Podcasts Unite (pt. 2): A Conversation With Greg Soden (Unscripted Moments: A Podcast About Propagandhi)

https://www.podbean.com/media/share/pb-2mtpi-1881d62

(RECORDED ON APRIL 15, 2025) As our last episode involved a conversation with someone who is not only in one of our favorite bands, but also someone who is in arguably one of the most important bands of our time; we feel really happy to have that episode be followed up with someone who not only understands what it’s like to create a podcast, but whose podcast is themed around the very band featured in our previous episode!

Greg Soden, co-host of Unscripted Moments: A Podcast About Propagandhi, was kind enough to take the little time he had out of his day to speak with us.  There were so many things we wanted to ask and talk about; in our brief time together though, we discussed the inspiration for making a podcast on such a band as Propagandhi.  We also spoke about his experience as an educator, and what he does to bring positivity and move beyond limitations in that experience.  And of course, we discuss the couple of songs that have been released (up to this point) off of Propagandhi’s upcoming album.

Thanks for listening! 

To listen to Unscripted Moments, go to: https://unscriptedmoments.libsyn.com/

If you have any questions and comments for us, you can contact: musicandwepodcast@gmail.com

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Working On Being ‘At Peace’: A Conversation With Propagandhi’s Chris Hannah

https://www.podbean.com/media/share/pb-jstct-1858b6f

(RECORDED ON MARCH 20, 2025) The creation of a podcast (or radio show) is an interesting process; one of the most rewarding parts can sometimes be the most heartbreaking, as you take a lot of chances in hoping the person you’ve contacted will reach back out to you.  Many times they do, and there are times they don’t. 

But you keep on pushing.

And pushing on is what Propagandi has done since the birth of their existence.  Facing rejection, isolation, threats and more over the years, they never waned on their mission to be a musical representation of the ‘Animal-Friendly, Anti-Fascist, Gay/Trans/Non-Binary/Intersex-Positive, and Pro-Feminist’ voice. 

jamilah has had a relationship with Propagandhi’s music for over 20 years (beginning with Less Talk, More Rock), and they have become one of her favorite bands of all time. So admittedly, sitting down and having a conversation with guitarist, vocalist and co-songwriter Chris Hannah was a long-time dream, fulfilled.  

Chris and jamilah discuss a range of subjects, from growing up as punk (and metal) kids in the 80s and 90s, aging bodies and self-care, musical inspirations, subject matter caveats, ideological maturation, current Canada/US relations, parenthood, and more.

Songs featured:

-Fuck The Border (Today’s Empires, Tomorrow’s Ashes, Fat Wreck Chords, 2001)
-Oka Everywhere (Where Quantity Is Job #1 (Compilation), G7 Welcoming Committee, 1998)
-When All Your Fears Collide (Victory Lap, Epitaph, 2017)
-Haillie Sallasse, Up Your Ass (How To Clean Everything, Fat Wreck Chords, 1993)
-Comply/Resist (Victory Lap, Epitaph, 2017)
-A People’s History Of The World (Less Talk, More Rock; Fat Wreck Chords, 1996)
-Apparently, I’m A “P.C. Fascist” (Because I Care About Both Human And Non-Human Animals) (Less Talk, More Rock; Fat Wreck Chords, 1996)
-Superbowl Patriot XXXVI (Enter The Mendicant) (Potemkin City Limits; G7 Welcoming Committee/Fat Wreck Chords, 1996)
-Dear Coach’s Corner (Supporting Caste, G7 Welcoming Committee/Smallman Records, 2009)
-At Peace (from upcoming album ‘At Peace’; Epitaph, 2025)
-Rio De San Atlanta, Manitoba (Less Talk, More Rock; Fat Wreck Chords, 1996)
-Cognitive Suicide (Failed States, Epitaph, 2012)
-Letters To A Young Anus (Victory Lap, Epitaph, 2017)
-Note To Self (Failed States, Epitaph, 2012)

Thanks for listening!

