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Speaking Love to Power: Keep It Shining

Jianda visits Woman-Stirred Radio December 13, 2007

Filed under: General Ji, JiMedia, JiMusic, Jianda Artist Interviews, Zone: Diverse In Deed — jiandanet @ 1:52 pm

To listen to this radio program, please click this link.

It is true that I only want to show off to women.
Women alone stir my imagination.
~ Virginia Woolf

Thursday, December 13, 2007

Jianda Visits Woman-Stirred Radio

Please join me in welcoming Jianda to Woman-Stirred Radio.

Jianda is a Berkley-based singer-songwriter whose music and film work brings lesbian creativity to a new level. You can listen to her music at MySpace, or her Jianda.net.

A health-conscious artist, musician, vocalist and widely-published writer, Jianda’s also a poet, guitarist, actress and singer-songwriter with singles/albums that are both self-released and available on several international independent labels including: Om Records, Merck, Ghostly, Kinkysweet Records, Jam Music Australia and Gammaphone.

A regular Pride, Open Mic and Feature performer, Jianda’s many genres include electronica, conscious soul, jazz and acoustic folk. In various venues, she primarily performs as a solo acoustic act. Jianda also improvs and jams with DJs, rap artists and other artists, performs her poetry or that of others and collaborates in staged readings live and in-studio.

She spent many years creating content and artist promotions for the then San Diego-based MP3.com, and also facilitates and teaches workshops.

She’s written, recorded and videotaped interviews, prose, features, reviews and interviews for websites like MP3.com, ChickClick (defunct), SonicNet, B-gyrl.com, BlogCritics, Saucyvox.com, Doorknobs and Bodypaint, UC Irvine’s “Faultine,” ScarletLetters, CleanSheets, About.com, RollingStone.com, Emusic.com, Africana.com and GoGirlsmusic.com. She sings. Plays guitar and piano, and writes screenplays and songs…. Mouthsful.

Look for “Faster Pussycats” (Alyson ) and “Zaftig: Well-Rounded Erotica” (Cleis Press ) in progressive bookstores near you–she’s in them.

Previously, she was an editor and contributor at RollingStone.com, EMusic.com and MP3.com, doing promo and A&R for artists of all stripes. Passion Flower is her drug of choice. Sample her wares at SugarmamaPR.com & Jianda.net.

Currently, she works in label promotion, and is a featured supporting actress in Griot Soul Films’ “She
Wasn’t Last Night.” She’s also been a regular contibutor to The Lavender Lens (www.thelavenderlens.com) and the Promotions Director for Griot Soul Films (www.griotsoulfilms.org).

Jianda has a sincere love for harmony, cultural enrichment and communicating love through entertainment, art, sharing
and song. Jianda’s flexible and able to perform as a solo feature or as part of an ensemble or a multiple bill event.

And as usual, Nicki Hastie will share her thoughts and perspectives about the lesbian world across the Pond.

Woman-Stirred Radio, every Thursday 4 to 6 (EST). Want to join the conversation? the air studio phone is 802.454.7762. So tune in stream it live at WGDR. Interviews begin at 5:00

posted by Merry Gangemi

 

Review: Damian Hagger, Half My Mind August 21, 2004

Sugar Mama Review: Music

Damian Hagger:

“Half My Mind”

Buy Music: www.damianhagger.com

It’s no coincidence this writer blared Radiohead, Leni Stern, and The Beatles cuts prior to the umpteenth visit at the Damian Hagger listening station. Hagger’s influences, as stellar and diverse as the aforementioned  heavy hitters, shine through with just as much vibrancy, intelligence, and heart-on-sleeve sensibilities.

Co-produced by Dave Uossikkinen (The Hooters, Patty Smyth, Alice Cooper) , ”Half My Mind” is eponymous: it embodies all the beauty of Hagger’s left and right sides of his brain. Confused? Don’t be. This classically-trained, Berklee-educated artist guides us through the process of learning. Remembering.

Sensing. We emerge unscatched. Soothed. Heartened. And most definitely, entertained. ”Half My Mind ” makes a great soundtrack for Sunday sleep-in days, soft afternoons at the park or the beach, all-nighters, just about anywhere…so many of the songs are too rocking to be mellow, too thought-provoking and profound to be typical rock tracks.

The plaintive, sincere emotion in Hagger’s vocal style’s much like Joe Satriani’s song “Believe.” You know the man can play the hell out of his guitar, and the timbre of his voice and earnest emotion, backed by lyrics in the same vein, win you over–every time.You do believe.

Berklee-schooled and classically-trained, Hagger only uses his superhero powers for good! You’d never know the grooving, sultry mindscape he calls “Unraveled” was based on a theme by Maurice Ravel. Meanwhile tracks like “I Don’t Wanna Fight ,”Slip Through Your Hands ,” and “I’ve Been Wrong Before ,” while powered by rock riffs, never overpower you.

For all the stately elegance in the track “Sunshine,”  rock aesthetics and its lyrics add haunting, powerful overtones.  (Hagger straight-up says, “You think you’re Dali and you wanna paint me” ! )

As the album unfolds, we view vistas: romance’s push and pull, leaving bad-trips and bad-trippers behind, self-affirmation and soft, quiet musing. Someone can’t just leave it lay. They’re never satisfied. So our album’s hero, he just moves on. Just holds on to love. And don’t you wish you could, too…?

Half My Mind ” is a mirror. We’ve all been through and told the tales Hagger’s crafting before us. Somehow, though, we know we’re walking on hallowed ground, here. We can trust him. We’ll get through it. Melody holds hands with the vocals. Conscious lyrics keep our hearts awake. It all makes sense.  Perhaps it’s the eloquence of the riffs, catchy and familiar-sounding hooks, and burning, sincere lyrics that make this release such an indelible debut. Yours is not to reason why…you’ll just want to keep on listening.

Standout tracks: “Butterfly,” “Half My Mind,” ”Unraveled,” “You Think You Know Me.” Buy Damian Hagger’s music, add yourself to his mailing list, and show him your sincere support.

Damian Hagger recently composed the music for the website of the upcoming Will Smith movie I, Robot.

-writer: Jianda Johnson

Buy this CD Now

 

Mike Bertino Review January 18, 2004

“TRIGGER” HAPPY: Mike Bertino’s Antiheroes Rule

Written by Jianda Johnson

TRIGGER comic zine (issue one)
by Mike Bertino

Mr. Fox (if that IS his real name!) is in a bad way–and it seems no one can help him. He’s forced to save his manical, paranoid, yet intriguingly creative self between the scant pages of his self-penned (literally / figuratively) tome.

True, TRIGGER may not be autobiographical, yet San Diego indie comic kid Mike Bertino explores whirlwind-snippet musings on paranoia, creativity, lonerhood, and all things pathetic. Somehow, you’ll find yourself giggling at the fragility that’s just as much yours as it is his.

Anti-superheroes and flaccid cohorts abound, and yet somehow, you know the artsy geek guy’s always gonna get the upper hand–some-strange how…

Bertino’s stark, pronounced shapes, post-mod chiaroscuro lines, and filmic attention to storyline and detail (lest the slacker motif fool you) makes for one cool comic. And for a mere two bucks, I say you hook it up with Bertino, pronto.

reviewer: j. johnson
originally published @ sugarmamapr.com

——-
What’s The Point,
Indeed!

