Winter in the Caribbean with The Elders

More than 40 hours of traditional Irish entertainment will highlight the 19th Annual Irish Festival Cruise aboard MSC’s Poesia departing from Fort Lauderdale, Fla., on January 23, 2010.
This week-long cruise to tropical ports of call -- San Juan, St. Maarten, Tortola and Nassau -- combines the best in Irish music, dance and culture with luxurious Caribbean cruising.
Performers include festival cruise newcomers The Elders with veterans Mary Black, Johnny McEvoy, Karan Casey, Ennis, The Black Brothers, Tommy Sands and the Two Tap Trio.
After several years hosting group tours of Ireland, The Elders consists of a group of talented Kansas City musicians with a passion for Celtic music, and a charismatic Irishman with a love of all things American. This combination makes for cross-pollination that is high octane and progressive, yet rooted in tradition.
These six gentlemen collectively create original music that transcends and endures - music that is unaffected by fads, trends and the giant maw of mind-numbing commercialism. The songs are mystical, comical, political and cultural while covering a wide variety of topics such as poverty, civil war, family bonds, spirituality, love and friendship.
They speak of generations of immigrants, and address their heritage through songs and stories of history, characters, places and events - some distant, some recent, some real and some imagined.
The Elders are fronted by Ian Byrne from County Wicklow, and backed by guitarist Steve Phillips (The Rainmakers), bassist Norm Dahlor (Tommy Shaw Band), violinist Brent Hoad, drummer Tommy Sutherland, and keyboardist Joe Miquelon (Asleep at the Wheel). All are well-known veteran musicians having played in numerous recording and touring bands before forming The Elders.
Two Corkonians will also be aboard the HMS Poesia for the first time this year as well. Legendary singer-songwriter Jimmy Crowley and “21st Century Seanachie” Máirtín De Cógáin, will be traveling together as “Captain Mackey’s Goatskin and String Band” on their first seaborne adventure.
Máirtín de Cógáin and Jimmy Crowley have given their whole lives to the promulgation and nurture of the ballad. Both men hail from the rebel county of Cork and now reside in America. Máirtín and Jimmy proudly speak the Irish language and have won degrees in the subject from the University of Ireland.
Máirtín is a founding member of The Fuchsia Band who have taken many a festival by storm in America. A consummate story-teller, actor, singer and musician, he can be seen and heard in the hit movie, The Wind that Shakes the Barley about the Irish War of Independence and subsequent Civil War.
Jimmy Crowley is reckoned to be something of a legend in Irish music from his earlier work with Stokers Lodge, described by Micheál Ó Súilleabháin as “an icon in Irish music.” He has recorded ten albums of music, is a committed songwriter and a song collector; and has found in Máirtín an able partner and counterfoil for the respect and commitment they both have for all branches of the song tradition from the bardic, Gaelic songs to the present day revival.
The pair are currently promoting their joint venture “Soldiers’ Songs, The Irish Abroad and Soldiering” that tells the stories of Irish men and women serving in armies areound the glod throughout the centuries.
The Elders and “Captain Mackey” will be joining some of the most popular Irish traditional acts in the industry as they share the stage with Mary Black and the Black Brothers, Shay and Michael.
A legend in her homeland of Ireland, Mary Black has long held the attention of the followers of Irish Music as one of the finest female vocalists in the world.
Mary Black’s distinguished career has spanned over 25 years from her early days in Dublin folk clubs through ever-escalating success with seven platinum solo albums one of which - No Frontiers - spent 56 weeks in the Irish Top 30. Needless to say Mary Black is a seminal figure in Irish musical history and one of the artists responsible for it's blossoming on a global level.
Another Irish trad figure of legend on this cruise is singer-songwriter Tommy Sands of County Down in Northern Ireland.
From the pioneering tours with the highly influential Sands Family, playing Carnegie Hall to Moscow's Olympic Stadium,Tommy has become one of Ireland's most powerful songwriters and enchanting performers. He enjoys celebrity status in many parts of the world, tempered by artistic integrity and the sorrow of personal tragedy in his war torn homeland.
Walking the road between two cultures, he dreams of an Ireland without conflict. Indeed, his songs speak to all that Ireland is, from its troubled past to its indomitable spirit and a vision of “a land of dreaming.”
And his work around the globe speaks to our common heritage, using music to bridge cultural differences. In this way he shares a vision with songwriters instigating social change such as Phil Ochs, Joan Baez, and close friend Pete Seeger.
Other program highlights include raconteur John Gleeson and seanachie Mike Mazur. The jig will be up when the Matt Cunningham Band takes the stage.
Mary Rowley, executive director of Irish Festival Cruises, says that “a highlight of all Irish Festival Cruises is the enjoyment guests derive from the informal socializing with the performers.”
In addition to the nightly concerts, there will be a variety of workshops on all things Irish ... from learning to dance a jig or speak the Irish language to instructions on the tin whistle and bodhran.
In addition to the Irish Festival activities, guests can also enjoy all the luxury facilities, dining and amenities of the world class Poesia. The cruise ship features an array of on-board activities including casino gambling, golf at sea, swimming, bingo, scuba lessons, fashion shows and more. Most staterooms have private verandahs.
Irish Festival Cruise accommodations, for January 23rd-30th start in price from $1,099.00 per person (based on double occupancy, USD). The price includes all shipboard accommodations, meals and entertainment.