For more information and to keep up with Propagandhi, go to:  https://propagandhi.com/

To get a hold of us, you can reach us here: musicandwejj@gmail.com

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On Being A Leftist In The Black Metal World: A Conversation With Brutus Bathory

https://www.podbean.com/media/share/pb-4brvr-17f210e

(RECORDED ON FEBRUARY 28, 2025) Black Metal as a subgenre tends to get a pretty bad rap- not only because of its sound, but also because some of the most well-known proponents have unsavory, toxic and hateful alliances.   On jamilah’s search for some counters to this stereotype, she found the Youtube channel of a certain Brutus Bathory, a leftist Black Metal fan who gave an anticapitalist, critical lens to the music he loves. 

Slightly sarcastically described as a channel which discusses “Metal, politics, and other uncontroversial topics,” Brutus addresses the contradictions of patriarchy, consumerism, and the various forms of reactionary sentiments and behaviors which permeate the scene.  His commentaries are a measured love letter of sorts; with well-researched, and pretty accessible responses.  While he displays adoration for a music that has gotten him through life, he pleads for its static nature to cease.

In the conversation, jamilah and Brutus discuss some of the content of the commentaries, as well as addressing some of our own personal (at some points major) contradictions regarding the music we love. 

For questions, comments, etc.  you can reach us here: musicandwejj@gmail.com

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Patriarchy, The Abdication Of Responsibility, And The Deliberate Nescience Of DJ Akademiks

creative commons

i tend not to write much about ‘internet culture’ as a whole, as i don’t follow the ins and outs of it; therefore it would make little sense for me to speak in depth on it. However, there is a particular series of sentences i heard within the past day or two that disturbed my spirit and shook me to my core.

"For me, I look at it like this.  Y'all are acting like y'all not men.  If this was a woman, I would've just either typed up an apology or sat here and read out a script.  If it was a woman...  And I know y'all would be like, 'Who cares if it's a woman or a man??!!...  It's just how it happens when it comes to men....  That's the only thing I could kinda be like, 'Bro, y'all are treating this kid like this is a female that _______ have cornered and victimized...  When I was in high school, yeah, my friends who might have been older was like, 'Damn dog, you ain't do blah blah blah yet?'  That was a kind of conversation...  I didn't look at that as predatory.  I didn't look at it as 'Oh this guy is weird 'cause he's asking me 'Oh, oh you like this girl and you ain't fucked her yet?  I didn't look at it as that, but I get it; we're in this era where everything' is...'s a little bit weird to people.  If the majority of the people in the world wanna say, 'Oh yeah, no no, that's weird, you can't ask young men about if they've lost their virginity' or if they would do blah blah blah...  Especially if you have like a, you know, if you have like a big bro, little bro situation- Okay, I get it.  I'm not tripping.  But historically with me, I've seen that where that's not that big of a deal.  And I guess maybe that's why I didn't respond or even think about the situation in that type of way, because I'm like, it's not like we're saying this to a female; we're saying this to a dude.  He also doesn't live in this country.  We're jonesing on him: 'Bro, you not fucking bitches? Yo, you not doing this?'  Now i've realized that we're in such a woke era, that these guys are saying that jonesing on a male about sex; granted yes, underage, is grooming.  I'm gonna be honest with you, I'm gonna cool off being in any type of space with these guys."    

Please take this in, then read it again and comprehend why it is crucial to not ignore this.

For those who are not aware, Livingston Allen- better known as DJ Akademiks, has faced massive amounts of backlash after he (and others) attempted to force a 15 year old (whose pseudonym is NourGxd) into discussing topics of a sexual nature, which obviously made NourGxd uncomfortable. Despite his protests (and multiple acknowledgements of his age), Akademiks and others on the call continued to push. At one point he asks, “You’re telling me there’s not another 15-year-old you could buss down?” One person stated they would send strippers to his house. Plaqueboymax is the person who’s page Nour moderates, and in the midst of this conversation there was the suggestion that Nour could gain experience with Max’ sister, who is an adult.

i want to commend Nour for practicing situational awareness, and holding his ground against people who appear to find sexual harassment of not only unwilling participants virtuous, but a minor.