Buy: TRIGGER

get it? got it? good:

Mike Bertino: triggercomics@hotmail.com

3060 suncrest dr. #9 san diego ca 92116

visit: www.mikebertino.com

Originally Published @ Blogcritics

 

Gretchen Lieberum and Jianda March 27, 2003

Ji_andGretchenLieberum

 

MAKING A “POISEFUL NOISE:” Artist Interview – Ilya March 9, 2003

Written by Jianda Johnson

Slowly, steadily, and sweetly in their own atypical way, the (he)art-rock project ILYA bestowed me with enough trust to interview with me not once, but twice. You see, they’re gentle in revealing their underbellies to folks. But when it comes to musical integrity and direction? ILYA is BRUTAL. Brutally-honest, brutally-lovely, brutally-raw, brutally-skilled. Taking no prisoners. Giving it all to you. Offstage, it’s a different matter entirely. I tried my best to respect their time, and talents. Maybe you can tell me how well I did. C’mon. Scale of 1-10:

JJ: You’d said the name “ILYA” is arbitrary: why do you want your band “NOT to represent,” as it were–what is the artistic statement this makes?

ILYA: The name “ILYA” (in the context of our music endeavor) is arbitrary – the meaning is not. ILYA represents: absence of judgement.

JJ: How long have you been together–how did ILYA come to be?

ILYA: Since February of 2001. ILYA came to be through six people getting together with the mutual passion to create something beautiful involving music, and the intent of forming a truly collaborative effort… no dictators. A platform where everyone could express themselves musically. It’s amazing how this works out. Although there are six of us, we always seem to figure out something that makes us all happy, and we are blessed to have this.

JJ: “Poise is The Greater Architect:” what’s the significance of this album title?

ILYA: Well…in the current music world it seems that brut force both musically and lyrically seems to be “the way to go” and very popular…we just feel that more “poise” and a gentler approach can be just as powerful, if not “greater.”

JJ: How are songwriting and lyrical duties split up, if at all?

ILYA: Matthew and Blanca use personal songs and poetry written years ago, or spontaneously create lyrics inspired by music ILYA plays during rehearsals.

JJ: How do you generate such atmospheric sounds–what kind of gear do you use?
ILYA: Pedals…experimentation and creativity with pedals…we have a lot of pedals. We really learned how many we had when we just had to bring them to Japan for tour.

JJ: You control your sounds and levels very masterfully, but–how much noise is too much? How do you craft the sound to be ‘just so?’

ILYA: Thank you for noticing. We all just know where we fit as individuals into the sound of ILYA. Nobody steps on each others “musical toes”. We know our place. There are a few points in our songs were we do get loud/noisy, but we do it in a dynamic way…we are very big on our dynamics.

JJ: How much would you say dreams and the unconscious influence your work?

ILYA: Dreams and the unconscious rarely influence our work – at times, they are the aftermath of our work.

JJ: Who does your artwork and photography–and what’s the concept for your CD cover art about?

ILYA: Our artwork and website is done by Duane (guitar). The photos were taken by Chari Verespej while she was in school for photography. Duane saw the photo (before it was the cover of course) and felt it visually fit the sound of “Poise…” and ILYA. He presented it to the rest of the band and everyone liked it.

(coverfoto)

ILYA: The cover photo is very much open to interpretation…just like our music.
But one way we look at it is that it’s very powerful, while still being gentle…which ties in with the title of the record.

JJ: How did you wind up in San Diego, or are all of you SD natives?

ILYA: All of us grew up in the San Diego area except Duane. He moved here in 1994 for his career as a professional skateboarder.

JJ: What is your work/studio ethic if any?

ILYA: Puntuality, accountability, respect, and HUMOR are our studio ethics.

JJ: What other modes of art would you say influence your work?

ILYA: Cinematography, photography, and literature.

JJ: Who are some of your favorite artists?

ILYA: We all have broad tastes in music, and they don’t all overlap…so, we don’t know if naming particular artists is fair to everyone in the band.

JJ: What’s a ‘dream collaboration for you–someone you have yet to work with but who you’d love to work with?

ILYA: There is probably only one person so far that we’ve discussed that would be a ‘dream collaboration,’ and that person is Nigel Godrich. For people who do not know him he’s the producer that worked with Radiohead on their last three records…especially OK Computer.

But surely, we’ll talk more about this subject before our next record.

JJ: How easy was it for you to find distribution for your music?

ILYA: Actually, as of now “Poise…” is self-released…so we have no distribution. We’re “feeling” around to see what’s best for ILYA. But so far, outlets like MP3.com have been a big help, as well as Better Looking Records (betterlookingrecords.com) for letting us sell the record on their site.

JJ: Thanks so much for allowing us this vantage point, this insight into your music. We wish you continued success.
————-

Nab a copy of “Poise is the Greater Architect” and support indie-thinkers, indie-expression, and indie music. Sonic, heart, mind, body, soul, spirit voyages are guaranteed. This music is illustrious. For every ugly eep, bleep, bop and boombip, there is a sweet, soft, gentle ooh, ah, and summery whisper to keep their sound at once edge, balanced and challenging.

VISIT ILYA’S OFFICIAL HOMEPAGE @:
http://www.ilyamusic.com

CHECK OUT AN EXCLUSIVE AUDIO INTERVIEW @

Internet Archive: Details: Jianda – SugarMamaPR.com Interview w/ILYA

Originally published at Blogcritics.

 

Artist Interview: Rivka Solomon March 4, 2003

Written by Jianda Johnson

Bravery. Courage. Chutzpah! and… Femininity? Womanhood? Girls? More often than not, that last little bit doesn’t get thrown in with lion-like qualities. Though the “mother lifting car by power of love and adrenaline” scenario does come to mind when prodded, it’s certainly not the first image to come to mind when one things of motherhood or feminine power. Enter Rivka Solomon, who, with her latest tome “That Takes Ovaries!: Bold Females and Their Brazen Acts,” is rewriting the script before our very eyes with the help of a handful of brave, modern-day goddesses. Read on:
- What was the breaking point that made you collect all these stories, and kept you putting it together through all the peaks and valleys of the process?

Are you asking what motivated me to spend 4.5 years collecting these stories, editing this book and now organizing the open mics? Well, two things. First, I just thought it would be fun.

You know, how totally cool to get hundreds of stories from women and girls about the gutsy, bold, audacious, outrageous things they have done! I get a real kick out of seeing a woman, any woman, being bold. I mean, isn’t it a rush to see a little girl walk into a room full of people and take charge? Or witness a teenaged girl take on some outrageous risk, and pull it off? It is just exciting to be around that stuff.

But I also compiled and edited this book for another reason. This book is about risk takers, women and girls who have pushed the boundaries, jumped over barriers, sailed around obstacles — often having fun while they did those things, often standing up for their own or others rights as they did those things. And, basically, I wanted to encourage that.

I wanted to celebrate female risk takers in a wide range of activities (in the world of work, in the world of playing and having fun, in the home, on the streets). I wanted to affirm women and girls who are already risk takers in their lives *and* I wanted to encourage others, readers who might not live their lives that way, to take the bold new step of being a risk taker.

I wrote this book because courage is infectious. I thought that if some reader who might not be living such a bold life now saw how another girl does something gutsy (like grabs the hand of a child molester groping her butt or tracks down wild guerrillas in Africa — two totally different stories in the book), then she might think, “Hey, if *that* woman can do something so outrageous, so adventurous, so courageous, then so can I!”

