Monday, 29 June 2015

St. Patrick's Day Parade 2016 - all changed utterly

            The recent decision of the Irish people to legalize gay marriage closed a chapter of church-state integration and laid a foundation for a secular Irish society.

            Yet in all the immediate celebration and commentary there was little mention of the very obvious elephant in our room – the ongoing war over gay participation in the New York City St. Patrick’s Day Parade.

            Yes, I know it’s barely three months since the last battle, but with the referendum everything has changed utterly. Talk about a terrible beauty being born!

            Let’s recap a little. When it seemed like the 2015 Parade would have to allow participation by Irish gay groups or suffer sponsorship boycott, the Parade Committee threw two brilliant counter punches. They chose the popular Cardinal Dolan as Grand Marshal and invited the NBC LGBT group, Out@Universal, to march.

            It was a short-term victory for there’s little doubt that unless an LGBT Irish group is invited to march Parade sponsors will come under popular pressure to withhold their support in 2016. Hopefully, this won’t be necessary.

            This is, after all, New York - one of the world’s most progressive cities. Besides with next year being the 100th anniversary of the 1916 Uprising, it’s a good time to settle this contentious matter once and for all.

            I firmly believe that there’s a desire on both sides to do so, despite Parade Chairman Dunleavy’s statement that LGBT groups “will have a problem” marching. The key is to get an early start and not leave it until early March when positions have already hardened.

            In any meaningful compromise both sides need to feel that their views are respected and that they do not have to totally surrender long-held principles. Senator George Mitchell was very cognizant of these points in the negotiations that led to the Good Friday Belfast Agreement.

            Thus, it would behoove both sides to take into account the other’s respective hurts, goals and traditions. The back-story to the Irish Lesbian and Gay Organization’s (ILGO) groundbreaking activism in the 1990’s often goes unmentioned. By then the New York Gay community had suffered through the scourge and heartbreak of AIDS for over a decade. This curried ILGO’s desire to be accepted as an organization that wished to march and celebrate its Irish heritage under its own banners.
            From the perspective of the St. Patrick’s Day Parade Committee, the members merely feel that they are upholding their right to continue the traditions of a Catholic gathering that observes Catholic Church teaching.

            But was the first NYC parade in 1762 exclusively Catholic? Probably not, since it was organized by Irish troops serving in the British Army. Perhaps it’s time the Parade focused on its Irish rather than its Catholic identity? That works in Dublin, so why not New York City – the home of inclusiveness?

            I have friends who argue that the NYC St. Patrick’s Day Parade honors those who fought Know-Nothing anti-Catholicism down the centuries. But such bigotry is a thing of the past, and traditions can become rusty chains if they’re not greased with relevance.

            The real crux of the issue is that many structured religions have problems dealing with the breadth of human sexuality and, like it or not, homosexuality is a part of the natural order. Likewise, it’s hardly a secret that down through the ages the Catholic Church has provided a safe haven within its clergy and religious orders for many with no inclination to marry whether for sexual or other reasons.

            But times have changed and nowadays there’s an accelerating acceptance of diversity. Pope Francis himself when questioned about gay people remarked, “Who am I to judge them if they’re seeking the Lord in good faith?”

            He’s right, of course, and what a breath of fresh air sweeping aside the cobwebs of dogma. People have always found ways of circumventing the strictest of Church rules – ask the overwhelming percentage of married Catholics who disregard church teaching on contraception.

            What’s needed is someone of stature who will bring both sides together in a spirit of good will. Once people start talking face-to-face anything is possible.

            The time for mediation is now otherwise next March the parade will become a major battleground, not to mention a financial basket case  – it’s time for a little sanity.

Sunday, 14 June 2015

Bloomsday - James Joyce - June 16th

            I was a callow youth when I attended my first Bloomsday event in New York City. I remember little about the setting except that it was dark and much drink was taken. 

            From the stage Frank McCourt related that while serving in the US Army in Germany he was asked out by a lady officer much taken with his accent.

“Are you familiar with Joyce?” She inquired over their first drink.

            “No,” Frank replied, “what does she look like?”

McCourt who would later become the best-selling Irish writer of his generation had little notion of James Joyce, whereas nowadays every Paddy that ever lifted a pen could quote from Ulysses ‘til the cows came home.