While the bulk of the backlash is due to Nour’s age; while i do hope this isn’t the case, i cannot say if the critique generally has moved beyond that.

After he was banned from Twitch and (allegedly) lost a sponsorship, Livingston stated that his actions “Definitely” created “a regrettable moment, and we’re going to use it as a teachable moment. Because I don’t think I’ve came this far, built this platform, to be that irresponsible, right?” Despite whatever regrets he may carry (sincere or not), is it plausible to believe that this person (who has a biomathematics degree from Rutgers University) has learned anything from this, given his experiential take of it being “not that big of a deal.”?

Historically, African people were sold and forced to breed by people who stole and enslaved them. Historically, people faced state violence for just existing. Historically, there were Japanese internment camps. There were forced relocations. There were death camps. There were many things historically that had mass sociopolitical support. Simultaneously, there were always those who actively resisted.

i can guarantee that a person like Livingston Allen doesn’t advocate for chattel slavery; that said, i cannot be sure if he’s necessarily in opposition to state violence, as past YouTube channels he created in 2014- Crime Fails and The War in Chiraq– served as an exploitative mediator between popular culture and the carceral state. Perhaps this is the historical materialist in me, but if you are going to appeal to history as your rationale for an unwillingness to change, then remorse is primarily a means of reacting to the backlash you’ve received.

Livingston’s trajectory is unsettling, because there are multiple levels of biological determinism he utilizes in both his appeal to history, as well as how he’s presented himself on the internet. It can be difficult to grasp because he’s done it in a way that people, by proxy, associate with ‘hip hop culture’. But frankly, on some level there isn’t much of a distinction between what he does, and what hardcore right wing and fascist formations do, save his complexion.

What makes what he does even more dangerous is that, as descendants of both colonizers and the colonized, the majority of us are conditioned to perform similar levels of biological and cultural determinism, some of us even acting it out. i have seen quite a few people attributing his behavior to the fact that he is Jamaican, and due to this, he should be deported. It goes without saying that thinking the behaviors of a few are indicative of the area of the world they are from is illogical because again, there are always going to be people who resist cultural and sociopolitical norms. Also, if one’s behavior is due to being Jamaican, you would then have to reckon with Jamaica being the recipient of British colonization.

It also goes without saying that the second portion of these sentiments is troubling, in that they echo a certain ‘American exceptionalism’, whether conscious or not. In advocating for deportation of someone who performs the same levels of toxic behavior as many who were born and raised here not only neglects to examine the origin of this behavior; but it is confirmation of the lack of our collective organization and political education. i hold no doubts that a percentage of people among this group advocate for the current wave of mass deportations that are occurring as well.

“…(I)t’s not like we’re saying this to a female; we’re saying this to a dude. He also doesn’t live in this country.”

Nour, the young person who was sexually harassed and bullied by Livingston Allen and his associates on a Discord call, is Palestinian (a place that, in case one has forgotten, is currently experiencing a genocide, where ceasefires are unsurprisingly being violated), currently residing in Malaysia. In the course of his life he’s also experienced the loss of his mother. While i don’t think the geographical location is integral to discussing why Livingston’s behavior was atrocious; there was seemingly an insinuation that any pushback from Nour- a person who appears to spend significant time on the internet, as he moderates a Discord page- was due to his inability to fathom ‘American male humor’.

The primary qualification of ‘American male humor’ is its promotion of hierarchical structures of power. Jocular on its surface; from Asian men being de-sexualized to the ‘don’t drop the soap’ winks and nods, it relies on the more insidious tropes of misogyny (and all which fall under it), racism and xenophobia to fuel its punchlines. The level of peacocking displayed by Livingston and his associates as a means to get a rise out of Nour is the type of thing that got many a laugh out of people in various comedic films in the 80s and 90s. When Livingston taunted Nour with the question, “(I)f (Plaqueboymax) said he wanted to try fucking a dude, will you let him fuck you?,” Nour responded that he is not gay. In turn, Livingston retorts (in the form of a question), “Why not? Yo, suppose he’s like your bro, ‘Listen, you always wanted me to be next to you, now I can be inside of you.’ 