So in short, I wrote this book because I wanted to celebrate the fun, bold things women do, and also I wanted to do whatever I could to encourage even more women and girls to be risk takers. I feel that if women live more boldly, not only will they have more fulfilling, fun, adventurous lives, but *also* the more willing they’ll be to take risks in standing up for themselves and for others. And the more willing they will be to challenge “the system” and the sexism, racism, ablism, anti-Semitism, homophobia we live with (and usually try to just ignore) on a daily basis.

- Tell us more about the Open Mics. How are they going, what kind of a response are they getting?

The open mikes have been going really well and people are responding wonderfully to them! In the past 9 months there have been 40 That Takes Ovaries! readings and open mikes (and some dramatizations) held around the U.S. and India, all organized locally by women in the community. In case your readers don’t know: The book is coupled with a grassroots open mike movement for women’s and girls’ empowerment.

Because women and girls everywhere have gutsy deeds to brag about, we are holding That Takes Ovaries! open mikes all around the country — and world now, too. That way women and girls in any community can come together and share stories about times they were particularly courageous, or brag about times they were wild ‘n’ crazy. Guys can join us (and many do) by proudly bragging about the ovaries in their lives, their mothers, sisters, daughters. The open mikes can happen in your living room, with just your friends invited, or they can happen in a more public setting, like a bookstore, community center or as part of a pre-scheduled annual meeting.

Many of the open mikes are fundraisers for a local girls’ group and groups working to end human rights abuses against girls internationally, like female genital mutilation and sex trafficking. The beauty of this book and movement is that any woman interested in organizing a That Takes Ovaries! open mike in her own area can get the guidelines from the back of the book, from www.thattakesovaries.org, or from Rivka . First time organizers welcome.

Actually, we are looking for more people to organize open mikes. So if any of your readers want to come to one, or if they want to organize or host one they should check out the website www.thattakesovaries.org.

- Your Berlin Wall story is incredible! What is your favorite story in the book?

Thank you, I’m glad you enjoyed reading my story in the book!

Now, regarding my favorite story in the book? That is an unfair question. I love them all. I have been living with and working with each of these 64 stories for the past 5 years. Some stories are light and playful, some are deep and political. I like both types, and I like the contrast. For example, some stories are about women having fun — instigating an erotic interlude with messy paints, tracking huge gorillas alone in West Africa, shaving hairy legs in playful stripes, skysurfing out of an airplane on a tiny surfboard.

Other stories are about more political things, like running your sister’s batterer out of town, bawling out a racist cop, spreading your legs hundreds of times to teach medical students how to properly care for women’s gynecological health, mounting a pee protest in demand of wheelchair-accessible bathrooms on campus, and saving a girl you doesn’t know from being beaten on the side of the highway.

The way I see it, both the fun *and* the political stories fall under the single umbrella of freedom and empowerment for women. Both the fun and the political stories are about women rejecting tired old notions — stereotypes, really — of how they are supposed to act (i.e. passive, cautious, weak, etc), instead of being who they really are: complete full human beings who can do whatever they set their minds on doing.

Both types of stories, the light or deep ones, are about not accepting limits placed on you from a sexist society. Sexism, we all know, tries to define what men are “supposed” to be like and what women are “supposed” to be like. Being your true self means ignoring those “supposed-to’s” whether it is in the way you work or the way you play — or the way you fight for your human rights.

- Your sections on sexuality and anger are particularly compelling in lieu of the fact they are grrl-centered stories. In your opinion, why do you think it’s still so hard for it to be “okay” for a woman to be angry, and to be sexually expressive or empowered?

Good question. And a complex question. So bear with me with this long answer.

It is hard because it is breaking the stereotype (that word again!) of what a woman is “supposed” to be like. In a sexist society, both males and females are directly and indirectly told to squash our whole complete lovely selves into a small itty bitty box of what a man or woman is “supposed” to be.

We all know what this looks like: males are conditioned to be the half of the species who can get angry, but are not allowed to feel sadness or cry. Females are conditioned to be the half of the species who can be sad and cry, but we must remain sweet, kind and never get mad. Even when someone is doing us wrong. That’s crazy.

If someone disses you or hurts you, it is a natural human response to feel anger. Women should not be denied access to this part of their humanity (and if they do it is at their peril: depression, eating disorders, etc.). Similarly, guys should not be denied access to their compassionate, gentle sides (and if they do, it is to *their* peril: look at all the violence that surrounds men who feel a need to prove their strength and “manhood”).

Anyway, my book has a whole chapter dedicated to real women in the real world who feel real emotions, including the emotion of anger. It shows that just like all human beings, we sometimes get mad. It shows that in fact having access to our ability to get angry keeps us able to defend ourselves. If you are busy thinking you have to be nice all the time, you may not try to stop someone from mistreating you. You may just grin and bear it, put up with it, let it slide. Of course then the abuse continues. Too many women are trained to be like that. My book offers examples of women being boldly and righteously mad.

Regarding your question about sexuality: It is hard to be a woman who is sexually expressive or empowered because it is, again, going against the norm.

Historically a woman was taught to be modest. She was the leg-crossing, no-saying figure who was the main obstacle to a sex act. When she finally did get sexual (after incessant pressure), it was always with a man, never a woman, and she was to react and respond, never instigate. It took guts to be an openly desiring female because being a sexual girl meant being a bad girl. She’d be discounted, ostracized. No longer “pure”, she’d fall on the other end of the spectrum labeled “slut.”

These traditional norms are still present in some women’s lives. What is tricky today is that the norms have morphed into a confusing mixed message. In today’s multimedia-based culture the so-called slut is actually promoted (though in real life she is still punished). She is the scantily clad, just-do-me-looking, hypersexualized young woman revered in ads, movies, magazines, and music videos. No longer the obstacle to sex, today’s girls and women are supposed to personify it; according to the media images, they are to look attractive, lusty, and be sexually available at all times for the men of the world. Women have learned to accept being on constant ogle-display. Worse, what is considered attractive is defined for them by the fashion and media industries. A woman’s value depends on whether her looks meet the industries’ definition — and how much male attention she gets.

From women being told they are *not* supposed to be sexual, to being told they *should* be more sexual, our sexuality has been played like a Ping-Pong ball in a game of table tennis. So the truth is worth repeating (and that is what I hope my book does): A woman’s body is her body, and it shouldn’t be pushed around by anybody else. We all need to be in command of our own selves. We all need to make our own sexual decisions.

So today, a woman who is empowered sexually is a woman who is making her own decisions, not doing what others tell her to do. Today, empowered women are choosing for themselves. They say yes when they want to say yes, no when they want to say no, and they do the asking and initiating when it suits them. That is a sexually empowered female at the start of the new millennium.
- Personally, what gives you the strength to keep speaking the truth as a writer? As a female? Against so many odds–so many competing (indeed, aggressively opposed) voices?

There has been no negative response to my book or the open mikes, so actually it has not been hard at all to speak “the truth” — which, of course, is really just *my* truth. Though a big part of what “my” truth has been with regards to my work is really giving other women a place to speak their own truths. My book and open mike movement are about giving women and girls a place and a format for sharing stories about their own lives. Sharing personal experiences aloud is the foundation for any political movement. It is also the fuel needed for the long term *continuation* of any political movement, including the movement for women’s liberation, which we all know started a long time ago with the fight for the right to vote and continues to this day with the fight for the right to not be beaten at home, sexually harassed in the street, raped etc. It also includes our right to keep abortion safe and legal, get equal pay for our work and equal attention in the bedroom.

