Digging For Fire by Daragh Dukes, Eoin O'Kelly & Kevin Brew
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What is the purpose of “Digging for Fire” and who is it dedicated to?
Drama on one. Sundays at 8 p.m. RTA.iea forward slash drama on one. Drama on one. Next on Drama on One: Digging for Fire, written and produced by Dara Jukes, Owen O'Kelly, and Kevin Brew. A mix of memoir, drama and documentary, the programme explores the nature of youthful creativity, as Dara, Owen and Kevin remembered their participation in the Limerick band scene of the early nineteen nineties. Along the way you'll hear the drumming of Damian Clifford. Damien passed away last month. He was the creative spark at the centre of a wonderful family, many bands and whole communities of like minded souls in Limerick and beyond. Tonight's broadcast is in his memory. For the next forty minutes, this is digging for fire.
Et moi j'ai la gentillesse de faire un détour avant de rentrer directement au... de faire un petit tour par Paris et d'être là ce soir pour peut-être nous balancer quelques chansons en direct. What do we do with Narrow?
There was something good trying to get out. Some kind of protest maybe against Macho Rock. Rock and roll is one of the most glamorous businesses in the world, but also one of the most difficult to break into. I was Kevin. Kevin was our singer. And I was Owen. Owen was the singer with a band called The Hitchers. And I was Dara, the guitar player with The Do It With Mr. Could this investigation could it be a kind of dialogue? A dialogue between the younger us. We wondered whether being creative was somehow easier back then. And the older us. And if there was anything that we could learn about this from our younger selves. to siphon from these memories a kind of middle-aged transfusion. And put some of that forgotten story
without your first gig the pro into the expanding paunch of the now. Our first gig in France. This is a kind of synthesis. Maybe it begins with building blocks. This mishmash we call creativity. We wrote songs with spontaneity and freedom, assured that whatever might be distinctive about us would be distinctive about them. Biographer Reiner Stack wrote of Kafka's ability to make a synthesis to fuse two existing dreams into a new one. Dara played guitar? I did my best to sing we both make cassettes for each other. Then got two cassettes and dubbed one part over another. Until a song was growing from a floor of tape noise and hiss. What can we learn from our younger selves about creativity? Okay, I found this on the web for what can we learn from our younger selves about creativity?
Sometimes it feels that we spent our entire lives trying to return to who we were as children. Here's what we can learn from our younger selves in our flowery shirts, in our roller skates, in our pajama tops, with the jar of honey on standby to make a voice sing better. Everything we tried felt new and exciting, because mostly it was new to us. We braved the horizontal rain of our hometown. We gobbled chips at Friar Tug's takeaway.
It's not a bad old city. We
took a million lifts from our parents. We crossed the Whistling Bridge, now Shannon Bridge, to rehearse in Zerek Studios. And when our band played together, we were really at the edge of our competence, which created an intensity that is hard to simulate. In former ballrooms like the Glentworth Hotel, we listened for our drummer Damien to count us in. Several drumsticks later. And the journey and the success and the failure and the nerves and the ideas and the fights made us think that whatever happened, we have a story for people like you, who were young before they were old. Because before we wrote with clarity in offices. We wrote like children. Looking at words like you might choose colours for your colouring book.
And less concerned about demeaning. To the escalator You can tie your lasers waiter.
Digging for fire. Digging for fire. Digging for fire. Within a week of Limerick I was sitting in Dennis Cleary's in a pawn show drinking a pint of Guinness and I thought, you know I just gonna have to go with this. In Limerick at that time there was an art student called Betty Conland. I'd sometimes see her by day with her camera, but more often by night without it, in buddies or quins.
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Chapters
4 chapters
1
What is the purpose of “Digging for Fire” and who is it dedicated to?
0:01–7:42
2
How did the hosts first meet and what bands were they in during the early 1990s Limerick scene?
7:42–11:52
3
What lessons do the hosts say we can learn about creativity from our younger selves?
11:52–21:40
4
How did the band’s move to London change their musical approach and opportunities?
21:40–41:40