TAPE

Long-time fans of Broken Glow have seen the band in various incarnations, from their beginnings as a riffy 5-piece in Connecticut to the current power trio line-up down in the low country of Savannah, GA. Through it all, Paul and Garrett have kept the flame alive for fans of fiery rock music. Last year Sara joined the group to fill out the vacant bass slot, and the release of “Live Like An Animal” in the summer of 2014 served to jump-start the band into a new-found groove and energy. Since that time the band has toured the northeast, played with killer groups around the south, packed out downtown clubs, entertained small house show gatherings, received airplay on Savannah’s Rock 106.1 and received a giant check (clearly the lifetime goal of any sane individual).

Now, on the heels of their Battle Of The Bands victory, Broken Glow is proud to announce that they will be recording a brand new full-length album this summer! With the help of local musician/engineer Donald Moats (Habitat Noise, Sins Of Godless Men, COEDS, etc), and producer/musician Christopher Horton (IAMSOUND) the band will spend 3 days tracking in a fully analog studio onto 2″ reel-to-reel tape. In case you’ve only ever seen a ProTools or LogicPro session, analog recording is the way of the past. Though the method has become more desirable in recent years as audiophiles search for the truest, warmest tone available, the limitations of tape recording can be daunting as digital editing exits the picture. Want to chop a track up? Better be savvy with a razor blade…

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TAPE

The band is excited for their first time utilizing this method of recording. When asked  about the decision to use a reel-to-reel recorder, guitarist/vocalist Garrett Deming had this to say. “There is always heated debate among engineers and music lovers between the audio quality of digital recording vs. analog. Some swear there is no discernible difference between the two methods, but others have differing opinions. I’ve always admired (record engineer) Steve Albini, who’s worked with acts like Nirvana, The Pixies, and Jimmy Page to name a few. He runs a fully analog studio in Chicago, and has a lot to say about the sound quality and process that go into and result from analog recording.

“For my money, I think of sound in terms of the physical waves, the actual material process of moving air at certain speeds. As such, the mechanical aspect of analog recording appeals to me. Whereas digital recording simply samples the waves that are being created and converts them into numerical data which is then translated into a replication of the original sound, recording to tape yields a direct mechanical representation of the physical waves being formed. There’s no piecing the puzzle back together after the fact, and I feel this results in a recording which is truer to the original take.”

While the idea of recording straight to tape is alluring, it also presents its own set of hurdles. Digital softwares such as ProTools allow for virtually unlimited numbers of takes, overdubs, editing options, post-production effects and pitch-correction. They also make transferring sessions from one location to another much easier than does a cumbersome, heavy reel of delicate film. Though the band acknowledges these benefits to the digital approach, they say the challenge is part of the fun. 

We only have so much time in the studio, only so much tape,” says Deming. “As such, we have to go in and nail our tracks on the first or second takes. That’s a lot of pressure when you’re spending time and money in a studio, but it seems to me that this is how rock n roll should be made. Not to a grid, chopped up and made perfect. You need the sound of a band in a room, that live, frenetic energy that only a live band can generate.”

Listeners should also expect some new tricks from these old dogs. “While the rhythm tracks will be the whole band playing in the same room live, we do have some room to overdub various instruments. Expect to hear my Hammond organ, some 12-string acoustic guitar, maybe some guest appearances from local Savannah music veterans.” These recordings will also mark the first Broken Glow tracks featuring bassist Sara Clash on lead vocals. A veteran of the NYC underground music scene, the Swedish songstress has flexed her vocal muscles in bands such as Skunky Sara & The Nuggets, punk duo Chicks Throwing Bricks, Savannah’s own Culture Vulture, and space-rock duo SubZero, to name a few. 

This is going to be the definitive Broken Glow album,concludes Deming.We’re going to pull out all the stops.” It certainly seems so. Tune in for more updates and announcements, including upcoming shows in Brunswick and Charleston, as well as new videos, local show announcements and a studio journal. 

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Behind The Wildlife: An Interview with Chris Carr

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Broken Glow has been fortunate throughout their travels to meet some truly incredible people. Artists and musicians with talent, work ethic, motivation and inventive creativity, as well as passionate music lovers and devotees of live performance. It’s the relationships you make along the journey that fuel the creative fire, and as all performers know, Billy Shears hit the nail on the head about getting by. We all need a little help from time to time, and it’s good to have friends in an industry that is so often cut-throat.