For any society to evolve, for any people to be free, before reality on the ground can be changed, the truth needs to be told. My book and the open mike movement is about women sharing women’s truths. It is showing what real women’s and girls’ lives look like, what are our struggles and what are our triumphs. And getting back to your question of what gives me strength, well, it is just that: hearing these stories gives me strength.
- Many of the people in our audience are female artists (musicians, writers, etc.). Any words of inspiration for them? And also what do you think males might get out of this book?”

Words of inspiration for *them*? No, they inspire *me*! Mostly I just want to say that I recognize that it is not easy being an artist — at least not in the U.S., where I live. I am not sure what country your website visitors are from, but in the U.S. artists don’t get a lot of respect or money for their work. Unless you are a big name, of course, then you get loads of dough.

But for the rest of us, if you are in the music, visual arts or writing industries, if you are an artist of any kind, you are likely waiting on tables or cleaning houses as a way to pay for food and rent. In reality, they/we are working two jobs and only getting paid for one. I have heard that in other countries artists get more respect and thus more money, without needing to be a big name. I just wish we could go back to the old days when artists had patrons, some wealthy, generous person who sponsors you and your art work.

Any way, that is what *I* desperately need. So any potential patrons reading this interview are welcome to contact me at rivka@thattakesovaries.org. :-)

What do I think men might get out of this book and our open mike movement? Well, men love the whole concept of That Takes Ovaries! They “get it” as soon as they hear it, and they love it. The men I know who have come to the open mikes really enjoy it. Men have been standing up at our events, just like the women, and they proudly brag about the ovaries in their lives — like last week one guy in his early 30’s just went on and on about how wonderful his younger sister is. At the same event even the bookstore manager stood up and told us how important his favorite teacher was in his life — a woman (and a feminist at that!).

- What project(s) are you currently working on?

I’m working on organizing the open mikes, book readings and the play. Mostly, with other women, I am organizing the open mikes in communities throughout the U.S., India and hopefully soon China. Also the book has recently been adapted into a play for the stage. We have a four week run of the Ovaries! play in Washington DC in March 2003 with Horizons Theatre(www.horizonstheatre.org), the longest running women’s theatre in the U.S. Very exciting stuff. Each Friday night we will hold an open mike after the play’s performance.

By the way, we are currently looking for other interested producers, theatre companies and celebrity actors. If you know anyone who’d be interested in looking at the Ovaries script have them contact me at .

——
Rivka, thank you so much. Courageous is infectious? So is inspiration! Let’s keep passing it on! – JJ


Originally published at Blogcritics

 

Be A Brazen Girl: Gretchen Lieberum Interview March 4, 2003

Be A Brazen Girl: Gretchen Lieberum Interview

Written by Jianda Johnson

“Be a brazen girl/as you wander this world,” Gretchen Lieberum sings confidently. Newly-signed and working her way up the “music biz food chain,” Gretchen catches us up with her music, her artistry, and per philosophy of delicate, beautiful polite persistence, and how it enriches her music career.

If you aren’t yet hipped to Gretchen Lieberum’s sound, think: Portishead, Norah Jones, Coldplay, Jon Mayer, and you’ll almost be there. Whether you’re a female artist, love female artists, or you’re somewhere inbetween, you’ll find the smooth curve swirl of this girl’s music’s quite delightful.

What have you been up to since the last time we chatted?

Gretchen: Well, my album, Brand New Morning, was picked up by Lakeshore Records, an indie label under Warner Brothers. It was released in April of 2000, and sales have been growing slowly but surely! The promotion my label did for the album was pretty minimal, but a few strategic positive reviews, listening stations, and strong word of mouth have helped sales tremendously. On Listen.com, my album was bouncing around the top five for several months, along with Norah Jones, Coldplay and, inexplicably, Eminem! Apparently, Norah Jones got her start on listen.com as well, before she was in the Billboard charts, which certainly is a positive sign for me.

What kinds of press have you received in response to your recent shows?

Gretchen: The response has been really positive, which is great, because I am such a perfectionist, and can be very insecure about performing!

Any plans to do video work?

Gretchen: My label is flirting with the idea of making a video, but I’m a little bit cynical about the whole thing, to be honest. I know quite a few bands who have made videos that end up being played once on MTV2 at 4:30 in the morning! And then, the cost of the video is recoupable to album sales (in other words, the artist ends up paying for it!) However, videos can be really beautiful and creative and interesting and can certainly draw attention to a song.

What’s your favorite song on “Brand New Morning?”

Gretchen: I think I’m happiest with how “Brazen Girl” came out. Sometimes, I’ll go into the studio liking a certain song, but in the end, it ends up being a completely different song that really blossoms in the recording.

I originally wrote ‘Brazen Girl’ for a friend who was going through some rough times. But as I continued to write the song, it really became a song about myself as well. It’s a song about letting go of anger and regret, being brave and honest. It’s a reminder of how I want to live. Also, I think that stylistically, ‘Brazen Girl’ is a good example of the overall sound that I am striving for, a balanced mixture of acoustic and electronic elements. If someone had to listen to just one of my songs to get a sense of what my style is, I would want them to listen to ‘Brazen Girl.’

Do you do any writing or production work for others? Do you plan to?

Gretchen: I’ve done some vocals and lyrics for a Toronto based electronica band called Somasonic, who just came out with an album called “Modernism”. As far as producing goes, I don’t really feel confident enough as a producer to take on someone else’s project. I’m still learning about the process, about how to create the sound you want in the studio. To be a great producer, you need an uncanny sense of the over-all picture. You have to be able to think of 20 things at once as well as 20 steps ahead. I really admire people who are able to do that!

What materials are you working on right now?

Gretchen: I am really excited about the music I am writing now, and can’t wait to record it! I think that as I write and record more, I develop a better understanding of the sound I want to create, of what suits me.

How often do you gig/tour?

Gretchen: I am I haven’t played out much in the last couple of years, but I’m starting to now. I’m getting that fire in my belly again! Ideally, I’d like to play a few times a month locally, and am in the process of finding a manager and booker to help me organize a national tour, or possibly a European tour.


Jazz and electronica are very complex, intricate genres at times. How do you write your most ideal lyrics and vocal arrangements and yet still make them accessible?

Gretchen: Honestly, I don’t know! The whole process is a mystery. I’m even a bit lazy about it! Things either come to me in a certain way, or they don’t. If I force it, I can hardly write a note!

Who are some of your favorite artists?

Gretchen: I love a really wide range of stuff, from Nina Simone and Sarah Vaughn to Beck to Neil Young and Bob Dylan to the Pharcyde. Sade has been my hero for many years, and I listen to Joni Mitchell and Stevie Wonder almost daily. I’ve been a huge Prince fan since the 5th grade (his older stuff, mostly). Lately, I’ve been listening nonstop to Zero7, Cesaria Evora, Rufus Wainright, and a local LA band called Brazzaville that’s fronted by Beck’s sax player.