We must move beyond the simplistic reasoning that asking such questions means the person who asked the question is gay. Making assumptions about one’s orientation (with situations like this in particular) ultimately trivializes the clarity of these questions being asked, in which the objective is to establish a hierarchy. These questions (and the exchange in general) were to be seen as a rite of passage for Nour. If he passes the test, then he can become a man in the eyes of the group.

The response to Livingston at this time appears similar to the responses given for both Sean Combs and R(obert) Kelly. Their behaviors have been known to be abusive; in fact, Livingston recently faced accusations of his own. In this society, allegations (or even evidence) of assault of women don’t always warrant cessation of sponsorships or removal of platforms; however, when the accused’s behavior is to have been found unbecoming in relation to young boys, it becomes a sort of angered comedic fodder- hence, the spate of passing ‘No Diddy’ comments, as a modern replacement for the unfortunate ‘No homo.’ The ultimate message is that abusive behavior towards young boys (when you are a man) is an affront to the hierarchy of cis-hetero masculinity, rarely addressing the abuse in and of itself.

If the abuse in and of itself were actually confronted, we would not, for instance lionize the film Sweet Sweetback’s Baadasssss Song for being a positively transgressive work of art, when the opening scene is literally Melvin Van Peebles sexually exploiting his son on camera. (Ultimately, like with That’s The Way Of The World, the quality of Earth Wind & Fire (before the fame)’s soundtrack heavily surpasses that of Van Peebles’ film).

If the abuse in and of itself were actually being confronted, the video of R(obert) Kelly urinating on a teenage girl would not have been passed around en masse as entertainment. i am also going to posit that if Michael Jackson publicly presented himself as traditionally masculine and spent similar time with young girls as he did with boys, he would obviously be met with some resistance (though not with as much frequency), but he would not be the punching bag to a comedic lightning round. While this did not make him immune from toxic behaviors; from reading his book (as well as interviews), it appears that Michael’s constructed persona was in opposition to the hypermasculine, stoic patriarch of Joseph Jackson, who discouraged his children from calling him ‘Dad’. Michael even talked about how Joseph and his older brothers would (allegedly) have sex with ‘groupies’ while he and brother Marlon would pretend to be asleep. Because of his constructed persona, as far back as the late 1970s (and long before the abuse accusations), Michael Jackson was assumed to be gay- one publicized (unfounded) rumor being that he was in a partnership with actor Clifton Davis, who wrote the Jackson 5 song ‘Never Can Say Goodbye’.

“If this was a woman, I would’ve just either typed up an apology or sat here and read out a script. If it was a woman… And I know y’all would be like, ‘Who cares if it’s a woman or a man??!!… It’s just how it happens when it comes to men…. Now i’ve realized that we’re in such a woke era, that these guys are saying that jonesing on a male about sex; granted yes, underage, is grooming.”

There is a quote famously attributed to Maya Angelou: “When someone shows you who they are, believe them the first time.”

When Livingston Allen claims to show remorse for his recent actions, this doesn’t align with his overall response, which is that showing concern for a young person who is clearly the recipient of harassment is ‘woke’, and equitable to concern for a ‘female’. Because of course, concern for the well-being of a child is an inherent feminine trait which ‘real men’ should not be participating in. ‘Real men’ engage in subjugation/domination, and should never devalue their worth by displaying vulnerability.

The fact he admits that his form of an apology to a woman or young girl would be the composition of a script is to me, an ample demonstration of his lack of sincerity in apologetics. It’s clear that, without pressure, he never felt the need to apologize, so having one which is prepared is used as a means to stave off further accountability.

