters in Balkan folk songs happen to be 5/8, 7/8 and 11/8, for example. These are roughly categorized as odd time signatures in musical terms. This could seem confusing to any American or Japanese who has never thought outside the box before. However, the ip side of the coin, stunning. As a composer and improviser, I have realized the possibilities to mix and twist these Balkan grooves with Japanese and American musical elements. Track number six on my recordings, Matter We Tend To Forget About, is an original composition written in the meter of 7/8 with reflective sounds of Japan, jazz and rock chords.

MAJ: Why did you choose to cover Like The First Day We Met, the theme song from the Korean TV series All In?

GOH: As indicated at the beginning of my liner notes in the CD, this is not my original composition. However, what I have recorded on my album is my original instrumental – yes, the original has Korean lyrics – arrangement for solo guitar in altered tuning. I was visiting Japan a little before I was getting ready to record my solo CD, and I got a bit hooked with watching All In, which was being broadcast on Japanese TV. My mother told me later on that Korean soap operas started becoming quite popular in Japan several years back. Regardless of popularity, however perhaps because I was hooked, I started arranging the song by ear on my steel-string guitar. At the end it seemed quite appropriate for me to include my version of the theme on the CD that also includes my original arrangement of You don’t Know What Love Is, an American jazz ballad, making the album a salute to both sides of the globe. Interestingly, my take on “Like e First Day” has been another work to get attention here in the States, as well as one of the audience’s favorites in concerts in Japan.

MAJ: Where does the cross-cultural, Global Fusion influence come from in your works?

GOH: songs recorded on the CD are my original compositions with much input from the band. I spent the majority of my youth listening to Western classical music recordings and concerts due to the interest of my parents. However, I’ve always been a big fan of rock music – who isn’t? During high school in Japan, I conducted and directed the school’s guitar and mandolin orchestra. Moving along, I started expressing interest in the art and music of flamenco shortly after my studies began at Washington University, later where I also started studying Jazz and performing in Jazz combos. This was also where I had a traditional four-year education in classical guitar. As I mentioned earlier, relocating to California brought Balkan music into my life. My objective is not to be a mere walking dictionary of various musical cultures but to reach out to new boundaries while maintaining respect for each of the traditions I have encountered and learned. What I have brought out here is only the tip of the iceberg, of course. In fact, both my band members, Kai and Nick Terry, are also musical travelers in their own shoes with different valuable experiences to share. Thus needless to say, the music we create together is very organic and naturally has become cross-cultural in a global sense.

MAJ: How did you come to include in your group such a unique set of instruments?

GOH: On one hand, when it comes to the number of strings on a wooden box and deep low notes, Kai is the extreme. He is a self-taught multi-string player wizard who gets the message across no matter the number of strings. His main axe BMB, Big Mama Bear, a 24-string giant, was designed by himself and put together in 2007 by a builder living in Europe. Most frequently with our group, he has been performing on BMB, 6-string electric and acoustic bass guitars, and the Warr guitar. Kai’s connection with radical string instruments seems to be within his nature, and he is considering another original to be built in the near future. On the other hand, when it comes to things you could hit on, Nick is the man. is guy is one of those crazies who practically know how to get a beat from anything he touches, and without force. Nick continues expanding his arsenal of percussive weapons. In a way, Sharp Three is an orchestra because we have many colors available on our pallet, but do not necessarily use them all at once. As for the CD, I wanted to create an album that showcased the various instrumentation and possibilities of Sharp Three as a trio performing in real time, nothing was overdubbed except two. Therefore as a composer and arranger, having the two in the band gave incredible flexibility and creativity to the music. Long story short, Kai and Nick have a genuine interest in musical toys. Me? I just play guitar. Six strings is enough for me.

MAJ: What is next for Sharp Three? Tours? More CD’s?

GOH: We’ve been working on putting a tour of Japan together, and it’ll be happening next year along with our other performances. Kai and I however, will be going to Japan and Asia for concerts and events during this fall for four to five weeks. We have about twenty shows booked so far. As far as new recordings, we do have enough material. Kai is also composing for the band now for a new CD, or perhaps two. But more immediately and more importantly, our focus is on making an educational book/DVD on odd time signatures and rhythms. And as for my solo career, although I already have plenty of new songs I could record, I’d rather give enough time for myself to grow into a new level of a musician before I put it out into the world as a album. It may not be much longer, but no reason to make haste. In the mean time, please support by coming out to shows and clinics.

For more info go to http:// www.happysad.org/goh, or, http:// www.sharpthree.com, or enjoy my CDs.

Goh Kurosawa Sharp Three Global Soundscapes

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The Unexpected Loss Of Dolores O’Riordan: 1971-2018

Dolores O'Riordan The Cranberries

That yodel propelled these Irish musicians from Limerick into global fame in the 1990’s. There was, and still isn’t, anything like the voice of Dolores O’Riordan of The Cranberries. She was in London on Monday for a brief recording session when she was unexpectedly found dead in her hotel room, according to her publicist. At this time, the local police are reporting O’Riordan’s death is not suspicious.