Tell us about some of your upcoming gigs, and what’s on the horizon for the next few months. :)

I’m playing at Galoka in San Diego on Thursday, 3/27. I’m also playing in Los Angeles at Genghis Cohen on Friday, 3/28, and I’m playing in San Francisco on Wednesday, 4/2 at Bruno’s. You can get more info at www.gretchenmusic.com.

I plan to keep working on new material in the next few months, with a goal to record this summer, and hopefully I’ll solidify some kind of national or European tour.

Also, I was recently featured in USA Today in an article about Listen.com/Rhapsody. It’s an interesting article about the legal downloading of music from the internet. Please check it out at: UsaToday.com- JJ

All of Gretchen’s songs are completely delicious, but we know you’ll take a shine immediately to: “Three A.M.” and “Bed’s Too Big Without You” (from “Three A.M.”) and “Brand New Morning,” “Blue September (featuring DJ Cut Chemist from Jurassic Five),” and “Lost Our Way.” (from “Brand New Morning”)
———-
Other features & archives can be accessed @ sugarmamapr.com.

Originally published at Blogcritics

 

BEHIND THE DEMOS w/ THE SR. VP OF A&R AT MCA March 4, 2003

Gary Ashley, Sr. VP of A&R for MCA, set aside some time for us to give our artists a taste of life from the other side of the demo.


BEHIND THE DEMOS, WITH GARY ASHLEY OF MCA
-interview by Jianda Johnson

MP3.com: So tell us what’s on the horizon for MCA.

GARY ASHLEY: It’s pretty straight ahead. Jimmy Iovine is the chairman–the head of MCA now, and he’s currently reviewing the roster. He’ll be appointed president within three months, and MCA will remain a standalone label. Will it be the same? Probably not quite.

MP3.com: What has this change involved for you?

GA: Sitting with Jimmy and playing music, and making him aware of the music that’s good. And that’s official. And there’s nothing really confidential about that.

MP3.com: How long have you been in the business?

GA: Far too many years! (LOL) Decades. I started with my own label in Australia in the 70s, called Mushroom Records. I did that until 1996, and then I was off at the position of Head of A&R at MCA Records, and started Mushroom in England.

MP3.com: What are some of your favorite success stories?

GA: Kylie Minogue, in her first run in the 80s. Also, we signed Garbage in the 80s, so we had a variety of successes.

MP3.com: What attracted you to the business?

GA: I started doing business not so much doing “deals,” but more on the marketing side of things. There came a time in our history where I decided, if someone doesn’t to A&R, we will be out of business. So, I started signing, and learning about A&R, and the process. From observing others, artists, people who made records, etc., I became aware of marketing and promo. It became second nature to me.

MP3.com: What makes a good A&R person?

GA: In the indie music world, you have to make records to survive. You have to have a musical opinion. You can’t just hire people. It’s more of a natural thing to me. I’m in the “A&R box,” so to speak, so I’m a little more restricted. I have an opinion and a sway, but it’s really up to me to deliver the records to feed the system.

MP3.com: What’s your take on file-sharing?

GA: The business is better. There are glimmers of hope. I feel more positive. The downloading businesses are finally starting to grow, and finally beginning. December was a good month.

(We are then serendipitously interrupted by Gary’s taking another phone call, softly enthusing to another party, “Yes, I talked to Shaggy. He’s in a good frame of mind. I’ll call you later.”)

GA: As for downloads, consumers’ awareness of the abilities to download through us is beginning. The Verizon lawsuit is something I’m excited about. I’m hoping the ability to track the ISPs of people who are dealing in copyright infringement occurs, and on a positive note, think about how many CD burners have been sold in the last year, and our business has only gone down 10 percent!
Pricing issues have to be addressed, there is business to
be had, and it’ll take many years I’m sure…we haven’t hit bottom, yet, there are glimmers of hope. I feel more positive than I was even 2 years ago.

MP3.com: Tell us more about Garbage, and international
success.

GA: The Garbage signing came about through Butch Vig’s manager in England. I knew them, and Butch at that stage was godlike as a producer, and I met with him. He told me he spent all his time in the studio taking people’s music and then turning them into pop songs. What he wanted to do was write an album of simplistic pop songs, and then turn them into rock songs. And he did. If you listen to that first Garbage album, it was seminal. It really did change music.

I got a lot of satisfaction from that. As far as more commercial success and knowledge of international business, again, with Kylie Minogue, we sold 15 million albums worldwide. So that made a pretty big impact on me…five albums. This, when she was 21!

In America, I got a lot of Satisfaction out of Blink 182, and also watching New Found Glory and Something Corporate, because I would actually call these bands my friends. They just call to say “Hi.” They are just good people. Hard workers with a solid creative direction. You couldn’t have asked for a better situation.

MP3.com: How does a band submit their demo tapes to you?

GA: My favorite bands, if they have a good demo…it’s someone who is actually out working, and drawing people–who has some kind of base. My least favorite band is the one that maybe has a decent demo, but only plays the Hollywood Strip. I don’t’ want to know them…my favorite band is anyone in the country who has a local following, who is selling records, and who draws people. They are the ones I love, who we look for, and who we really want.

MP3.com: How important is it to have a live show together before getting signed?

GA: Very. VERY. You must have a great live show. And I have no interest in bands who look at their shoes! (LOL) In New Zealand, we call them “sand shoe bands.”

MP3.com: Ah…shoegazers… ?

GA: Yes. So, it’s very important…a band needs a live base. At MCA, we call it “crossing the road.” If they can’t cross the road, we don’t want them. Bands must go out and build their base. Not just for my purposes, but for theirs. With a band like Blink 182, only 25 percent of their income is from record royalties. Bands earn more money from merch, live shows and sponsorships…much more than from record royalties. Bands like New Found Glory were successful before I came along. So that is the key to a band’s success.

I have bands on my label who will play to 500 kids and they will take in $300k in merchandising. So there is a business out there. If you just wanna be about the record deal, then please don’t waste our time. If you are going to build your business as a band, and the deal is part of it, then I’m interested. The challenge is to FIND those people.

MP3.com: What are your primary responsibilities, job wise?

GA: Primarily, our responsibility is to deliver the product on time, and on budget, and really, that is a major part of it. Obviously I have to deliver the right acts, sign the right things. That is the business bottom line. I can’t just deliver all my records in January and then check in later for the rest of the year. I have to space the releases out evenly, throughout the rest of the year. It’s all about timing. The right balance. All my decisions have an impact on the band, the company, and all else–or I get fired! (LOL) It’s really that simple.

MP3.com: Do you use the Internet to discover new music?

GA: We always use the Net. We are always looking at your site too, actually.

MP3.com: Good to know! Another question: when emailing a rep, what’s the best way to go about approaching them?

GA: Please use your best judgment, however. I can speak for all A&R people when I say, nobody minds getting an email, but people can be obnoxious–emailing everyday, and such. Driving people crazy is not productive. You’ve got to be patient. “Check us out.” We will do so.

People are happy to communicate with other people. If you
send an email saying, “Hi, I’m in this band,” or, “we’re in Omaha doing demos and we’d love to send you one, we play once a week and we’ll keep you up to date,” sending information, not even looking for a response, just sending information, that is great. Somewhere along the line, I will pay attention and ask someone to check it out. Or, I will check it out myself. That is the best way of communicating, and you can do that with anyone in the business.