            Take yours truly, for instance, with three upcoming Joycean engagements; you could posit that I’m a first class literary poseur or another poor soul afflicted with Joyceitis.

            James Joyce himself profited little from his writing. His wife, Nora Barnacle, complained that “them auld books caused nothing but trouble. You should have stuck to the singing.” She had a point for at one Feis Ceoil he came in third place to the great Count John McCormack.

            But Joyce never doubted his own brilliance. As a young man with nothing yet published he told the world renowned WB Yeats that the poet was beyond help.

            Joyce was also an accomplished mooch who borrowed like it was going out of style. When it came to creditors and landlords he was rarely more than one step ahead of the hounds.

            Hemingway (a man who knew whereof he spoke) said that Joyce was a rummy of the first order. And yet Sunny Jim was a drunk with discretion, for though he quaffed white wine by the gallon, he would not touch a drop of red – for it reminded him of blood.

            Joyce knew his women and wrote expertly - and intimately - about them. Every man contemplating matrimony should read the last 30 pages of Ulysses when Molly Bloom shares her thoughts. Some will go dashing back to the safe haven of bachelorhood; many more will roar out “tally-ho!”

            That’s the power of Joyce and you will have two opportunities to experience the wondrous Aedín Moloney inhabit the character of Molly in the coming weeks. First up will be on June 11th at Barnes & Noble in Tribeca where she will terrify the uptight in the company of Pete Hamill, Malachy McCourt and yours truly. 

This event will be sponsored by Irish American Writers and Artists; however don’t bring your Grand-Aunt Fanny unless she can handle unbridled womanhood in the raw, for Molly Bloom is a woman of considerable appetites.

Aedín will reprise the role outside Ulysses Folkhouse on Pearl Street on the afternoon of June 16th.

            I am often hailed as the world’s foremost male interpreter of the Ulysses character, Gerty McDowell – being the only one certainly helps. I’ll be unleashing Dirty Gerty, as she is commonly known, while leading a discussion on Ulysses in Bryant Park Reading Room at lunchtime on June 16th.

            All these Joycean events are free in honor of Sunny Jimmy Joyce who never cared to pay for anything himself. You should attend one or more for Ulysses is much better heard than read.

            Jot down some quotes that tickle your fancy – and there will be many for Joyce put the kitchen sink into “the world’s greatest novel.”

            Then on June 17th, in the solitude of your room, with a roaring hangover, you can commit your favorite lines to memory.

Upon recovery, dressed in your best seersucker suit and straw hat, head for your local saloon where you can mouth off these priceless nuggets to the assembled shocked and awed peasants. Have no qualms about accepting every free drink offered you, and demand copious buybacks from your barkeep.

            Ah yes, God bless Jimmy Joyce, genius and freeloader, the month of June would not be the same without him.

June 16  12:30-1:45pm, Bryant Park Reading Room, 42nd St./5th Ave., NYC
June 16  2pm  Ulysses Folk House, 95 Pearl St., NYC
June 16  11pm  Celtic Crush, SiriusXM Radio - The Spectrum, Ch. 28, Bloomsday Show

Tuesday, 2 June 2015

Celtic Crush - 10 Years Later

I’ve always loved radio. I suppose that comes from spending so many solitary nights back in Wexford tuned into an ancient tube-powered wireless. What treasures seeped from its cloth-covered speakers! I could summons voices from Luxembourg, London, American Forces Network in Germany (AFN), not to forget Bulgaria.

            The comrade with the sexy voice from Radio Sofia was my favorite. It didn’t matter that she was preaching the destruction of capitalism and the demise of the Holy Father in Rome, I was hooked by her sultry Eastern European accent. I even wrote her a fan letter and was rewarded with a big package addressed to “Comrade Laurence Kirwan.”