The package can only be booked through Irish Festival Cruises, Ltd. at 1-800-442-HARP (4277). The web site is www.irishtours.com

Himself - A weekend of great music

The Irish music scene in Missouri is often less than predictable. It seems we can go for weeks on end with nothing to sustain lovers of the many stripes of Irish music and then, in one fell swoop, one brief weekend can provide just about everything you could ask for.
No, I’m not talking about any Irish music festival, of which we boast several of the country’s finest. I am talking about a recent October weekend that, for me at least, began with a concert performance by a band often thought of in terms of superstardom and ending with another, altogether different, band that could easily be considered iconic.
It all began on a Friday night in Jefferson City, MO, as Lincoln University hosted a performance by Battlefield Band, a group of Scottish traditional music performers that have attained the status, in traditional music circles, somewhat akin to that held by The Rolling Stones in the rock community.
Held at the spacious Richardson Hall on campus, the venue not only provided the band the chance to showcase some of their best folk tunes, covering everything from ballads of lost love, laments of coal mining and the challenges of emigration, but also yielded up a grand piano which, according to band leader Alan Reid, is not a luxury they often enjoy while on the road. The piano, for its part, did provide a lush sound for several of the tune with Reid at the keyboard.
Perhaps as significantly as the performance itself was the unscheduled visit by band members to the local Paddy Malone’s Irish Pub after the show where fans were able to have a chat with their musical heroes and enjoy some trad tunes from local musicians in an impromptu session. By evening’s end, however, the band was on their way to a rendezvous with a morning flight from St. Louis and thus ended their only scheduled stop in Missouri on the current tour.
The next day, over on Kansas City, it was even more traditional music as the Missouri Valley Folklife Society hosted Boston musicians Matt and Shannon Heaton in concert at the Westport Coffee House. No strangers to Kansas City, the Heatons played to a modest but enthusiastic crowd as they not only performed selections from their new CD “Lover’s Well” but gave the show a decidedly international flair as they performed two different traditional Thai songs, set to a Celtic rhythm.
This mixture of Thai and Irish came about for two reasons – first, Shannon Heaton’s involvement with the country and culture of Thailand begun as a college undergraduate and continuing today with her involvement with the Thai Embassy and, secondly, a pre-show dinner at a local Thai restaurant in Westport.
The names of the two songs Heaton performed for us were clearly beyond my own ability to pronounce and likely would have given my spell checker a nervous breakdown, but it was a delight to hear such a foreign tongue intertwined with music that has become so very familiar to me over time.
Of course, the next night of my musical journey would take on an even more surreal feel as I made my way to join the hordes of fans making their way to the Midland Theater for a performance by Shane MacGowan and The Pogues.
First, a disclaimer - I have never been a follower of the Pogues or Mr. McGowan and have only peripheral experience with their songs as they have so often been covered repeated by local bands.
So when talking about the coming concert (and admitting my lack of experience with the band), I spent several weeks collecting “drunken Shane MacGowan” stories. It seems everyone I met had had their own experience watching MacGowan make a complete drunken ass of himself at one concert or another.
But for every story I heard of MacGowan’s legendary drinking, I heard two of his incredible songwriting talent and endless accolades for how the man single-handedly created the Irish punk genre.
The concert itself pretty much lived up to my expectations, however. The music was familiar and the drunken antics by MacGowan (who, against the betting line showed up on stage) were sadly predictable.
But, despite the muddied lyrics and drunken tomfoolery, the event had all the earmarks of an historic event and I am certain I am not alone being happy that I was able to attend.
Pete Maher
is Publisher & Editor
of Midwest Irish Focus

Squash, it's what's for dinner!