 

There would be little photo documentation of Broken Glow’s five-year rock romp if it weren’t for some of these friends. Case in point – all of the pictures above were taken by Chris Carr. Since the end of 2010, Broken Glow has spent a lot of time running with Chris – he shot the “Watercolors” album release party, recorded an acoustic jam and interview with the band, performed with them at Brenner’s tribute show, and has shot members of the band for his various photography projects. He is also the founder and creative fountainhead behind Brooklyn Wildlife, with whom the band has collaborated on many occasions. A veteran of the Bushwick DIY culture scene, Chris is somewhat of a modern Renaissance man. He’s a self-sustaining photographer, videographer, rapper, writer, producer, promoter, exhibitionist, gallery artist, party host and thoughtful social critic. With a brash artistic style he provokes thought and gut feeling simultaneously, whether rapping cosmic over stuttering beats or displaying co-ed nude posters 4 feet high on the wall of his loft. That loft has often been the site of open mic events, poetry readings, dance parties, philosophical discussion, orgiastic photo shoots and the like.

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But it’s not just loft parties that Chris throws. Over the last two years Brooklyn Wildlife has emerged as a wide umbrella under which fall a broad range of artistic outlets. The annual 12 Days Of Art events offer a month-long program of live performance and demonstration throughout the borough every January. Though hip hop is the blood in the veins, all styles and formats of music are embraced in an atmosphere of open exchange. Brooklyn Wildlife also hosts free events such as block parties, album release events, live improv jams and photo installments. To say Chris Carr wears many hats would be an understatement.

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And so once again Broken Glow will be participating in what looks to be Brooklyn Wildlife’s most ambitious project to date: The Brooklyn Wlidlife Summer Festival. It’s happening Saturday Septmber 7th 2013 from 3pm-3am at The Paper Box on Meadow St. in Bushwick, this event brings all of those disparate interests under one roof for one day. With over 40 musical acts, live painting, guided meditation and more, the festival is a joyful union of creative outlets. As anticipation for the festival grows, Garrett sat down with Chris to get the scoop. After a long conversation spanning from Gogo Music to societal ameobas, we present for your reading pleasure, Chris Carr.

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GARRETT

So Chris, tell me a little bit about the Brooklyn Wildlife Summer Festival. I know you’ve thrown shows and booked bills before, but this seems like a larger production, a wider vision. Was it difficult finding a venue that suited your ideas?

CHRIS

Well, we wanted to be able to get over a thousand people in one space for the day. It had to be something bigger than just a night club with a bunch of bands. The first space we looked at, man, we were gonna rent for over $8,000, plus sound and lighting was going to be over another $3,000, the talent was going to be thousands of dollars… So we just stopped and said “Wait, what are we doing?” We know we want to go bigger, we know we want to go harder, but what’s worked in the past? Do we pay a lot of money for venues, is that how we’ve ever made successful events? No, not at all. We started doing stuff at our cribs and friends’ houses, somewhat small spaces and building it that way. We were working with people who liked it and wanted to support it so they won’t charge us an arm and a leg. Yo, do we pay people to come in, all this money who we don’t know? No. So we had to figure out how to do it more real for us.

GARRETT

Then how did Paperbox come into the picture?

CHRIS

We had done an event at Paperbox, then the second one went really well. We found out our homies do the sound, it’s still in the neighborhood, and we know the people. One of the guys who runs the spot, Eric, just said, “Dude you should do your festival here.” I told him I didn’t know, we’d need indoor and outdoor space, and he said they have a stage out back, two stages inside. We were like, “Really?” It works because we’ve already worked there so we know the layout, a lot of the people on the bill have already performed there, and everything has just fallen into place piece by piece. We ran into this girl Stylo who lives across the street, and she helped design most of the artwork, which has been awesome.

GARRETT

That artwork is killer. I love the wildlife theme, and images are expressive and have character.

CHRIS

We knew we wanted the artwork to be non-human representative, but not some weird abstract color gradient thing where people might think we’re throwing an electronic festival or anything. We definitely don’t want it to seem uber-masculine or overly rock or hip-hop, or any one genre. So we came up with the idea of all the animals playing together in a field, and she just took that and started drawing. And it’s dope. Things like that kept happening, you know. I’d known her for months, and out of nowhere she wanted to get involved right when we were starting festival preparations.

GARRETT

So with a production this big, you’re obviously working with a lot of new people. Can you tell me about some of the acts that are playing? We’re all excited to see some Brooklyn Wildlife veterans – Tyquan Sounds, Shottie, Ohene Cornelius, Hounds Basket, Chicks Throwing Bricks and, of course, Broken Glow to name a few.  I want to know which acts you’re excited to see performing for the first time at one of your events.