            This caused no end of problems, as Jim Morris, our postman, was not only a Fianna Fail member of Wexford Corporation but a very devout Catholic. He complained to my grandfather about the godless, communist propaganda I was receiving. He needn’t have bothered - I was already disenchanted: instead of a picture of the sexy comrade, they had sent a long boring treatise on Marxism.
            Fast-forward many years to an interview with Meg Griffin at Sirius Satellite Radio about the latest Black 47 CD. Steve Blatter, Vice President of Music Programming, happened to hear my accent and inquired from Meg if I’d be capable of stringing a couple of coherent sentences together as they were in need of a host for a Celtic show.
Ms. Griffin assured him of my rapier-like loquaciousness and a week later I was behind the controls at Sirius delivering the first broadcast of Celtic Crush. 

            I’ve been doing it now for ten years and it has enriched my life enormously.  Once I’d figured out the studio technology I was encouraged to produce the show.

            This essentially means that I choose the songs, and I decided from the outset that I would reward songwriters and musicians who took chances in their search for excellence.  

There are many types of Celtic music - each with its own boisterous proponents; however, most agree that we feature a strong selection from their genre on Celtic Crush with little nod to commerciality. Finding great songs is always a task; on the other hand “modern” Celtic music has over fifty years of material to choose from.

            Because it’s satellite radio the show is broadcast throughout the US and Canada and can be accessed by computer anywhere in the world. With over 150 full-time channels broadcasting simultaneously you’ve got to be engaging and on your toes, but with 28 million subscribers there’s a potentially huge audience.

            I keep the show as loose as possible for there’s a thrill in being just one step away from disaster. I begin with a three to five minute soliloquy and this sets the tone for the show. I usually concoct this “opening statement” on my pre-dawn subway journey to the studio. If nothing else it keeps me awake!

            I use no notes or computer. It’s just one person with a microphone and a lot of great music. Having played 25 years with Black 47, I often personally know the artists I’m talking about. But I’m not concerned with their personal foibles – only their art and how they create it.

            During interviews I try to put the artists at ease so that they’ll open up to the listeners about their music and its inspiration.

            Ray Davies was my favorite interviewee. What an intelligent person and a gentleman to boot – he walked me through the recording of Waterloo Sunset, as though it had happened yesterday instead of 1967.

            Why is Ray Davies Celtic? Well, his people originated in Wales and he lives in Ireland part of the year. That’s Celt enough for me. Still, we feature everything from The Kilfenora Ceili Band to Dropkick Murphys with many a stop in-between.

            And so this coming Saturday I’ll celebrate ten years of Celtic Crush with a look backwards. It never ceases to amaze me how great songs hold up while great arrangements and fashionable choices so often don’t.

            Or as Stephen Foster is reputed to have said, “great music is forever, everything else fades away.” Celtic Crush continues to thrive ten years later.

Celtic Crush can be heard on SiriusXM Satellite Radio, The Spectrum, Ch. 28, Saturdays 7-10amET, Tuesdays 11pmET.  Two full shows always available by signing up for On Demand.

Thursday, 21 May 2015

Second Gilded Age

Change come slowly like the ocean
But it keeps on coming nonetheless
Take my hand, oh dear companion,
We may not find happiness,
But peace and then some real contentment
And a measure of social justice;
Change come slowly like the ocean
But they can’t stop the tide
And they’re never ever going to stop us.

            I wrote that song in 1994 just as the US was heading into Clinton overdrive - an unprecedented era of optimism and job growth. Alas, we’ve had two recessions since in our boom and bust economy. Change, how are you!

            I need hardly mention that the last Great Recession destroyed the financial security of millions, culled the middle class, and seemingly cemented income inequality.

            One would imagine there would be a broad-based movement to redress these wrongs and restore a cherished American ideal - that “all men are created equal.”

            It’s not that the subject is under wraps – far from it, politicians of all ideological shades condemn income inequality. Republicans trot out their usual tired panacea of cutting taxes, regulations and the deficit; much of this has been tried in Europe with alarming consequences.

            Indeed, had President Obama not pushed through an anemic stimulus back in 2008 we’d still be mired in our own low-growth recession. It’s hard to understand why the US has not been borrowing money at the current low rates and investing it in the country’s crumbling infrastructure. Rates will rise, bridges and buildings collapse, and it will all cost a whole lot more to repair them in the future.

            And what of the Democrats? Many talk a good game but the closer it gets to election time, the faster they bolt towards a fiscally conservative center.