What he did was indeed a form of grooming; but similar to the assumptions made around orientation based on these actions, it is imperative we look beyond conventional conversations around grooming in this day and age. The fact that Livingston and his associates idealized the concept of ‘boys being boys’- that is, putting people in situations they did not consent to- perpetuates the notion that children can never be children, in its truest sense. The fact that it is deemed unfavorable for a boy to not have had intercourse by the age of 15 (or at least thinking about planning to do it) says a lot. The fact that girls are demonized and shamed if they have had sex at that age means that the expectation is for boys (who cannot be with girls their age because said girls are supposed to be virgins), if they are going to be men, to have sex with women.

Women. Adult women.

Nour was not being groomed simply for the pleasure of the men who engaged with him on the call; the grooming was for them, a preparation; a ‘masterclass’ of sorts, for ensuring he learns to uphold the hierarchies expected upon him. As a matter of fact, the response to the criticism was essentially, ‘The kid started it.’ Allen and his associates maintained that they, men in their 30s, needed to match Nour, a 15 year old kid’s energy. While some may refuse to interpret it in this way, their rationalizations fall adjacent to rape culture. Despite a clearly uncomfortable Nour telling the adults in the room to chill, the adults continued; not unlike a person who was previously okay with sex, now wanting to stop- and the other person is not listening to that request.

According to his bullies, this child started it (aka wearing an armor of weakness/feminine traits), so he was deserving of how he was treated.

The harassment of this child occurred because a few things he said were assumed to be ‘gay,’ and of course, the adults in the room are not gay. They had to prove a point to show who was the ‘real man’ in the room. The role of peacocking in cases like this, as is every level of assault, is to enact domination onto those you deem weaker. It is purely about asserting power.

And as we admonish Livingston Allen and his associates for their behaviors; we need to engage in self-reflection/self-criticism for our own participation in or acquiescence to the environments and systems which enabled a DJ Akademiks.

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jamilah Makes A Record, And jesse Interviews Her…

https://www.podbean.com/media/share/pb-kubxw-17c4d98

(RECORDED ON JANUARY 20, 2025) Well…  We don’t know what to say.  jamilah is usually the one asking the questions, talking to others about the things which inspire them.  Because she recently came out with a record (called One Day I Slipped And Fell On A Thought), jesse had an idea- and to her surprise, that idea was to flip the mic around and ask jamilah some questions. 

She discusses the process for making the record, as well as some of the methods, events and people which inspired her.  Hopefully, the episode is interesting!!!!!!!!!!!!!!!!!!!!!!!!

One Day I Slipped And Fell On A Thought is here: https://teodorasfist.bandcamp.com/album/one-day-i-slipped-and-fell-on-a-thought

For questions, comments, etc.  you can reach us here: musicandwejj@gmail.com

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My 25 (current) Desert Island Discs

The last post i made was regarding my 100 (current) favorite records (plus five more); but unless you have a whole digital database of records, you cannot bring everything with you. So of course the question becomes, if you were going somewhere for an extended period of time or were (hypothetically, perhaps) stranded in a particular location (like an island), and had a choice of only 25 pieces of physical media- records, CDs or cassettes- to carry with you, what would those be?

A few of these records have been on that list for many years, but other choices, i had to think about. Nevertheless, while not necessarily in order, here it is:

  1. Diana Ross- Diana (Motown, 1980)

    Written, arranged and produced by the great Bernard Edwards and Nile Rogers, Diana, to me, is one of the greatest pop albums to exist on the face of the earth. Born from the legacy of R&B and maintaining its funk-laden disco roots (before it got heavily commercialized and demonized by racists, homophobes and ‘music purists’); as with every record they’ve produced, the album has its Chic stamp all over it, while simultaneously highlighting the artist’s autonomous voice.

Despite Ms. Ross having several post-Supremes albums prior to this album (all of which i actually enjoy), this was her true ‘coming out’ (no pun intended, honest) album. This was the first of her albums that was stripped of all the ‘Motown glamour’. It also was where she openly had some creative influence, as she (along with Russ Terrana) remixed the album, giving it a much cleaner sound than the original Chic mixes.