CHRIS

Definitely Charly and Margaux. They’re a violin/viola duo. Two young ladies up here from Brooklyn, they’ve traveled to South By Southwest and up the coast. They are awesome, but people would not expect us to book them because they don’t rap or don’t make loud rock music, it’s not dirty basement freestyle stuff. They’re just really talented classically-trained musicians. We want to showcase that we’re into that. At the end of the day, most of the musicians I work with want to be respected for being musicians, not just rappers, not just guitar players or whatever, but as musicians. As people who create.

Then we’ve also got Buckshot. He was part of Bootcamp and Duck Down Records, and I was listening to this dude when I was in high school, driving to school every day listening to this shit. Now he’s performing at our festival. Three days ago I’m walking to the store and I run into him. He lives in our neighborhood, like I see him when I’m out, dude, so it’s like everything is true, it’s cohesive. Duck Down has been one of the only labels in New York to put out good hip-hop in the past couple years. So If I want to say, yo, this is some indie Brooklyn shit, we’ve got over 60 acts. Some of them are international, but I met them because they came to Brooklyn. And all of them are indie acts, except I think maybe two. So it’s exciting to me, man. Making something authentic, something I’d want to go to, but different.

GARRETT

It seems like that’s one of the biggest goals of the festival, to showcase without discrimination of style or genre.

CHRIS

I look at the Brooklyn Hip Hop Festival and, you know, it’s dope but it’s also a whole lot of guys. There isn’t much of a female voice. But with this we’ve been able to book a bunch of really talented female acts. I look at Afro Punk and it’s really cool, but there’s not a whole lot of punk any more at Afro Punk.

GARRETT

That’s true. Although last year I saw this band Radkey from Kansas City. It’s three brothers, all high school age, and it’s The Misfits playing Thin Lizzy on three Red Bulls. Killer stuff.

CHRIS

It still is a beacon for certain young folks to bring people together, it’s just like, out of, say, 20 performers, it’s not like 17 of them are punk bands. Now the punk bands they get are dope. Rebelmatic is playing this year, and they’re gonna play our festival. They’re sick, I’ve known their lead vocalist Creature for years. And their band is punk for real, they go hard. So Afro Punk is still getting it right, but it’s just not what it was. You know, we’re lucky. We don’t have to do anything for corporate sponsors, we don’t have to try and do better than we did last year, we can just make an awesome event that’s unique and hasn’t been done before.

GARRETT

I’m curious to hear about some of the non-music acts. Your events always strike me as multi-sensory experiences.

CHRIS

For sure. We’re going to have a relaxation area where people will come in earlier in the afternoon and do guided meditation and yoga. We have some burlesque artists and some people who are going to do theatrical performances, contemporary dancers. There are going to be these performance art pieces done amongst the crowd. There will also be some painters who’ll be doing live painting out back, and screen printing on the spot by Silkys. They’re our only sponsor for the event, and we’ve gotten t-shirts from them before, so the only folks we’re involved with is people we’d hang out and drink a beer with. It’s not just one of these music festivals with a little painting on the side. Nah, this is going to be a multi-layered thing, with a lot of elements outside of just music. There is going to be a lot of music though. There are 60 acts, and I think 45 of them are bands. Now, when I say bands, I also mean rappers, poets, singers, just people who are gonna come rock with us.

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GARRETT

Now, I’m curious as to how you started to get a foothold in Brooklyn. Since you’re originally from D.C. can you tell me a little about your early artistic influences?

CHRIS

One big thing: Go-go music. Go-go is really unique to D.C. It’s a live form of music which grew out of funk and dance music, and incorporated rap. So it’s a drummer, congas, live bass, live guitar and usually two or three vocalists. It’s mostly cover songs, some hip-hop and R&B, some of their own songs. But people PARTY. When you go to a show, you may wait for an hour with everybody coming in and out, the DJ playing some garbage… Once the band starts sound-checking people move to the front, and if you don’t go right then, you’re not getting close.

At these shows it’s usually young black folks. You know, it’s something that came out of these neighborhoods where folks were event deprived. For people who were sixteen to eighteen, you could go to a go-go before you could get into a club. So when it came to making hip-hop, it had to be live in the same sense of excitement, it had to be energetic. So even when I would play with a DJ or people using drum machines, I still wanted that intensity. I wanted to get out that aggression and express things in a way I couldn’t using normal social dynamics. At the time my hip-hop influence was coming from Chicago, from New York, from Atlanta, from Florida, from Texas, from Louisiana. I got to hear about The Hot Boyz and Lil Wayne when I was 18, and that was in 1996.