With the last of the Jack O’Lanterns heading for greener pastures, thoughts of the next seasonal squash begin to swirl through the imagination: the classic pumpkin pie with its assortment of sweet, creamy toppings and generational crust recipes.
But does the squash’s usefulness end in a spicy triangle on an heirloom plate? I think not! The squash, be it zucchini, pumpkin, acorn, butternut, spaghetti, etc has so many uses that it is a year ‘round vegetable whose praises need to be sung and appreciated for its versatility.
The squash goes back 8,000 to 10,000 years ago when it was first domesticated. A close relative, the gourd, shows up for many uses such as drinking cups and other culinary uses and even jewelry. As for the softer, more edible cousin, the squash was cultivated to be harvested during the summer and also in mid to late fall, and then stored for winter use.
Fast forward to today’s produce section, or possibly a farmer’s market. The selection of squash available is almost overwhelming. Right now, the ‘summer’ squashes zucchini and yellow are probably products of the south.
For the winter types, they have been pulled from the gardens and fields and, most recently, been carved for Halloween. Looking towards the later part of November and into December, the use of the pumpkin may seem limited. But fear not. I have experienced a great moment with the great squash and it does bear repeating.
In my travels of Ireland, I have discovered one thing about their soups. Unless they are ‘American’ (chunky) style, the soup is almost always pureed. That’s how they do it.
So when one of my lessons at class was to make curried pumpkin soup, I knew it was to be smooth and creamy, straight from a blender. That was the first time I completely carved a pumpkin, straight down to its stem. It was almost like cutting up a cantaloupe.
From there, I roasted it until soft, seasoned it, and then pureed it with onion, carrot, and celery. With a small dollop of crème fraiche, I served it to grade.
After that day, I began to experiment with the many varieties of squash and how a person could bring out the best in each one. The acorn squash is perfect for a holiday dinner, each person getting a perfectly roasted half, brushed with olive oil and a bit of salt and pepper.
Or, much smaller is the pattypan, which can also be roasted along with other fall veggies and seasoned and served hot. One of my favorites is the spaghetti squash. For anyone who loves pasta but cannot eat it, or wants to avoid the carbs, this squash is for you! The insides, once cooked, come out in strands like slightly crunchy spaghetti.
I have the simple recipe here for a great dinner, grilled chicken and roasted red pepper over spaghetti squash. And, for the quintessential American squash, the pumpkin, I have a slightly easier creamy pumpkin bisque that could be served at the beginning of your family holiday dinner.
There are so many choices today when in the produce section. Instead of reaching for the usual green beans or carrots, try squash. Besides the great nutritional value, it will make your dinner feel elegant and out of the ordinary. And you can thank the American Indian for serving it up, home style.

Grilled chicken, mushroom and roasted red pepper over spaghetti squash
Serves 4

1 spaghetti squash (they don’t vary much in size)
10 oz sliced baby portobella or white mushrooms
1 jar roasted red peppers (it should have 2-4 peppers), sliced in long strips
2 boneless, skinless chicken breasts
1 clove garlic, minced
1 t. dried basil
2 T. olive oil
1 c heavy cream
1 / 2 c white wine
Salt and pepper
Parmesan

Cut squash in half and put in pan with 1 / 2 cup water. Cover and put in microwave for 10 minutes. Check for doneness. Continue at 5 minute intervals until the squash is very soft from the outside, no more than 20 minutes. Cover and hold.

Season the chicken with salt and pepper. Heat grill pan, Foreman grill, or skillet til hot. Add 1T olive oil. Cook chicken, then remove from heat, cover and set aside. In a skillet, warm 1T oil. Add mushrooms and sauté for 5 minutes. Add garlic and stir, 1 minute. Add peppers and basil, and stir 2 minutes. Add wine and turn up heat. When half has evaporated, add cream. Let simmer. Put chicken on cutting board and slice into strips. Add to sauce. Add a small sprinkle of parm, stir and then taste. Season with salt and pepper, turn down temp, and cover.
Over a large serving bowl, scrape out squash. It will be hot, so hold with a towel or leave on counter. Scrape out with a large fork and separate the chunks into strands. Pour the sauce of the squash, toss lightly and serve.

