After surpassing each academic milestone, DASHpf brilliantly takes poetic license with his musical endeavors.
The Stony Brook University postdoctoral associate and New York City attic folk singer-songwriter openly reflects on life changes, internal revelations and professional accomplishments on Fully Licensed, now available on all streaming platforms.
“In 2020, the pandemic slowed things down, and I’m a little backlogged on academic milestones to mark, but Fully Licensed is sort of a catch-all marking my full license as a therapist along with a PhD and other stuff,” said Peter Felsman, aka DASHpf or “-pf,” who earned a doctorate in social work and psychology from the University of Michigan in 2019.
Filled with intimate, thoughtful storytelling, DASHpf’s Fully Licensed chronicles the rewarding, yet challenging parallel paths Felsman pursues in his personal and professional life. Each track highlights an achievement or contemplation that invites listeners to deeply connect with Felsman’s rich, concise tales.
“I have a creative process where between recording and releasing an album I get severe writer’s block, and I’m excited to release this album so I can free my brain up to keep writing,” he said.
Like Father, Like Son
Felsman first shares the creative fruits of his latest DASHpf writing spurt on the heartfelt opening track, “Not Not a Morning Person,” which honors his late father. Tender acoustic strums, sorrowful vocals, buzzy electric guitars, thumping drums and spirited bass elegantly capture Felsman’s vivid memories and sorrowful moments.
He reflects, “When you first got your diagnosis/And I was stuck laying in bed/You said, Kid go smell the trees/And I knew exactly what you meant/I’m not not a morning person/I just wake up missing you/Missing all your motivations/Missing all you’d love to do.”
“It was a tribute to my dad who died of lung cancer the summer before I moved to Ann Arbor to start my undergrad. He knew that I would be a student at the University of Michigan, and I did that for 10 years. It felt important for me to acknowledge the role of grief in my Ann Arbor life,” Felsman said.
“At one point in the song, I say, ‘Stay close to your brother/Take care of your mother, too.’ Those were his last words to me. He was always supportive of my musical life, which I think was partly a consequence of his music teacher as a kid telling him to lip sync in choir because he couldn’t carry a tune. He lived vicariously through his kids being musical.”
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