GARRETT

So how did this lead you to New York?

CHRIS

I first moved to Harlem in 2001, lived there for two years, and that was the era when Sean Paul and 50 Cent came out, Interscope was big, Universal music was big, Nelly, Eminem, DMX, you can run down the list. I always listened to other types of music whether it’s triphop, or straight rock music, or classical or whatever. Still, from the time I was about 18-22 I was a real hip-hop head. But then I came up here and I met people who listened to world music, house music and acid jazz, and certain things that were super dance oriented. At that time I was playing around with grind or drum and bass, whatever was around at that time.

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After a few years I moved back to D.C. and threw some events down there. My friend Ty and I formed a group called Rosetta Stoned. By the time I moved back up to Brooklyn in 2008, I settled into Bushwick and my notion of doing music was gone. I moved up here to pursue a relationship and my girlfriend wasn’t really big on me rapping. She supported my photography, but the whole rap thing and throwing shows… It was like, maybe once a month you’d throw something down in D.C, but I didn’t know any rappers up here or people who had connections to spaces.

GARRETT

Where does the foundation of Brooklyn Wildlife come in?

CHRIS

At first, I saw that stuff in the past. I was 28 or 29, and throwing house parties wasn’t what I really wanted to be doing. I wanted to focus on this photo career. Then the relationship ended, and I wound up hooking up with DJ Keith Edwards, we’re making music and it was like, man, we needed to make more music, we needed a platform to find other artists and to get our stuff out. Now, this was around 2011, and I’d been doing music around Bushwick with the Potion Collective, but it wasn’t about rap. Instead of organizing shows I was going to other peoples’ events. I was a heavy participant but wasn’t really involved. I don’t know how many times I’d get asked to rap an event, and I show up and there’s no DJ, nobody who can beatbox, no other rappers… How can you ask me to perform without a platform for rap music?

So we wanted to set something up where there was always going to be equipment, always a mic, always a DJ, or somewhere to plug in an ipod, and it grew from there. It went from us getting added to other peoples’ bills to us creating our own events. We said, nah, we have to book it, promote it, run it ourselves and make it our event. We couldn’t do it at first so we took it back to house parties and basements, We threw events at my crib and other peoples’ houses, and we did as much as we could to meet new artists to see who’s down to put in work and put in effort. After about 6 months to a year of that, we were able to start booking venues.

Good Friend Electric and Brooklyn Wildlife Present....

GARRETT

Booking events in legitimate venues is interesting because you simultaneously expand and narrow your possibilities. With a venue space, you add legitimacy to your endeavors and can attract a more diverse crowd. You’re also somewhat restricted when you’re playing by the rules of a space instead of freely using your own home. Did you find the transition easy?

CHRIS

Well we realized we could do more than book clubs, we can throw events in restaurants and art spaces, or find empty studios and turn them into galleries. Those ideas started pushing the last year of work. For our “12 Days Of Art,” we wanted to do 12 different types of artistic events – music, for sure, but let’s start getting into discussion panels and art talks, something bigger than just an open mic outside of a three-act show. Then we did an event last summer with over 25 bands for the 4th of July. People said we were crazy, but we said nah, wait till you see us book 50 bands!

Through all the changes, though, I’ve stayed steady with the idea that I don’t want to do negative music or make events that are uncomfortable for people. I don’t like to support a violent or rude atmosphere. But in terms of the types of music, it keeps changing. When I was playing with you guys, for that 6 months to a year at Potion, I was never rapping with producers that made rap. I was playing with live musicians and learning how you guys swing.

GARRETT

Yeah, that was a rad time.

CHRIS

That shit was fun man! I miss it. After all y’all moved the whole music shit fell apart in a certain way, man. The reason we’re doing it is because motherfuckers left! If I could still go to Tyler’s house (former venue, recording studio and artistic space Good Friend Electric on McKibbin St) every week I’d have never started Brooklyn Wildlife in the same way. Because Tyler (Yonah, Omingnome) is gone, because the dudes on the fourth floor are gone (bands who also lived in McKibbin lofts) and moved out, because y’all moved out, it fizzled. Because no one moved to a central area. You guys moved into BedStuy, some moved into the city, some folks moved farther out to Jefferson…

GARRETT

And some of us bailed.