Quick pumpkin bisque
Serves 4-6

1 can pumpkin puree
1 yellow onion, diced
1 celery stalk, chopped
1 carrot, peeled and cut into rounds
2 T butter
1 c chicken or vegetable stock
1 t rubbed sage
1 c heavy cream
Salt and pepper

French bread or ciabatta bread
Olive oil cooking spray
Melt 2 T butter in a dutch oven on med-low heat. Add onion, carrot, celery. Cook gently for 5 minutes until soft and not colored. Add stock and simmer the veggies for 10 minutes. Stir in the pumpkin puree completely and lightly simmer. Do not boil after adding the pumpkin. Add sage and stir. With a hand blender, puree completely. Or put small amt into stand up blender. With lid on, but middle plastic plug removed and a towel over the top, slowly puree. *The heat could cause the soup to ‘jump’ in the blender, be very careful!! Once the soup has been pureed, return to med head and add the cream, salt and pepper.
Preheat broiler. Slice the bread, put on baking sheet and lightly spray the bread. Put under the broiler for a minute or two, just to get a gold-brown. Take out, flip, lightly spray and return to broiler. Remove from heat and set aside.
Serve soup hot with a crouton floating on top.

Happy Thanksgiving!
Julianna Finney Leber is a graduate of the professional food and wine courses at Ballymaloe Cookery School in County Cork, Ireland. She occasionally serves as a personal chef while also continuing her studies toward a dietetics/nutrition degree at The University of Akron. She can be contacted at julileber@hotmail.com

Christmas with The Irish Tenors

Since they first joined voices in 1988, The Irish Tenors have made countless traditional treasures breathe new life and have proved themselves gifted interpreters of a wide range of material.
The Irish Tenors’ powerful vocal lineup of Finbar Wright, Anthony Kearns and Karl Scully is unquestionably the leading brand of this genre in the market. All three are classically-trained singers and have performed in leading concert halls across the world and together they continue to produce a sound and concert experience that touches the heart and stirs the emotion.
There is an aching bittersweet quality to much of ireland’s musical heritage, a melodic loveliness and emotional intensity that brings a tingle to the spine and a tear to the eye. The dazzling technique and depth of The Irish Tenors define this musical genre, amplified to the third power, and is the hallmark of this talented trio.
The magic they’ve captured on pervious releases has resulted in millions of albums sold and the upper reaches of Billboard’s music charts. The Irish Tenors have appeared on several incredibly successful and highly-rated PBS specials including Ellis Island and Live from Belfast as well as The Today Show, Good Morning America, Regis and Kelly and A&E Breakfast with the Arts, and are one of the best-selling acts to appear on QVC.
This coming holiday season The Irish Tenors present us with “The Irish Tenors Christmas”, an album full of traditional carols and well-known contemporary songs. Accompanied by the Prague Philharmonic, the CD begins with a majestic orchestral introduction into the favorite church hymn “Hark, The herald” then leads us on a musical journey from Gospel with “Go Tell It on the Mountain,” to Pop with the quirky rhythms of “Jingle Bell Rock” to Latin with “Feliz Navidad.”
The Tenors also try their hand at “Fairytale of New York” made popular by Shane McGowan and The Pogues, and successfully pull it off by giving it a modern classical edge. Other songs include “I Heard the Bells,” “O Holy Night” and “Santa Claus is Coming to Town.”
“Experiencing the beauty and grace of Christmas music at our yearly gala Concert has become an established ritual for many during the holiday season,” said Finbar Wright, “so we were delighted to spend time in the recording studio to commit these performances to a lasting medium that makes them available whenever you wish to hear them again.”
The Irish Tenors continue to tour constantly, thrilling old fans and winning new ones all around the globe. In the united states, they are one of the most successful Irish touring acts ever, second only to U2.
Most concerts end with two, three or four standing ovations, bringing audience to their feet.
Despite the many copy versions of The Irish Tenors, the trio are regarded as the acknowledged Godfathers of Irish repertoire.