The Cranberries hit fame with songs like Linger, Dream and the politically charged track Zombie about the violent history between the Irish and the British and the effects it had on generations of children. In 2007, O’Riordan dived into her solo album Are You Sleeping? Then in 2009 she reunited with The Cranberries. 2017 saw the release of The Cranberries’ most popular hits in acoustic form on the album titled Something Else. They were set to tour in that same year, but O’Riordan’s chronic back pain caused many dates to be canceled.

On Twitter, O’Riordan’s family released through her publicist a statement that said they are “devastated” and are asking for privacy. 

She was the youngest of seven children. She started in songwriting at the tender age of 12. This group started out The Cranberry Saw Us. When she joined they turned into The Cranberries. She earned her way into the band by writing the hit song and lyrics to Linger. This drew the eye of the press and a bidding war for the rights to the band’s work. In the beginning O’Riordan was known to stand sideways to the audience. The reason? She was shy. The Cranberries had a cult following for a lengthy period until they hit MTV. This was followed by the number one hit Zombie that gave birth to their triple platinum success. 

O’Riordan was just 46.

Linger: Lyrics and Song by Dolores O’Riordan / The Cranberries

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Hellyeah: Metal For The Future

Hellyeah at the Whisky-A-Go-Go | Photo by Kriss Perras

The band Hellyeah has a strong following in real life and on the charts. Crowds show up and fill the house to hear them perform at iconic venues here in the Los Angeles area and across the States. They’re a metal and hard rock band. Their sound is unique in part due to the lead singer, Chad Gray’s, voice. They also have a drummer that is very popular, Vinnie Paul, and guitarists that rock.

Hellyeah’s 2014 metal album Blood For Blood debuted number one on the Billboard Hard Rock album chart. The main band members are lead singer Gray, guitarist Tom Maxwell, drummer Paul, guitarist Christian Brady and Kyle Sanders on bass.

Their recent album Unden!able is a strong set of songs woven together to create a tapestry of metal for the future. Their track Human on this album just plain rocks. The lyrics are poetic and for the average person. “I defy your defiance/It’s all lies and alliance/I’ve been damaged left in ruin/cause I’m broken flawed and human.” The song is about a broken relationship and the wrath the poet feels afterward. “You drove the stake in my worst mistake/Now I’m the one left alone.”

This theme of love lost is present throughout Unden!able. Another track on this album is Love Falls. The poet in this track asks the listener, “Have you ever wished for death?/Prayed all night for your last breath?/Have you ever wanted to forget/the failure of your dreams?” The lover is battling depression after love has left him. The woman in the associated music video is clothed in a white flowing robe with a hood, the very image of a ghost wandering the earth aimlessly, someone who has already past this life into the next. We see her as though she has decided to take her life and is in the glowing afterlife.

At the end of the music video the band states it is part of the You Rock Foundation effort. On this site you’ll find artists sharing their stories to help spread awareness and help battle stigmas. The group and band seek to help battle mental illnesses such as depression. Hellyeah states they remind listeners that “you matter, you’re needed, and you rock.” This is just one example of how this band is metal for the future. Instead of just conjuring up wrath, anger and that whole violent eruption of emotion after love ends in their lyrics and music, Hellyeah seeks to help heal.

This was apparent in a recent performance here in Los Angeles. Chad Gray shouted out to the enthusiastic crowd, “be the flame not the moth!”

The album Unden!able has a decent cover of the Phil Collins classic I Don’t Care Anymore. Gray’s metal gruff vocals ignite a wrath in the song that was already there with the Collins version. The cover is dark, full of guitar riffs that speak to the band’s true metal history and fills the breadth of the band’s grasp on the extreme of the metal genre. It’s a well done cover.

The music video for this cover, I Don’t Care Anymore, is dark and emotional. It’s downright gothic. It’s truly in the vein of the original song, but Hellyeah adds their blend of metal and sound and imagery.

The track ! the band says is “The upside down ‘i’ in the title is an exclamation point, a subtle indicator of how metal fans live their lives against the grain for their entire daily existence.”

“It doesn’t matter how old you are. You are always a metal kid,” Gray declares, referencing himself and fans as one.

The ! track is a true metal fan’s dream. It is purely metal. So is the track Startariot.

The band states, “the artwork was inspired by Gray and designed by William ‘Wombat’ Felch, who the band discovered through his artistic interpretations of Hellyeah songs on YouTube, and who Paul labeled ‘like a new member of the band.’”

The cover art is of a bloody eye looking out at the viewer.

“The eyes are the portal to the soul,” said Gray. “There is more extremity, so I wanted it to represent looking into the eye of someone who is a member of the metal community being cast out. You always feel like a fighter. So we created this eye, and the exclamation point [in the title] as the stamp on this madness. You are looking into the soul of a metalhead.”