CHRIS

Yeah, some folks left the city entirely. And it’s understandable, you know. This whole place is cannibalizing itself. So we said, yo, let’s either build the ark or get washed away. Fuck, I can’t go anywhere yet and I just signed another lease, so we gotta build that ark.

GARRETT

It’s funny thinking about those times when all of these incredible creative artists and musicians all lived on that same block in Bushwick together. I remember the first time Broken Glow worked with you, and we played a song at your birthday party at Good Friend. We’d always wanted to perform “99 Problems,” it was one of our original singer Jon’s favorite songs of all time. So we always talked about doing it, but he was worried about whether or not he could pull off some of the lyrical content, and I don’t think he wanted to broach that subject. When we performed it together, I noticed you replaced “bitch” in the chorus with “chick.” I had no idea at the time that you’re way not into negative music. You’re into things that are creative, and they can be aggressive, they can be subversive or cosmic, they can be spiritual or fucked-up and weird, but it’s never against anybody.

CHRIS

Right on. Me and Keith, we don’t hate on much, man. We didn’t start a blog to talk about all the bad rap and shitty production, all the lame artists we think are whack. We just made a blog to showcase the people we think are good. We don’t do a lot of anti-other people in our presentation. When we do events we don’t bash on other event planners or other artists. But we definitely make it clear that we think the people we work with are better and that we’re trying to be an alternative. Like we don’t need to be in Vice Magazine, we want to start our own thing. I’m not knocking them. And if they do want us we’ll say fuck yeah. I’m sure they’ve got cool people who take good pictures and write interesting articles. But we’re not chasing that.

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GARRETT

That philosophy comes through when you throw an event. I’ve spent a lot of time going to and playing metal shows, and I love to jump in a pit and thrash around, and the power of heavy music. Unfortunately the chaotic atmosphere sometimes attracts a certain element of people who are aggressive, who just show up to throw punches around. I’ve never felt any kind of threatening vibe at any of your events, whether it was crazy birthday parties or 12 Days Of Art rock shows or whatever. It seems like that ideology is not said, but it’s understood by the performers and the attendees.

CHRIS

It’s weird man, I grew up playing football and lacrosse, so I always had that element of aggression and banging your head against someone else’s. When I first got into hip-hop I used to battle, so I have lyrics on some old “gonna rip your face off” shit. But it’s lyrical in my mind. And at a certain point I realized I don’t want to write like that, I don’t want to sit around and think about cool literary ways to humiliate another person, you know? I mean it can be a fun exercise in a way, and it’s tons of fun when you’re in front of a crowd and you smash on somebody when it comes down to some who-raps-better shit. But most of the battles got away from who raps better and got more into who can make fun of the other person the best. And that’s not really my thing.

And when I listen to my old lyrics, I used to say “nigga,” I used to say “bitch,” I had a younger, aggressive self-oriented perspective when it came to what I wanted to talk about in my music. But I think it’s just part of the growth process. I mean, I had to talk to women afterwords, you know? And people who know me would come up to me after I rap and be like, “Yo, why’d you say that?” And I couldn’t be mad at them. I was going into a public space expressing my feelings so I had to be able to deal with the repercussions of that. Now, there are other people who could look at them and tell them to shut up, that it doesn’t mean anything. I can’t do that, you know?

GARRETT

Right. It’s fine if someone else defends you, but the artist has to stand behind his work.  At a certain point you need to own what you say, even if it’s facetious or in a creative medium.

CHRIS

And I realized for the music that I wanted to make, I don’t want for people to feel excluded or that they’re not cool enough, or to come off threatening. Now, I may distance myself from people by the way I choose to rap or the subject matter I do explore, but in terms of my goals it’s only about elevation. Even if, like you said, it’s cosmic or it’s fucked-up and weird, it can be all those things. But I never want to be that pig-head, machismo shit.

I always loved hip-hop because it allowed people to get on a record and talk about their faults. I love Atmosphere, and some people call him a clown ’cause he sings a lot. But one thing about when that dude raps, it’s emotional. And when we do our events, I want to include visual artists, vocalists and other performers who are emotive, who want to move people through their creative works. And if it’s authentic, you know, some people have had negative experiences in their lives and I don’t expect them to hide that from their music or their art. It just can’t be fake, or just because it’s what the radio likes, it can’t be because you’re afraid to let people know you’re afraid, trying to be Mr. Tough Guy. I like that most of the rappers and musicians I’ve worked with over a continual basis are all heavily emotive. And when you meet them it matches their music.