            The battle against income inequality will not be easy when it’s finally joined but the sooner we get a start on it – the better.

            Raising the current federal minimum wage of $7.25 an hour ($8.75 in NY) is a no-brainer.  No recipient will hit the jackpot even if the rate is increased to $15 as demanded by some. Should you think this increase too drastic then consider that the aggregate of Wall Street bonuses last year was nearly double the total earnings of all Americans working full time for federal minimum wage. Talk about a gilded age!

            Even an annual increase of a dollar an hour to the minimum wage would help drag many workers above subsistence level, eventually reduce the cost of programs like food stamps, increase the tax base, and inject some much-needed spending into the economy.

Costs would rise, but most economists now agree that a reasonable increase in inflation would actually be advantageous for the economy. More than anything, though, it would restore the notion of the American Dream, an aspiration badly missing in so many sectors of current society.

The recent Great Recession has allowed corporations to ride herd over the vast majority of their workers. Think about it! How long since you received a raise? Or rather, how long since you even thought of requesting one?

            Adjusting for inflation, a majority of workers were better off in the 1960’s. The constant drive to cut workers and wages has decimated the middle class.

            This is no anti-Capitalist rant! Despite an almost constant upsurge in corporate profits over the last six years, stockholders – on the whole – are not reaping commensurate higher dividends. Multi-nationals prefer to park their profits overseas rather than repatriating them and paying the requisite taxes - and dividends.

            Is this all a new phenomenon? Hardly, the robber barons of the First Gilded Age cut a mean deal for the masses. However, Americans in the Progressive Era did elect politicians such as Teddy Roosevelt to challenge these titans and enact legislation that led to regulation and change. 

            Teddy Roosevelt was no radical. He was an aristocrat who saw that the system would buckle if it didn’t promise every American a “square deal.” We’re approaching the same watershed moment.

Politicians will talk about income inequality until the cows come home. Our job is to demand a detailed plan from each of them on how they intend dealing with this cancer of income inequality that’s eating our society in this Second Gilded Age.

Wednesday, 6 May 2015

Roy Orbison Changed My Life

            The word spread like wildfire up the narrow streets and down the mucky lanes – Roy Orbison was coming to Wexford! 

            It wasn’t that we were unsophisticated; Brendan Bowyer and Dickie Rock had jammed the Parish Hall on many occasions. But Roy Orbison was a horse of a different color – wasn’t he the next best thing to Elvis!

            However, we were uncertain of the etiquette for such an occasion; normally we danced to showbands for four continuous hours. The Parish Hall Committee soon set us straight: a local band would play until Mr. Orbison arrived from Arklow where he was engaged to do a similar 40-minute show. He would then move on to Waterford for a final late night performance.

            We were informed that we should not dance while this legend was performing but give him the same rapt attention and reception we afforded President John F. Kennedy on his visit in 1963.

            I was very relieved by the non-dancing edict as I was going through a rough patch with the fair sex. “Hooking up” was tremendously complicated in those distant days, as 99% of this activity was initiated in dancehalls where a strict protocol had to be observed.

            It began with requesting the pleasure of a lady’s company for a set of three dances. In those scant ten minutes of twists, two-steps or waltzes you were expected to beguile her with your manliness, comedic chops, and career prospects. Should she have found your presentation acceptable it was then incumbent upon you to request her company for a further set.  

Unless she had fainted from boredom during this second set you then inquired if you could buy her a “mineral;” if she accepted, you escorted her to the balcony. It was usually plain sailing from then on: you walked her home at the end of the night and were rewarded with the chastest of kisses.

            I knew the routine; the problem was – none but the lame, the overweight, and the criminally insane would dance with me. It wasn’t just me – most girls wouldn’t dance with any of my friends.

            To be declined thirty times in the course of an evening was routine for a young man. Many of these refusals were courteous enough, although I remember one lady stating that she would be delighted to dance - if I could find her a partner. Another was more to the point, merely muttering, “Would you ever shag off!”

            I don’t know why women of that generation were so choosy. My grandmother proclaimed that she had never refused a gentleman a dance. My mother too seemed puzzled but reassured me that I’d “grow out of it.” 

