JOVM wishes all the moms — including his — a very Happy Mother’s Day.
Stereonoon is an Italian neo-soul/jazz and R&B inspired collective formed during pandemic-related lockdowns that features core creative duo Verona-born vocalist Anna Polinari and cinemavolt’s creative mastermind Max Tozzi paired with a rotating cast of talented Italian players. Late last year, the act released a straightforward yet vibey cover of Joe Jackson‘s classic “Steppin’ Out,” centered around a sinuous bass line and Polinari’s sultry vocals.
The act’s debut EP Yeah. And Stuff was released late last month and features guest spots from a number of internationally acclaimed musicians including Snarky Puppy’s Mark Lettieri (guitar), Matteo Pontegavelli (trumpet) and Francesco Dondi (tenor saxophone). The EP’s latest single “Inconvenient” is a neo-soul and jazz-tinged take on trip hop centered around twinkling piano, a sinuous bass line, stuttering drumming, an expressive, jazz-inspired guitar solo and Polinari’s sultry vocals. Lyrically, the song is an unflinchingly honest view of a vulnerable narrator examining herself and her longing to be someplace she feels she belongs.
For a couple of years, Sam Jayne was one of my bartenders at Clem’s, my home away from home. I can’t and won’t say that I knew him better than his bandmates, family and closest friends. When I first met him, I found the man to be extremely annoying but he grew on me. He still had some awful taste inn movies. He once made us all watch the Piranha trilogy and JAWS 3D in the same night. Bradley Cooper wants all of us to forget Piranha — and so does Jerry O’Connell. (By the way, Piranha 3 is arguably one of the worst movies I’ve ever seen.)
Mutual friends and acquaintances have shared pictures online and it makes me miss his mischievous eyes and laugh.
The last time I spoke to him was for Clem’s (virtual) Video Request Night the week before he disappeared and we bullshitted about music, as we often did. He regularly played Billy Idol’s “Eyes Without a Face,” which led to an ongoing joke between the both of us about how the video was false advertising. I miss that the most.
He also loved this abomination of a video below. He played it so much at one point that I begged him to stop. I fucking miss that too.
People die, it’s what they do at some point. But often it’s the details of their deaths that shake you. Knowing that poor Sam was dead in his car for days breaks my heart. For someone, who was such a vivid character, it feels unjust and unfair.
As I mentioned in a previous post, today’s elections may arguably be the most consequential of our lives, if not the country’s history. So far 102 million Americans have taken part in early elections — whether through mail-in ballots or showing up in person. Of course, there are Americans who have waited until today or who may not vote. This post is directed to those people, who will say “well, it doesn’t really matter” or “both parties are the same” or anything along those lines: Your life, your safety, your job, your bodily autonomy, the things you like to do, the businesses you frequent, your ability to be with who you love and have that recognized all depend on voting — and who you vote for. Your vote can impact the lives of other people, too.
I’m not trying to be hyperbolic here. It’s true. So please use your voice and vote. As De La Soul would say, “Stakes is High:”
On the evening of September 11, 2005, I returned home from a day job working as an Editorial Assistant at a small, Midtown Manhattan-based, family-owned book publisher of bilingual dictionaries and phrasebooks and international cuisine cookbook to my father cooking and playing John Coltrane‘s A Love Supreme.
My father was a very troubled man with whom I had a uneasy and difficult relationship for a significant portion of my life. But for some reason, playing Coltrane’s gorgeous and meditative opus on a day of such horror and terror seems like a fitting response. And it’s quickly become an annual tradition for me.
As always cherish life — especially today.
Musings: On Hot 97 Yusuf Hawkins and Racism in Media
I have to interrupt some of my previous editorial plans for the day. I need to get a few things off my chest. I applied to a really cool job at a major magazine. This is a job that I felt I could do with my left-hand tied behind my back. I have 15 years under my belt as a freelancer and blogger, covering an insanely eclectic array of music — and I’ve done this while spending 15 years or so working at three different publishing houses, moving up from being an Editorial Assistant to being an Acquisitions Editor.