The album is furious yet directing that anger to a point.

“One reason it’s so belligerent and brutal? The time crunch that came along with crafting the album. The band spent 18 glorious but grueling months on the road in support of Blood for Blood and was given exactly two weeks off before it had to start working on Unden!able The pressure and lack of recess awakened a sleeping giant within Maxwell. There was literally no time to waste, and he marshalled his emotions for inspiration.”

The band’s 2007 self-titled debut broke through the ceiling, announcing the band to the world. Although it was comprised of familiar faces who played in influential bands with signature sounds, it had its own sound. 2010’s release of Stampede showed off a different side of Hellyeah. Their hometown roots are present in the titles and underpinnings of the music. 2012’s Band of Brothers really hit home with a mix of hard rock and metal. Blood for Blood showed the world what this band was made of when they topped Billboard’s Hard Rock Album chart.

Now Hellyeah is at a new climax with Unden!able.

This album speaks to the true metalhead and the emotions that person feels. It’s unusual in that it doesn’t inspire hate but seeks to draw out pain and resolve it. The imagery in the associate music videos are powerful and lasting.

Hellyeah’s Undeni!able can be purchased on iTunes, through your Android device or on the Web:
http://hellyeahband.com/music/undeniable/

You Rock Foundation:
http://yourockfoundation.org/

 

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A Mother Son Experience At The Whisky-A-Go-Go

by Editor Kriss Perras

editor@topanga-journal.com

 

My first experience at the iconic Whisky-A-Go-Go was with my eldest son, David Perras, this year. We decided to go together to see a band he enjoys, Hellyeah. I’d never been to the Whisky-A-Go-Go, ever, in all my years as an Angeleno. I wondered what it was all about. While waiting in line, the crowd grew with people dressed in black, wearing all kinds of body piercings, nose rings, large lobe rings, eyebrow piercings, studded belts, altogether a pretty rough looking group. But hey, who am I to talk? I wear black all the time too. We walked inside the place. All the rock gods suddenly started singing. Slash was on the wall! Cool, cool already.

The crowd gathered around the stage to hear Hellyeah. Everybody maneuvered around to find their spot. I ended up next to a very buff looking man about 6’5” tall. I looked up and thought, whoa dude! I was a little intimidated by his appearance. He was so much taller than me, by about 11 inches. Plus he was wearing all black, had many body piercings and long hair. I was about to find another vantage point to shoot my photos, when he started speaking. From this rough looking guy comes this soft spoken and well-mannered voice. I thought, OK, you’re cool. I decided to stay put.

The band really heated up the crowd. My son joined in a mosh pit that formed. I’d never before seen a mosh pit in action. At first I thought, hey quit pushing my son around you big bully. This big guy was shoving my son around and thinking it was funny.

I observed awhile not wanting to intervene in my son’s experience, he now a man at 26. I soon realized the mosh pit is an egotistical thing. Men shove each other around for the pure sport of it, and do so as hard as they possibly can. It becomes an ego match. And sometimes egos get bruised.

I kept taking photos, and was very involved in what I was doing. The subject, Chad Gray the lead singer of Helleyah, was great. He was artistic and had a lot of bravado. Plus he connected with the crowd so well, it created this really great atmosphere for photography. The light show was fantastic. At this point I’m all pumped up on my art and not looking about me as to what was happening. I’m looking at the band then down at my photos. This goes on for quite awhile as the mosh pit scene grows more heated. One time I look down at my camera, critiquing my photograph to see if I want more in that vein, and suddenly the ground starts moving. I’m being lifted up off the ground and into the air. I look up to find the 6’5” man is lifting me off the ground and carting me off out of the way of a huge crowd suddenly pummeling my way. If he had not lifted me out of the way, I would have been mowed down.

Apparently an older drunk man entered the mosh pit and was offended by the shoving matches. He got into a fist fight with one of the younger males. And, the cock fight ensued. As security escorted the drunkard out the door, he kept asking if anyone had seen his shoe? I looked down. He was shoeless on one foot. After the crowd rearranged itself once more, I looked up at the 6’5” man and hugged him.

“You’re my new best friend!” I said to him.

He laughed. I stood next to him the rest of the night.

The concert got even more heated for the crowd, but in a good way. Everyone was waving double horns. The mosh pit turned to brotherhood. Three guys, my son included, lined up, arm in arm and started head banging in a way I’ve never seen in my day. Head banging to me means you bob your head up and down. To these gentleman, head banging meant they moved their head and bowed toward the band unison arm in arm. This went on for perhaps an half hour.

As the crowd dispersed, I headed toward what was once the mosh pit, and my son. I stumbled on something. I looked down. Oh, I found your shoe, I thought about that drunkard who got kicked out.

http://www.whiskyagogo.com/site/

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