For example: “here we are, this is what we do, we did five shoes last months, we now draw 300 people at this club, we wrote some new songs,” that’s great.
Oh–also, don’t send your materials to everyone in the company! We all talk! Don’t think we don’t all talk when you send things to everyone! (LOL) Just send things to me. Cut out the middleman.

MP3.com: Thanks so much. Any parting words of wisdom for indie artists and promoters out there?

GA: Well, aside from your mailings, etc., get on support slots with happening bands. This is BIG. New Found Glory, Something Corporate, Good Charlotte, those Drive-Thru Records bands, most especially punk rock/pop bands, they all support each other, and look for good people. If they play in local bands, that’s great. It’s better to get on those shows. We find out about a lot of bands, from other bands. If you’re just that good, don’t worry; we will find you.


Visit MCA Records @ http://mcarecords.com.

MCA’s not just about that “indie” sound. Their roster’s quite diverse, including: Lyle Lovett, Common, Sigur Ros, The Roots and many others. Go aural-surfing. You’ll be pleasantly surprised.

Originally published MP3.com and Reprinted at Blogcritics

 

Naked Music Laid Bare: Bruno Ybarra, Styled & Profiled February 28, 2003

NAKED MUSIC LAID BARE:
Bruno Ybarra, Styled & Profiled
- by Jianda Johnson

nakedmusic

What’s not to love (read: lust) about Naked Music? Not only has this ultra-chill, sweet cool collective raised the barre for modern (read: postmodern) electronica, they have indeed set the industry standard for muy suave boutique sounds with a mainstream appeal.

Luckily, Bruno agreed to have a chitty-chat with me about the audiovisual soulcandy Circe that is Naked Music (naked-music.com). Prepare to be seduced.

- How long has Naked Music been going, and who’s at the helm?

[Bruno Ybarra] Naked Music was launched as a label in December of 1998 by Dave Boonshoft, Bruno Ybarra and Jay Denes. Dave acts mostly in a CEO capacity, dealing with contracts, budgets and logistics. I act as Label Director and deal with most of the musical side of things: A&R, compilations and artist work. Jay is one of our chief producers working from the New York studio and we also have Becky Wisdom acting as office manager/operations.

- How did you come up with the concept for Naked Music (sleek, sensual, romantic, suave, top-notch production values and musicianship…)?

[Bruno Ybarra] Naked Music started out as Jay and Dave’s first studio (“Naked Music NYC”) – where Jay was producing some dance material for a handful of labels – mostly 12″ stuff. I was working for Om Records at the time doing A&R and signed Jay’s first album, ‘What’s On Your Mind?’, for development there. It wasn’t until the fall of 1998 that we decided to create Naked Music Recordings (as label) and the concept was to create sexy, forward-thinking, urban-influenced music in several different formats (dance, downtempo, etc.)

- What contribues to the vibe, the spirituality, the aesthetics of these “genres” (for lack of a better word) you deal with? Why do you think it touches most everyone who encounters it so centrally? In such a long-lasting way?

[Bruno Ybarra] I think one of the key reasons is our focus on songwriting and arrangement … which has always been a major interest for us. There is such a surplus of ‘tracks’ available out there nowadays that we all felt we could make more of an impression by really trying to craft some real songs based on compelling vocal performances. Of course, we also wanted to marry that with a production aesthetic that could speak to the audience we were most familiar with – the dance/underground community.

I think the hybridization of these two elements is what crafted our signature sound, more or less, from the get-go. These days, it really takes alot to make any real impression with new music, given the landscape out there and the shorter attention spans, so we’re constantly seeking to evolve the sound somewhat and take it to a new level!

- The presentation is so sleek, sensual, well-thought out, seductive, and the talent is so great! How do you find all of the visual, music, production and multimedia artists for your label?

[Bruno Ybarra] We’ve been really fortunate in that most of the people that work with and for the label were all friends before we kicked things off. In that respect, we haven’t had to really go out in search of new talent – so much as just work to cultivate the ‘in house’ artists.

We’ve branched out a bit and incorporated the remix talents of several UK producers and artists as well as some in France, Germany, Scandinavia, Africa and all points in between. The best part is that people have a fairly clear understanding of what we’re trying to accomplish – so it makes it a bit easier to forge ahead. The rest is just a matter of the all-important budget, timing and synchronicity!

- Tell us about the Scuba Parties.

[Bruno Ybarra] We threw the Scuba events here in San Francisco initially back in 2000/2001 … then we began throwing them over the summers as a monthly at La Terrazza (Barcelona). We’ve since discontinued the SF monthlies … but occasionally do one-off events here to promote upcoming artist albums, compilations and various other types of parties. We’re planning to do more residencies this summer in NYC, Europe and other parts of the globe if all goes according to plan.

- What inspires you, Bruno? What keeps you involved in projects of this caliber?

[Bruno Ybarra] I’m mostly just a firm believer in the power of music to reach people in a wholly-different way than any other medium. Unlike other media which present a more-or-less ’specific’ imagery for its audience … music falls more into the subjective realm where people all react differently depending on where they’re at in their lives, age, relationships, location, etc. When you’re listening to music, it really does feel that anything is possible (not to mention the ultimate escape!) …

At any given time in my life, music has been my teacher, friend, guide, lover, drug and entertainment all rolled into one. It’s truly amazing to see the potential that music has historically, culturally and environmentally … not to mention the fact that it truly is the ‘common language’ for people across the globe … he who feels it, knows it!

- Have you known you’ve wanted to do this all of your life?
[Bruno Ybarra] From as far back as I can remember, I’ve always done everything in my power to expose myself to, and surround myself with, as much music as possible … from playing in bands, to doing radio, to writing editorials/reviews, dj’ing, attending live shows, etc. It’s just one of those things I can’t imagine living without.

However, I do know when enough is enough – and I think it’s important to balance your life and not get too top-heavy in one arena. I definitely find myself enjoying learning about as many other subjects as possible in addition to enjoying a good tune! Let’s face it, nobody wants to be a broken record, right? I’m by no means fanatic about it … I know when to change the channel. Otherwise, my only friends would be record store clerks! ha.

- Have you licensed any of the music out for film or TV?

[Bruno Ybarra] We have licensed some of our tunes out for commercial use (some with our approval and some without!). It’s great when you can land a nice synch license for television or film – but that’s a very competitive market nowadays. It’s a great vehicle if you can land it!

- So many of your releases combine electronic and natural acoustics and instrumentation. Do you have much to do with the production work involved in these releases?

[Bruno Ybarra] It really depends on the project … for the compilations I have much more input from the ground up. For artist albums, it really depends on the project. Producers like Jay Denes pretty much do things independently … other projects, like a vocalist album, require more input from an A&R perspective.

However, I try to always make suggestions with regard to instrumentation, changes, performances, lyrical content/arrangement, etc. where needed. Of course, the main job in doing A&R is to get people to perform at their highest level … which is a really tough balancing act to keep the feedback objective and inspirational and not spiralling into derogatory commentary – very delicate stuff! Sometimes it works, sometimes it doesn’t … at the end of the day, music is such a subjective thing – and people all see things differently. My favorite quote along these lines is “there’s an ass for every chair” … Jay Denes told me that once and it pretty much sums it up, eh?

- Indeed! :) How well is Naked Music being received in the States as opposed to the rest of the world?