I’m extremely nocturnal. “Sleep all day. Up all night,” as a song once said. I woke up at noon today. My mom was talking to me about some news item of the day. I was barely awake and I needed coffee. Before I even had my coffee and while I was still in bed, I started to check my email accounts. Technology is wonderful sometimes, ain’t it? So as I typically do, I went through my blog account. And then I checked my personal email. I received the impersonal form letter rejection from that major magazine. Most of the time, I don’t take it personally. I shrug it off and move on. But this one, it felt like a bit like finding out your partner has been sleeping with your best friend or a relative. And yet, somehow, I wasn’t surprised.
I then went on to Facebook. One Facebook friend is posting infuriatingly dumb things and has been doing so for the past month or two. I ignored her and scrolled down a bit. Then I came across an article an elementary school classmate posted it on his page: https://hiphopdx.com/news/id.57484/title.longtime-hot-97-executive-paddy-duke-fired-for-involvement-in-yusef-hawkins-murder?fbclid=IwAR0AfP1_IS_OEGXvRE_I6QgJFsJGtQi6MQ5BiSFd36Kn5Oidt8ypP9f6zqo.
After reading the article, I immediately felt anger, despair and hopelessness. I’ve mentioned this on Facebook as a response to the events of the article and I think it’s important for y’all to read and think about: Two things likely happened with Paddy Duke — but one of them is probably more likely than the other in my mind:
- Raucci lied (and an omission is a lie here, too) and went through his life with the desperate an insane hope that no one would find. But every minute and every hour of the past 31 years, he had to live with the fact that he was involved in a heinous crime and with the fear that someone would find out, that someone would out him, that the walls would come crumbling down.
- Rauuci was connected to someone, who gave him a shot above all the other talented people of color, who have been busting their ass for a shot, then protected him and allowed him to move up the ranks.
People have lied about their qualifications for jobs for generations. It was difficult for your employer to find out — and generally no one really bothered to delve that deeply, if you were embellishing a bit and not saying something flat out ridiculous. Over the past 20 years, employers have been following up on jobseekers’ claims: they’ll look Google you and look at your LinkedIn profile; they’ll call your references and ask detailed questions about you and your work. And if somehow, you’re one of the few lucky ones, who may have gotten away with it, it doesn’t last long. Companies have fired people once they’ve find out. (Remember the Notre Dame football coach, who lied about his background? By the following week, the school rescinded their offer.)
So for argument’s say, let’s say that Raucci lied. Maybe in 1994 he might have gotten away with that for a year or two, maybe even five years. But by the time he became a radio personality, his involvement in a heinous racial crime wasn’t outed by someone? Milli Vanilli and Vanilla Ice were outed as phonies — before the Internet. Pusha T shouted out that Drake had a secret baby on a fucking diss track. And you’re telling me that Hot 97 and its corporate office didn’t have a clue that Raucci was one of Yusuf Hawkins’ attackers? Raucci didn’t get outed as he moved up the stations ranks, earning a position of power and authority at the station? How did that continue for over 25 years? You mean no one was curious about the guy and said “Let’s look into him?” Seriously, how does that even happen?
Of course, that leads me to something insidious — and seemingly more likely to have happened to me: Raucci is connected to someone, and that someone not only gave Raucci a shot to redeem himself, that someone allowed the former Hot 97 exec to move up the corporate ranks. There wasn’t some equally qualified person or color without a criminal record that couldn’t have gotten a shot? Who does Raucci know?
There’s no way that Hot 97’s corporate office didn’t have an idea. Out of due diligence, the filmmaker who made the Yusuf Hawkins documentary did their research and confirmed their claims before leaving that in the final cut. Hot 97 and their corporate ownership is full of shit on that.