A curious collection of characters

There have been many, many movies filmed about “The Troubles” but I think 2006’s “Johnny Was’ has to be the first film I have ever seen about the “Post Troubles.”
I first came across this film on a satellite feed several weeks ago and only caught the last half of the flick, unfortunately. My impression at the time was of a jumble of characters all criss-crossing one another resulting in a spectacularly violent conclusion. Seeing it again from start to finish, I can’t say my initial impression was too far off the mark, but I will admit this is a film that contains some nuance that is difficult to detect (especially by an American) unless you view it in the curious context of a post-Troubles Northern Ireland.
The main character of Johnny Doyle, as portrayed by British actor Vinnie Jones, at first comes across hardly believable as an IRA bomber laying low in London. His distinctly British accent is explained later in the film when he tells how his accent “got kicked out of me on a Belfast playground” resulting in “the Paddies thinking I’m a Brit and the Brits thinking I’m a Paddy.”
Doyle’s life is already unusual, living as he does in a “safe house” which also hosts an outlaw Jamaican radio station above him and a drug-dealing wanna-be gangster beneath, when his old IRA partner, a man only called Flynn and wonderfully overplayed by Patrick Bergin, escapes from nearby Brixton Prison with a young IRA compatriot and comes calling. The history between Doyle and Flynn is readily apparent but is only one thread of a crazy tapestry of characters in this London neighborhood.
Of equal importance to the story is the dealings, quite literally, of the pseudo-Jamaican gangster portrayed by American actor Eriq La Salle (of “E.R.” television fame) and his junky girlfriend, portrayed by singer Samantha Mumba.
While la Salle is fun to watch (even with his over-the-top Jamaican accent), Mumba turns in such a low-key performance she is almost invisible. But her exchanges with the Johnny Doyle character are almost worth the price of a ticket.
Mumba to Jones – “You don’t sound Irish.”
Jones to Mumba – “But I am. You don’t look Irish.”
Mumba – “Yes, but at least I sound Irish.”
In its own way, this exchange between Jones and Mumba’s characters summarizes the theme of the film – nobody is who they seem to be. From a remorseful bomber to an unrepentant Fenian or a disc jockey would doubles as the political and spiritual leader of his community, no one in this clutch of characters ever really seems to be in any way predictable.
Even the setting for the film matches the theme, with the streets of Belfast appropriately filling in for the streets of London.
Written by Belfast native Brendan Foley and directed by Mark Hammond, “Johnny was” is guaranteed to give you a whole new way of viewing “The Troubles.” Add it to your video collection today.

Annual 'Wellie Race' draws a spirited crowd

Despite the early morning hour on a Sunday morning, with temperatures hovering uncomfortably near the freezing mark, almost 100 participants turned out for the Third Annual “Weston Wellie Race” held in conjunction with the annual Weston Irish Fest in Weston, Mo.
The race, a very informal 1.2 mile stroll through the rural communities neighborhoods and downtown, is fashioned after an annual New’s Year’s Day event held for more than 30 years in Castlecomer, Co. Kilkenny, Ireland.
Participants, running in large rubber farm boots affectionately referred to as “wellies” in Ireland, were encouraged to dress as creatively as they wished with awards going to Best Costume and Best team Entry as well as first place for men and women.
All participants, however, were entered into a drawing for a free trip to Ireland over the New Year’s holiday to attend the race in Castlecomer. The grand prize was provided courtesy of the race’s co-host, The Celtic Ranch in downtown Weston, which also designated the Kansas City Gaelic Athletic Club as beneficiaries of the event as part of their longstanding support of that sport.
The winner of the trip to Ireland was Mrs. Bahia Brown, wife of Patrick Brown of both the KCGAC football team as well as lead guitarist for the Celtic rock band “Connacht Town.”
Men’s First Place went to two-time winner Tim Garvey of St Joseph, Mo. Women’s First Place went to Sally Spenser of Des Moines, Iowa.
Best Team Entry was awarded to “the Irish Flag” team comprised of Vivian Lynch, Jane Kessler, Megan Green, Mary Clare Lynch, Erin Lynch, and Tina Baker.
Best Costume winners Jane Joyce (as a bunny) and Melanie Calaway (as a wolf) most certainly deserved their award as they admitted to having spent the previous four months working on them.