[Bruno Ybarra] Judging from our sales, it seems to be about equal response both here and abroad … I think there are definitely territories that are more receptive to dance/underground music as a whole – and the U.S. has always been quite slow to react to changes in the music world … whereas may European territories have embraced it from the start. Things seem to be improving, though, on both sides of the Atlantic.

- Who are your main artists on the site?

[Bruno Ybarra] Our artist lineup to date consists of Lisa Shaw, Miguel Migs, Blue Six (Jay Denes), Gaelle-Speakeasy, Central Living (Dave Warrin), Aquanote (Gabe Rene), Lisa Treniere (‘Aya’) … we also work with several other producers and artists on a contract basis quite regularly.

- What’s your connection to Hed Kandi Recordings?

[Bruno Ybarra] None whatsoever – although Mark Doyle is a really great guy and has been a fantastic supporter for the label from day one. We licensed several tunes for Hed Kandi comps prior to our recent Astralwerks/Virgin deal. He also happens to know some of the best curry joints in London!

- How do maintain the quality control over all releases and products from your company?

[Bruno Ybarra] I’m not sure that I always do – as I always feel that things could be better (mastering, eq, mixes, etc.). However, I’m really glad that these things manage to go unnoticed from time to time. ; )

- How do you manage to balance the “business” side of the music business with artistic aspects? Is this natural? Learned? A combination of both?

[Bruno Ybarra] Well, I think that the disparate worlds of art and commerce have always been at odds with each other, fundamentally, but have somehow found a way to coexist in application. It seems to be mostly a case of one hand feeding the other in a revolving relationship.

I do feel that it’s important for business and artistic concerns to remain as independent as possible, in order for them both to achieve their goals. I guess I enjoy the balance between the two – as they both represent different sides of the coin to me. Definitely a combination of experience in seeing situations from both sides … and a strong dose of speculation, ultimately.

– Obviously, your music goes over well in SF, and NY, where your offices are located–why did you pick these two cities as home base? (as opposed to LA, Chicago, etc.)

[Bruno Ybarra] Well, I could really go out on a limb here to extoll the virtues of New York and SF’s obvious similarity as proverbial ‘points of entry’ for culture, art and geographical locales. However, the reality is that we just ‘happened’ to live in these cities. Jay and Dave are true New Yorkers … and I’m definitely got a case of Left Coastism … so the real question is how we can agree to anything to begin with! ; ) Somehow it all works – thanks to the recent benefits of technology.

- Personally, I know my fave Naked Music releases and songs change over time. What’s your current favorite release?

[Bruno Ybarra] Hmmm… probably one of my favorite Naked tunes at the moment is a track called ‘When’ that will appear on the Lisa Shaw album. It was produced by Eric Stamile and it’s hands-down one of the most beautiful things I’ve heard in quite some time … the production really conveys a sense of vulnerability that really hits you right in the middle.

- Who are some of your favorite artists (be they current or from the past) who are not on any of your label affiliates?

[Bruno Ybarra] I’ve had so many favorite artists in so many different phases of my life … but some of the more consistent ones would have to range from the Clash, Beatles, Led Zeppelin and Pink Floyd to Bill Evans, Radiohead, PJ Harvey, Lonnie Liston Smith, Chaka Khan, Elvis Costello, Miles Davis – and everything in between. There are tons of groups and artists that I enjoy single albums and/or tunes from – but it’s a true test to find artists that have been consistently great over long periods of time. Not an easy task…

- If someone wants to book or feature one of your artists or projects, what’s the best way for them to connect with you?

[Bruno Ybarra] Just send us an email! We’re all ears…

- What are some essential steps, for both artistic and commercial success, that you would recommend upcoming DJs/producers take?

[Bruno Ybarra] The most important thing I could stress – is to be yourself! I know people have said it from the beginning of time – but it’s the only real way to insure success as an artist and truly create a niche that only you can fill. Always do things for the love of it and you’ll never be disappointed.

- What’s your latest release, and are there any upcoming releases or tours you’d like folks to know about?

[Bruno Ybarra] Our most release release is Bare Essentials 2 – which is a combination of some of our highlight tunes from the past year and a half (and some new ones as well). We’re also currently working on the Lisa Shaw debut album, the Gaelle album, a DJ Harvey comp and a Bugz in the Attic comp … plenty more to come!

Lastly, thanks so much for your time with this interview! Anything else you want to add (our audience consists of both artists and people who love good music), please feel free to speak from your heart.

[Bruno Ybarra] I really appreciate you taking the time to ask the questions – really feels good to know that people are interested in today’s music in its many shapes! Thanks for considering us with your time and energy.

Visit Naked Music

SHOP Naked Music




Originally published at Blogcritics.

 

Crouching “Tortoise,” Hidden Magic: The Jazzyfatnastees Chat – by Jianda Johnson February 27, 2003

On the day the Jazzyfatnastees’ second release is out (“The Tortoise and the Hare”), we call Tracy Moore, one half of the one-two power punch that is the Jazzyfatnastees . She is stranded in Memphis, Tennessee.

“Home of Elvis Presley, ‘The King!’ Tracy enthuses. Apparently, it’s hot out, and there’s been a mix-up about her hotel. Okay…she’s not stranded , really. As we got to talking, she sauntered over to the pool to recline. All nice, natural and cool, just like her music.

JJ: So, you’re touring on the Sprite Liquid Tour with Talib Kweli. How’s that coming along?

Jazzyfatnastees:It’s going well. It’s been nice, and pleasant. I can’t complain. It’s cool, because we had to take a hiatus (Mercedes Martinez, “the other sis,” recently had a baby), so I had free time. Gave me something great to do.

JJ: Excellent. So, what inspired the title of your album?

JFN: Well, you think of that old folk tale. The tortoise is sure and steady and consistent on his path, and the hare is quick to get to the finish line. All he cares about is being the winner. And it just parallels the path we’ve taken with the industry. Staying steady to what our truth is, as opposed to trying to race ahead, like the music industry usually does.

JJ: Jazzyfatnastees used to be a bigger crew, and then there were two—you and Mercedes. How did the Jazzyfatnastees come to be to begin with?

JFN: We really felt like the only people who could write what we wanted to say, was us . And when the “Jazzies” first formed. we were that kind of group. We agreed to be together, and immediately understood that each voice needed to be heard equally–and we didn’t feel like another writer could do that.

JJ: The Jazzies had mentioned in the press there were some challenges with record labels—people trying to stick you in a genre box….trying to make you like En Vogue….

JFN: The four of us, when we formed we wanted to write our music. We knew what we wanted to do. And upon doing that, we immediately stared getting people wondering how we were actually going to pull it off. Our song structures were atypical. We were all lead singers with four-part harmony. How are we going to make it work, everybody wondered? We were fighting to be heard, and for each one of our individual voices to be heard. So, by the time the whole Tommy Boy thing ended and we searched for a new home (we found that in the Roots, their management), we had been together for like, three or four years. So, we learned a lot of things on our own. No one was taking us seriously because we were girls. We were younger, but still…when I joined, I was 22. We were young, but we weren’t that young!

JJ: Tell us how you feel about “neo soul.” How do you feel about the promo machine? The construct vs. our reality…the “business” part of the music business?

JFN: What they call “neo soul,” we were doing that in ‘92 or ’93, and at the time, people thought we were out of our minds! We just didn’t care that nobody liked it. So, it’s funny, because we fought so hard for so long to be heard. So much of music then was so contrived. I definitely feel like if that’s where your heart is and what your music is about, more power to you. I don’t have a problem with that. I just don’t see why we have to one-up each other. Why we can’t all just be a collective, and work towards expanding the minds of our children who, at this point, don’t have a clue what real music is about.