I’ve freelanced for a nubmer of publications and websites. I started this site over a decade ago while working full-time. The past 15 years I’ve slept very little, worked full-time and then worked hard on making moves. I’ve done JOVM, completely on my own terms. I’m proud of that fact. I’ve obsessed with music since I was a toddler. I’ve played a little bit, too. And when I turned 14, I knew that the only thing that made sense for me was to write. But I have to admit something: lately, I’ve been feeling deeply discouraged.
Sure, being a writer — or any other creative — means enduring through some degree of failure or feeling as though you’re a failure. But when you add unfair, incredibly racist shit to the mix, it just hits differently and on a deeply personal level. I often suspect that some mediocre white person, who’s connected to the right people will get some of these jobs that I’ve long coveted despite my education and my background. I’ve edited fucking books. Don’t tell me that I can’t edit other music journalists — or that I can’t contribute to a publication.
Look at the staff at some of these websites and publications. If you’re lucky you may see maybe one or two black people on their staff. It makes me wonder how that’s possible. And I dozen wonder if some mediocre white person is getting that key gig, because they know the right people — and not because they’re truly talented or knowledgeable. There have been only a handful of days recently where I felt like everything I did felt profoundly stupid: George Floyd’s death and the protests immediately after and after reading that HipHopDX article today.
My folks gave me the talk when I was about 7. But I’m also not a stupid or naive man either. I’ve lived in the world and been around enough to know that life is really unfair. So I really loathe when organizations and people actively try to insult my intelligence. Don’t bullshit me about how you’re diverse and are down for the cause of Black Lives Matter if you don’t have executives of color or members of the LGBTQIA+ community in real positions of authority.
This story about Raucci and Hot 97 is a constant reminder of how insidious racism is — especially in media and other creative fields. At the end of the day, a lot of these companies are frankly full of shit. Either we’re willing to be better or we’re not. It’s that simple.
Musings: A Decade of JOVM
I started this site 10 years ago today. . .
There aren’t many things in my life that I’ve done for every single day for a decade that I’ve loved as much as this very unique little corner of the blogosphere. When I started this site, I didn’t — and couldn’t — imagine actually having readers, let alone readers across the US, Canada, the UK, the European Union, Australia and elsewhere. After all, this sort of work is deeply rewarding and yet strangely isolating.
I couldn’t have imagined the over 1,000 shows I’ve covered all across the New York Metropolitan area. I definitely couldn’t have imagined it being possible for be to cover shows for JOVM in Chicago while on a business trip for a day job; nor would I have dreamed of the possibility of covering M for Montreal last fall.
I couldn’t have imagined being a panelist on a Mondo.NYC Festival panel on PR and promotion for indie artists.
I couldn’t have imagined having a cameo in a JOVM mainstay’s video several years ago. (It’s a noticeable and prominent spot towards the end of the video, too. No one has called me up for acting gigs, so I may need more work on that. Or I need to stick to the writing and photography!)
I couldn’t have imagined photographing Patti LaBelle, Snoop Dogg, Charles Bradley Sharon Jones, Nile Rodgers, Roky Erickson, Philip Bailey and so many others, as well as this site’s countless mainstays.
What will the next decade hold? I don’t know. If you asked me that question last November, I’d probably discuss my the very real possibility of repeated visits to Canada for festivals like Canadian Music Week, Montreal Jazz Fest and M for Montreal — with the hopes of building a deeper Canadian audience. I’d talk about my interest in music from across the African Diaspora. I’d spend time talking about my interest in covering acts outside the US. I’d also speak about my interest in wanting to cover more artists across the diverse LGQBTIA+ community — particularly those of color. I’d probably also mention my deep and abiding interest in covering women artists and women led acts.
Live music won’t be a thing for quite some time to come. And whenever it does, the landscape will be different — and something we’ve yet to envision. So far, beloved venues have been forced to close because of economics. That will continue for the foreseeable future. What will happen to bands, who no longer have a place to play, where they can hone their sound and their live show? Who knows? After watching an industry-based panel, I don’t feel particularly optimistic about things in the short term. Some of us will figure out a way to adapt and survive; others sadly, won’t.