The concert experience of a lifetime

“I am going, I am going, any which way the wind is blowing.
I am going, I am going, where the streams of whiskey are flowing.”
-Shane MacGowan, Streams of Whiskey

After 25 years, by the grace of God, this past month I was finally able to see Shane MacGowan and The Pogues in Kansas City. It was an evening that I thought I would never experience.
In 1984, I was an exiled student in Maryville, Mo., at Northwest Missouri State. Back then, there wasn’t a lot in Maryville (some tell me the town has improved for students, but not significantly), except school, and a couple of bars, one of which I worked. Summers were especially dreadful, since very few students were in town, especially those of the female persuasion. But, I hadn’t started college until I was 21, and it was necessary to take in a couple of summer semesters to get caught up.
There was no air conditioning where I was living, and some nights the heat was brutal, even with the windows open and the fans blowing. Going to work at the bar was a relief; at least it was cool. After my shifts ended, I would usually wind up at Matt Green’s apartment, he had AC, and we would play cards, drink cheap beer, and listen to music. This was just before the CD revolution, and Matt had a great stereo; top of the line Pioneer components, and one night he pulled out an LP, and said to me, “You’re Irish, aren’t you? You need to hear this,” and he put on Red Roses for Me, and the haunting, sometimes troubled, but always mesmerizing, voice of Shane MacGowan filled the apartment. From then on, I was a Pogues fan.
My introduction to the Pogues came at just about the same time that the awakening of my Irish heritage began to well within me. I was 23 years old, and doing an oral history project for a folklore class. During this process I interviewed all my living grandparents regarding our family background, which gave me a great wealth of information for the tracking of my genealogy once I reached graduate school, and inspired a deeper search for my Irishness.
I could never find a copy of Red Roses for Me (this was LONG before web browsing and downloads, but I was able to get a home recorded cassette of the album). A couple of years later, I obtained Rum, Sodomy, and the Lash, one of the last LP’s I ever purchased. And ever since, it has been all CD’s.
Before 1991, the Pogues never toured anywhere in the USA near where I was living, and then the band broke up, mainly because of Shane’s drinking and the instability it caused for the other members in the group. There have been volumes written about the band, and I couldn’t add much to that body of work, but I can tell you what the band meant to me. If you have listened to any of their works, especially the songs of MacGowen, you can hear the pain, pathos, joy, angst and exuberance of a young Irishman in exile. Songs like The Old Main Drag, The Body of an American, The Sick Bed of Cúchulainn, Sally MacLennane, If I Should Fall from the Grace of God… The list is exhaustive. And by combining these great poetic lyrics with traditional Irish instrumentation and up tempo rock beats, the Pogues have always spoken to my Irish soul.
After the break up I thought I would never see them together live, especially considering MacGowen’s lifestyle. It is a wonder his liver is still functioning.
But in 2001, the band reunited, and then this past summer, I discovered they were coming to Kansas City. I knew I had to go. This might be the last chance I get. The drive from Jeff City to KC was aggravating- rain and traffic all the way on I-70, but Máire Lí and I made it. It was one of the best shows I have ever seen. Others have written reviews of the concert, and I won’t try to elaborate or give a critique on the show- I can only say what it meant to me.
During his performance in Kansas City he fell once when leaving the stage for one of his many breaks, and he hit himself in the head while swinging a microphone around from its chord. But I was transfixed; his songs were as powerful as ever, the energy flowed through the crowd. With the help of Spider Stacy, Jim Fearnly and the other members of the band, who helped steady him from his stagger and kept him from crashing into speakers and microphone stands, Shane belted out his classics, beginning with Streams of Whiskey and ending with Fiesta.
When the lights were finally brought up after the second encore, with the crowd being urged towards the door, the rest of the band had left the stage, but Shane stood alone, waving to his fans, perhaps knowing that these days won’t last forever. There may never be another visit to Kansas City.
In Ireland, Shane is revered. He is looked upon as more than just a rock star- he is considered a tragic poet in the tradition of Brendan Behan and Patrick Kavanagh. And if you read the lyrics of his songs, you will see the genius in his work.
Unfortunately, he is often characterized as a hopeless drunk, and his on stage persona rarely dissuades the image.
This is what really bothers me. His reputation as an artist is overshadowed by this picture, this caricature that is broadcast through pirated videos that are posted on the web. He’s admired by a younger generation not for his talent as a songwriter/poet, but for his ability to consume alcohol; they see him for what he has become, and not for what he has created.
As I read on one blog, hopefully the generation of older fans won’t forget who he was and realize that these videos circulating the net are horribly inaccurate representations of who Shane really was.
Maybe one day we will start to out-voice the drunkard youth, and give voice to the legacy that Shane MacGowan and the Pogues have contributed to the pantheon of Ireland’s musical history.