The Parish Hall was packed when Mr. Orbison’s backing band took to the stage. They were obviously English for they gazed upon us much as my grandfather did when appraising poorly castrated bullocks.

            They then began the intro to Pretty Woman and we craned our necks as Mr. Orbison strolled on stage followed by an assistant bearing his guitar. A vision in shades and gold lamé suit, the legend stretched out his arms not unlike Jesus on the cross. The guitar was slipped over his shoulders and he began to sing.

            Oh, what a voice! At the song’s conclusion he stood stock still while we cheered as though Wexford had just wiped the floor with Cork in the All Ireland Hurling Final. Mr. Orbison then proceeded to string together one after another of his hits.

            He never acknowledged us and it was hard to say if he was enjoying himself but we were exultant. Some even compared the experience to witnessing the Blessed Virgin at Lourdes.

            The set built to a climax with a rousing reprise of Pretty Woman, and suddenly Mr. Orbison was gone without a word of farewell. A committee member later confided that he was at least 2 miles down the road to Waterford before we gave up roaring for an encore.

            I looked around the hall. The mirror ball still spun and the local band had begun playing. But something had fled and with it my ability to accept thirty refusals a night.

            Soon after I emigrated to New York City. Roy Orbison had apparently set me free.

Monday, 20 April 2015

A Confederacy of Dunces

            There are two types of people in this world – those who have read A Confederacy of Dunces, and everyone else.

            John Kennedy Toole’s masterpiece reeks of absurd life and introduces Ignatius Reilly, one of the 20th Century’s great literary characters. But have no fear: this is no scholarly tome but an outrageously comical romp through New Orleans.

            You will recognize the book’s influence on many of today’s writers: in particular, Tom Wolfe and his Bonfire of the Vanities. Likewise, it’s hard to imagine that The Bronx’s Richard Price – arguably America’s finest living writer – hasn’t also cracked a few pages of Confederacy.

            Though written back in 1963 there’s scarcely an archaic reference; but then John Kennedy Toole is a writer for the ages.

Like Vincent Van Gogh he hadn’t an iota of success in his lifetime. In fact, A Confederacy of Dunces was not published until 1980, eleven years after Toole’s suicide.

So, who was John Kennedy Toole? Well, he was decidedly well-read for the book is prefaced by Jonathan Swift’s quote, “When a true genius appears in the world, you may know him by this sign, that the dunces are all in confederacy against him."

The Tooles arrived in New Orleans from Ireland during the Great Hunger of the 1840’s. His mother Thelma Ducoing, the major influence on his life, also had Irish roots through her Kennedy grandfather. Thelma was highly cultured and encouraged young Ken (as Toole was known) to pursue his interest in theatre and literature.

However, she was possessive and controlling, not unlike the mother of Ignatius, the anti-hero of Confederacy. Thelma invested all her hopes in her popular and intellectually brilliant son, and yet he often appeared sullen and morose in her presence. If he was indeed writing about his mother in Confederacy he didn’t stint on her faults, yet his portrayal is ultimately sympathetic as it is for each of his blustery and self-obsessed characters.

Many feel that Toole used a fellow English professor, Bob Byrne, as a model for obese, supercilious Ignatius – Byrne too was a slob, played the lute, and wore a deerstalker hunting cap despite the often stifling heat of New Orleans. Byrne however felt that Toole himself was the model: “a strange person, both extroverted and private, with a strong desire to be recognized but also a strong sense of alienation – just like Ignatius Reilly.”

There’s no doubt that Confederacy captures the unfamiliar underbelly of working class New Orleans and renders it just as exotic as the Mardi Gras city we’re accustomed to. And what a guide Toole is – unrelentingly and hilariously non-politically correct, he skewers every class, nationality and race with equal delight.

Each of the twenty or so characters is larger than life and solidly ensconced in their own private universes. Alas, their worlds collide with abandon, but each character is so realistic and wonderfully drawn, you have to wonder if you too in your daily routine are behaving in an equally absurd manner.

Toole tried hard to get his book published and even gained the ear of the legendary Robert Gottlieb, senior editor at Simon & Schuster. Gottlieb did his best to shape Confederacy but Toole was reluctant to make changes – and rightly so!