But in the meantime, JOVM will continue. It’s only the first decade, as far as I’m concerned!
I also wanted to talk a bit about some of my favorite albums of the past decade. This is by no means a comprehensive list; but I think that they might give some insight into the inner world of JOVM. And
Montreal-based DJ, production and electronic music artist duo The Beat Escape — Addy Weitzman and Patrick A. Boivin — can trace the project’s origins back to a short film they collaborated on when they were both in college. “We made a short oddball work; a video piece that followed two characters through a psychedelic waking dream,” the Montreal-based said of their initial collaboration together in press notes. Interestingly, since that collaboration, Weitzman and Boivin have continued working together on a series of creative endeavors that have combined their interests in music and visual art, including a lengthy local DJ gig, which eventually led to the creation of The Beat Escape.
Released in early 2018, the Montreal-based duo’s full-length debut Life Is Short The Answer’s Long thematically and sonically found the duo returning to their origins — somnambulant, atmospheric art that feels like a half-remembered waking dream. Personally, the album’s material evokes a weird two-and-year period of international and domestic travel, in which I’d wake up in a hotel room and briefly wonder where I was, what time zone I was in and if I was even in the right place. Additionally, it evokes that weird sensation of everything being the fundamentally the same, yet different. If I’m in Grand Central Terminal, I think of Frankfurt-am-Main Hauptbahnhof and of Amsterdam Centraal Station. If I’m traveling underneath an elevated train, I’m reminded of the Chicago loop and so on.
I obsessively played Life Is Short The Answer’s Short through my time in Montreal. And now whenever I play it, I can picture specific locations, specific paths I took to get there, certain Metro stations with an uncanny precision.
Throughout the course of the site’s decade history, I’ve written quite a bit about Superhuman Happiness. The act has managed to survive through a number of different lineup changes and sonic departures necessitated by those lineup changes — and from the act’s core members following wherever their muses took them, Hands though is a joyous, mischievous yet deeply intelligent work that will make you shout and dance. Considering the bleakness of our world, this album may be much more needed than they ever anticipated.
Deriving their name from a Vladimir Nabokov short story about a traveler, who finds a place so beautiful that he wants to spend his life then but who cruelly gets dragged back to brutal reality, the Dublin, Ireland-based act Cloud Castle Lake — currently Daniel McAuley (vocals, synths), Brendan William Jenkinson (guitar, piano), Rory O’Connor (bass), Brendan Doherty (drums), and a rotating cast of collaborators, friends and associates — received attention with 2014’s self-released debut EP Dandelion, an effort that firmly established the act’s uniquely sound: deeply influenced by and indebted to Alice Coltrane and Pharaoh Sanders, the Irish act pairs McAuley’s tender and soaring falsetto with cinematic arrangements and expansive song structur es.
Released in 2018, the act’s Rob Kirwan-produced debut Malingerer is an ambitious, challenging and breathtakingly beautiful work that’s part film score and part cosmic meditation, full of aching yearning.
Stockholm, Sweden-based garage punk outfit Sudakistan — Michell Serrano (vocals), Maikel Gonzalez (bass), Carlos Amigo (percussion) Juan Jose Espindola (drums) and Arvid Sjöö (guitar) — have one of the most unique and perhaps most 21st Century backstories of any band I’ve ever written about: four of the band’s five members emigrated to Sweden from South America with the remaining member being the band’s only native Swede. With the release of their debut album, 2015’s Caballo Negro, the members of Sudakistan received attention across Scandinavia and elsewhere for crafting material that draws from Latin-tinged garage punk rock with lyrics sung in English, Spanish and Swedish. Interestingly, the alum is arguably hardest and most mosh pit friendly of the band’s albums to date, the album’s material found the band expanding their sound through the incorporation of non-traditional punk rock instruments — seemingly inspired by the band’s desire to make each of their individual roles to be much more fluid. . “It was much more of a collaboration between the five of us,” the band’s Michell Serrano explains in press notes. . “Things flowed differently. Carlos sings on two or three songs, and Mikael sings on one. We swapped instruments quite a lot, and because we had access to everything in the studio, we were able to use some piano, some acoustic guitar and some mandolin, too.”