Also, it doesn’t matter who’s making’ it—the Roots, Jazzies, Maxwell, Talib Kweli, Common…as long as it’s comin,’ it doesn’t matter where it’s coming from. As far as black music and this particular movement, it’s always “one person on top.” There’s D’Angelo, then Maxwell knocks him out, then Erykah, then Jill knocks her out…

How can you have Vanessa Carlton and Michelle Branch, they sound alike–same label. One plays guitar, one plays piano, but they’re equally supported. With us, people gotta find somebody to deem as the conqueror. It’s crazy! Then, I don’t wanna get into being a black female songwriter…how no one takes you seriously…I’ve been writing for years, and it’s so hard. And Missy Elliot…she’s a great writer, but is she an all-around writer? She’s helping create the urban pop scene today, and that’s great. But, what about all the other writers up there, and people only hire one writer…Missy. Then there are all these men writing all this stuff for the women, why is a man writing for a woman—when there are so many good female songwriters?

JJ: Agreed. It’s a reality we need to look at. You’re looking at it all head-on, much respect for that. Mad respect…I heard about a singer-songwriter once who was totally ignored and they just paid attention to her band, who hadn’t even written any of the songs…

JFN: ”Yeah, right? Like, ‘we just need a little hook written, and look pretty for us.’” (Laughs) The fact that we are both attractive women, I mean, thank god we found a family and a manager who believed in us who know that beauty works for you, but that’s not it. We’re a lot more complex than the way we look, and dress. We have voices and we want to be heard.

Richard Nichols, he’s our manager. He manages The Roots, Jaguar…and I don’t know where we’d be if we hadn’t found him. We were desperately seeking something, and had already exhausted anything everybody could have possibly done for us. We have already worked with Stevie Wonder (On his album “Conversation Peace”), so where do you go from there? You don’t get any bigger than that, as far as respect, and songwriters go.

That album wasn’t his greatest masterpiece. I think he feel into the loop we all do. You start believing the hype everybody is telling you. Meanwhile, Stevie created a whole form of songwriting, all his own. You don’t have to follow anybody, Stevie! :) We’re following you, everybody in the game is following you. There are just too many people in everybody’s ears sometimes. Too much talking, not enough creating, supporting. Too much judgment rather than, “let me see who I’m going to be.”

JJ: That brings Jill Scott to mind. She is a big, beautiful woman, and when they first shopped her music, they didn’t show any photos. Her voice is what caught us, and she is just this beautiful presence, but people wouldn’t have taken the time to listen to her at first—at least there’s that possibility. And how she looks, she’s just been so embraced; it’s a pleasant surprise.

JFN: She’s incredibly talented, and she came at the right time. Sadly, not too many big girls are becoming sex symbols. So she was another person to open a door. To let people understand that it’s bigger than that. It’s really hard being a woman in this industry. Nobody gives a sh*t. If you don’t look good, forget about it. I know the reason we’ve been able to get ahead is because we’re beautiful, you know? But it’s okay. I understand it. But I’m somebody of substance. More than just that—and I WILL get heard.

JJ: That’s so valuable for our audience to hear—music lovers, artists of all kinds, anyone, really.

In that vein of confidence and support, tell us about Black Lily (blacklily.com), the “Women if Music Series” of performances in New York and Philadelphia.

JFN: We started it about four years ago at The Wetlands in New York. We wanted to give other female artists an opportunity that we didn’t have when we were trying to figure it out. To have an audience…and really work out what they are trying to do for themselves…and see if people are responsive, and also to help them gain confidence.

JJ: How can indie artists get involved?

JFN: The best way to get involved would be to send a tape to the office—either to Okayplayer.com, or Rykodisc, and we’ll listen. If you’re trying to get a spot, we need to know what you sound like, etc., but anybody is welcome to submit whatever they like at any time. You can find out more about it at Blacklily.com also.

JJ: Speaking of…you’ve got a website, photos, all kinds of multimedia at your Okayplayer site…it’s wonderful.

JFN: Yes! Go, Internet! It’s about to change the world, just like the music movement I’m in. We’re that underground voice that’s tryin’ to be heard, saying, “Look, there are other things out there.”

JJ: It seems you carry a responsibility, and take great pleasure in taking real control over your image, a sense of agency—making that a part of everything you do.

JFN: Yes. We are doing it ourselves. CoolHunter is Richard’s label, so they just handed us the money and we did what we wanted. We hired our photographer. With MCA, we spent so much money and we got nothing. We told them “we’re telling you what our concept is, we’re clear about this. Trust us,” and they refused to do so. They spent money (and not even a lot) on a video, the budget that we got…it wasn’t that much money, but for them, it was a lot of money to spend on us, because they didn’t think we were going to go anywhere (which made us think, “then why did you sign us??). They got it all wrong. We had to go back and trying to fix it at the end. They didn’t support our vision. Now we’re doing it the way we want to do it, and it’s been working out thus far.

No one knew our music was out last time–I think that’s what we were lacking. Our fans, and music fans, they know about us, because they’re into finding what’s new, what’s unique, what’s putting out a vibe. So, as far as I’m concerned, those people are like artists. They have the same mindset as I do: always just looking for something that makes them feel good. We did reach people.

And even if we never do reach “the heights,” we have Black Lily, which is really starting to fend for itself. We perform there every week. People do call us for gigs. We’re fine. I completely support myself. I haven’t actually had a regular job since 1992. The way things have gone for us, it’s been great. We’ve just been really, really blessed. And blessed enough to have people believe in us, so we can believe in ourselves. So, we’re going to be fine regardless. We finally got a chance to finish our album exactly the way we’ve wanted to, so I’m very excited about it. If nobody but our fans listened to it that would be great. I know we do have some diehard supporters, and that’s what we’re concerned about today.

JJ: You mentioned Mercedes is a mommy now, which is fantastic. And you’re about to embark on a U.S. tour, so how’s that coming to light?

JFN: We’re planning to go back in October, and do some shows that first week. Black Lily shows, and show in Philly and New York, Washington and Boston, those are where our fans are, and we can drive….the baby’s still young, a. brand new baby. I feel like we’re going to be taking him around enough when he gets a little older, so we’re tying to do it right.

It’s a day to day struggle, but families are like that. We’ve been together for 10 years. We’re like family. We’ve had our sh*t, too! Not speaking to each other, then the best of friends, then those days like, “let me just get through it…” We’re sisters, and we do have our days, but it never gets beyond a point where we can’t look at each other and try to work it out.

I think that right now we’re in a very good place with ourselves as well as where we’re going. Now, we really are making the calls for ourselves and that gives you a certain sense of joy in yourself. When you feel like the things you are doing in your business and home life are working, you’re just a happier person. And it makes the group that much stronger. So yes, we’ll be back in October with our first show.

JJ: That’s so cool. Keep doing what you’re doing. Hope they figure out your hotel situation…!

JFN: That’s all right. I’m just sitting by the pool, talking to you, my feet in the water, relaxing, cooling down. It’s fine. JJ

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Official Homepage: okayplayer.com/jazzyfatnastees

reprinted from sugarmamapr.com

interview by jianda johnson