GARRETT

It definitely seems that, for every incredible independent musician I know, there’s a severe lack of quality music in the “mainstream.” I can’t speak for you or anybody else, but I know I’ve been way out of touch with what is new and popular, and only rarely do I get a glimpse of what people are listening to.

CHRIS

Well I was lucky dude, I had a breakthrough when I went to Hawaii. It wasn’t like an epiphany hitting me in the face or anything, over the four or five days. I realized I’ve been having one foot in and one foot out for a long time. When I was in college my roommate produced a lot of high profile cats, and this is a dude I lived with for three years. So I knew the type of music he was making came out of his effort to be a professional musician. Now he wasn’t a rapper, so he didn’t have to stand by some of the things these rappers said. Instead he was making the music that he loved in a way that was accessible and that could get him paid. I didn’t really have a way to do that, with the way that I rap. I couldn’t figure out how you could commercialize what I do.

So I was always playing this game where I had friends who made commercial music so I couldn’t hate on it that much, but I don’t like it. I’m almost predisposed to dislike it. You know, I’m not into pop sounds, I’m not into shallow things that have no meaning. I don’t like waste-your-time entertainment, I’m into using life in a way that you can love the result of, or something like that. I don’t know, I mean I don’t have a life philosophy or anything like that, but I don’t like the idea of making content for people to waste their lives away, or people becoming brain dead with mindless entertainment.

GARRETT

I clicked on a link the other day and it’s Miley Cyrus’s new tune. There’s been a lot of discussion around her whole new thing, but I don’t care for all that, I just wanted to hear what the actual music sounds like. And it’s terrible, dude. Stock drum beats, lame over-produced vocals, and the hook isn’t even that catchy. How do videos like this get 6 million views in a week while the true, pure artists I see pouring their hearts into their craft are starving on the street?

CHRIS

I’m always trying to remind myself that different artists have different roles, man. Not everyone should rap like Public Enemy, and not everyone should be positive, that wouldn’t be real either. But I’m real fed up with how much corporate influence is now governing artistic creativity and how many hands are in the bucket stopping creative artists from making music and getting it out world-wide, how many people have just accepted it, like it’s always been here. People accept that they can’t change anything and that customers don’t have any power with their money. So I had a breakthrough in Hawaii, where I just said I’m not fucking with it anymore. If people want to rap about being mean and disrespectful to women, I’m not gonna do songs with them, period. I’m not putting their songs on my mix-tapes or booking them at shows. If there are people who aren’t the best rappers in the world but they’re trying to put a message in it, I’m down with that. And I don’t mean to teach the world a lesson, but if you’ve had a life experience and you want to rap about it and make it expressive, I’m going to help those people and put out a forum for them so they can get better. They’ll figure out the rap part, since they already have the part that so many people are missing.

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I am so unaware. It’s funny, I haven’t seen that Miley Cyrus video, I haven’t seen so much of what I think is influencing some of the rappers that I’m around, so it can’t influence me. I haven’t had a TV with cable in years, like at this point it’s been years. With the whole Miley Cyrus thing, I’m never surprised by cultural appropriation, you know? It’s unfortunate but we all know it, whether it’s jazz, blues, rock or hip-hop. The country is majority non-black, so whenever we have something or create something  that becomes popular or bigger than its own community, it gets lost. That’s how an ameoba takes things, and American society is an ameoba. It takes everything from every group of people that’s in it. However, some of those people get more representation in the corporate sector, or the political sector. And at this point it’s too imbalanced. So I’m not surprised Miley Cyrus is twerking, of course she is, you know? Her dad was one of the biggest country stars of his time, it would almost be a shame… Ha! No, but it would be ironic if she wasn’t, it makes sense to see her twerking it.

But it doesn’t matter to me anymore. What Kanye or Jay-Z or any of these people do, it just doesn’t matter unless we’re talking about their actual music or their contribution to culture. When it comes to the actual lack of good quality music, it is the fault of everyone involved. That means the listeners for buying it, the DJ’s for playing it, the people for making it, the program directors, the exec’s in the offices, everyone involved. Now, on that chain the customer is the last person who has any influence on the creative process. But they can show people with their money.

………………………

Chris and Garrett talked for another 15 minutes or so about the coming months – the Brooklyn Wildlife Summer Festival is gearing up to be a huge event, so expect more like this in the future and keep your eyes open for Broken Glow’s return to the northeast this fall! Do yourself a favor and catch this one-of-a-kind experience. The festival is Saturday September 7th, 2013 from 3pm-3am. You don’t want to get there late or leave early. For more information go to Brooklyn WIldlife’s website.

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