Additionally, the album’s lyrical and thematic concerns draws from the band members’ everyday reality with each individual member contributing lyrical ideas. “Our first album was made over five years, rather than five months, so the themes on it weren’t as heavy as this. Now, we’re talking about a lot of the things that we’ve gone through together since we started the band, as well as personal things – like, why do I keep repeating the same mistakes. We talk about pursuing our own Swedish reality, but that’s just because we’re living in Sweden – it’s relatable in any other country, I think,” Maikel Gonzalez says in press notes.
The album’s material resonates in an age of divisiveness, xenophobia, fear mongering and strife because its an urgent and passionate reminder of what’s possible with cultural exchange, empathy and curiosity — bold new ideas, new takes on the familiar, as well as equality for all with everyone’s story behind heard, understood and championed. One day that will happen but we will have to work our asses off to get there.
Known as Juneteenth, Freedom Day, Jubilee Day, Liberation Day and Emancipation Day, June 19, 2020 commemorates the 155th anniversary of Union Army General Gordon Granger arriving in Galveston, TX with his troops and announcing federal orders that all people held as slaves in Texas were free. In reality, those held as slaves in Texas were technically freed two and a half years earlier with the Emancipation Proclamation, which officially outlawed slavery across Confederate territories.
Although Juneteenth is commonly thought as celebrating the end of slavery in the US. it was still legal and practiced in Union border states until December 6, 1865 with the ratification of the 13th Amendment abolished non-penal, chattel slavery across the country.
Officially celebrations of Juneteenth date back to 1866, initially involving church-centered community gathering across Texas. It spread rapidly across the South becoming much more commercialized, centering around food. Regardless of how you celebrate it, today should be America’s real independence day — the day in which all Americans were made free. There’s still a lot of work to be done by all of us for all of us to truly be free from fascism, white supremacy, the patriarchy and other oppressive human systems. Let’s keep pushing on.
In the meantime, I wanted to spend today celebrating Black people and Black art. Being Black has truly been the best thing to ever have happened to me. Black is multifaceted. Black is beautiful. Black is powerful and righteous. Black is brotherhood and sisterhood. Black is swagger and flavor. Black is joy in the face of terror, horror and injustice. Black is survival and pride. Black is a wonderful, wonderful thing.
If you’re Black and gay. I love you, you matter to me. If you’re Black and trans, I love you, you matter to me. If you’re a Black woman, I love you, you matter to me. If you’re a Black man, I love you, you matter to me. If you’re Black and non-binary, I love you, you matter to me.
Because of the occasion, I had been thinking of Syl Johnson‘s 1969 full-length album Is It Because I’m Black? Born Sylvester Thompson in Holly Springs, MS, Johnson and his family relocated to Chicago in 1950. Acclaimed bluesman Magic Sam was his next-door neighbor — and Johnson quickly developed a reputation as a go-to guitarist and vocalist, playing with Billy Boy Arnold, Junior Wells, and Howlin’ Wolf throughout the 50s. He recorded with Jimmy Reed in 1959 and made his solo debut with Federal Records, a subsidiary of legendary Cincinnati blues label King Records that year.
Personally, I find Johnson to be interesting because he’s part of that last wave of the Great Migration — and because his work comfortably sits in between blues, R&B and soul. As for Is It Because I’m Black? It’s a great album that deserves more love and greater attention for its observations and thoughts on being Black in America, Black unity and more — plus it features a Southern fried cover of The Beatles‘ “Come Together” that’s worth the price of admission.