When Gottlieb eventually passed on the book Toole was shattered. He sunk into depression and acute paranoia, and eventually took his own life.

There the matter might have rested. But Thelma, his driven mother, was convinced of her Ken’s genius. After many rejections, she began pestering Walter Percy, a faculty member of Loyala University. One day she barged into his office and, fearing a scene, he began to read the battered manuscript - at first with indifference, and then incredulity, scarcely able to believe the brilliance of Toole’s writing.

The book was eventually published in 1980 and in 1981 Toole received a posthumous Pulitzer Prize. It has now sold close to 2 million copies in a legion of languages.

Read it and delight in the crazy universe of Ignatius Reilly. And if you’ve been rejected in some walk of life, don’t despair like John Kennedy Toole, especially if you have an obsessive mother who won’t give up on you.

Monday, 6 April 2015

Feeling Lonely? Why Not Write A Play...

            Feeling lonely, depressed, no one making a big deal out of you? Why not write a play?

            With fifteen of them under my belt, take my word: you need not fear being propositioned hourly by ravishing actors seeking parts in your masterpiece.

            However, the characters you create will forever clatter around your brain like a gang of cider-swilling skinheads. Bid farewell to days of solitude.

            And since you’re unlikely to ever make a buck from playwriting, you can feel smugly superior to those who concern themselves with such banalities. You, my friend, will have ascended to the ranks of a serious artiste.

Not to mention that you can drink like a fish without guilt – weren’t Brendan Behan and Eugene O’Neill first class rummies, and it’s rumored that even Shakespeare murdered pints in the morning.

            Everyone has a good play in them – or at least everyone who attends my dramas knows exactly how to make them better.

            But if by chance you’re stumped for a subject, fear not - every family has at least one skeleton in the closet.

Did someone just roar out “Aunt Bridie’s one night stand with a married communist trombonist!” Now you’re talking drama!

            Here’s the first rule – do not begin at page 1 where Aunt Bridie is dolling herself up before heading to Killarney Town Hall where she will meet the trombonist from the Johnny Flynn Showband.

            You’ll be astonished at how technically difficult it is to get the old babe from her bedroom to the dance floor. Page 2 through 7 will take months and you could end up with a serious drinking problem. Why do you think Behan and O’Neill were such heavy hitters?

            No, you’ve a lot of thinking to do before you ever put pen to paper. Having a beard is great during this gestation period, as you can twirl it, and really look like you know what you’re doing even when you don’t have a clue. 

            You see, you’ve got to get Bridie situated firmly in your mind’s eye. Some refined exaggeration never goes astray. Start with her eyes. Make them unusual in either color or character without going overboard, or she could end up looking like Bono with the yellow glasses.

Then tackle the hair. Beware of baldness. You would be amazed how much wigs cost nowadays, and how touchy actresses can be about shaving off the whole shebang.

With Bridie’s general physiognomy finally taken care of, you’re ready to write – but you’re still miles away from Page 1. You now have to deliver her back-story. Be of stout heart – jot down everything you know, and - more important – everything you suspect. Anyone who gave it up to a married communist trombone player has many secrets, you will be positively astounded at what you unearth.

            The real writing now begins, but cut straight to the chase. What were the trombonist’s first words to Bridie? From there continue on to the tragic end, and tragic it will be – just picture poor Bridie in the clutches of any musician of your acquaintance! From this sad denouement, work your way back to Page 1.

            This will take much time, beard twirling, and visits to dive bars to observe musicians in their natural habitat. Eventually, you’ll have much less money and far more material than you need. That’s par the course – playwriting is all about editing and pacing yourself in pubs. However, if you’ve followed my instructions faithfully, you should have the makings of a decent play.

            The next step is to get a bunch of actors together to read your masterpiece aloud. You’ll also need a psychotic director – for in the many moments you question your own sanity it will help to have someone present who’s certifiably crazier than you.

            Then head for An Béal Bocht in the Bronx. There’s a crowd of ne’er-do-wells up there who put on plays. And if they shoot you down you’ll at least be amidst other serious artistes in a great bar; besides, you’ll never drink alone again now that you have Aunt Bridie and the married communist trombone player forever knocking around in your skull.

            PS Probably better to keep Aunt Bridie away from opening night!