This album is like being privy to a party in Soweto, with Tony Thompson’s ‘4 on the floor’ drums, and Rogers’ percussive guitar. This has been on the desert island disc list for as long as i can remember.

2. Earth Wind & Fire- All N’ All (Columbia, 1977)

There is no way i would ever leave my favoritest ever band ever in the whole world off this list. Rooted in eternal connection between Africa and her diaspora, the album is also inspired by everything from travels to Brazil to Close Encounters Of The Third Kind.

This album is one of the aural definitions of perfection. This album is pure love.

3. Public Image Ltd.- Metal Box (Virgin, 1979)

i am about to commit the biggest punk crime of all when i say that i was never really into the Sex Pistols. i had Never Mind The Bollocks (on vinyl), but i don’t think i listened to it more than two or three times, before i got rid of it.

i found PiL, and i fell in love. While i absolutely love Public Image (aka First Issue), it was Metal Box (later issued as Second Edition) which became one of my biggest musical inspirations. With it, John Joseph Wardle (aka Jah Wobble) became one of my biggest bass inspirations as well. In fact, i had Second Edition first for a bunch of years, before i found a copy of Metal Box in an antique store some 20 or so years ago. Nothing was the same when i found that film canister.

This album was like post punk, prog, proto noise, spoken word, avant garde, dub… It was both anti-music and pro music at the same time, akin to Captain Beefheart’s brilliant Trout and Decals albums (and maybe even some Ice Cream For Crow). It was an album that could not be recreated, especially when the band never had the same incarnation for that long.

Tales of horror, death (impending or actual) and the general absurdities of existing as a human, Metal Box utilizes sound itself as part of the narrative, whether it’s tape loops, sped up, slowed down vocals, or the recipient of a locked groove (as with the Metal Box-version of ‘Swan Lake’).

4. John Coltrane- Giant Steps (Atlantic, 1960)

i don’t even know what to say, honestly. This album (especially the title track) forever changed my life. Despite being exposed to music my whole life, when i was 19 years old i heard ‘Giant Steps’ and Herbie’s ‘Maiden Voyage’, instantly i fell in love with music. They led me to understand why music was important.

Giant Steps was the calm before the ever crucial storm that was the Impulse! era. i will forever be indebted to this album for being a teacher to me.

5. Pulp- Different Class (Island, 1995)

While seemingly a mix (and continuation) of their previous albums’ themes (It, Freaks, (and especially) Separations and His N’ Hers), this is the album where i feel the band finally fine tuned their craft.

Even the cover does its job: The band, devoid of color, are pictured in a wedding scene, as if they’ve interrupted it. Pulp, in a way, disrupted pop music. i see Pulp (and Different Class in particular) in a similar way as i see the Kinks: musical underdogs that made it into the pop lexicon, who made songs about class discrepancies with a sardonic wit.

Pulling from other aspects of pop sensibilities (and riffs), Pulp utilized a dry humor (and a bit of sentimentality) to tell tales of infidelity (maybe?), intoxicated partying, poverty tourism, lost love, and the joys of new love.

(The show i saw from this tour is also, to this day, one of my favorite ever shows of all time. i remember it pouring outside all day, and Timothy Leary just passed).

6. Mission Of Burma- Signals, Calls And Marches (Ace Of Hearts, 1981)

Simultaneously angular and catchy, this is one of those albums that helped to form what i love about music today.

7. Memphis Minnie- The Best Of Memphis Minnie Vol. 1 1929 – 1938 (Blues Documents, 1982)

i have no idea why this woman is not listed in the pantheon of greatest guitarists- but now that i think about it, neither are Sister Rosetta Tharpe, Elizabeth Cotton or Maybelle Carter (or Leslie Riddle, who was a massive inspiration on Carter).

More people need to know who this woman is.

8. Bad Religion- The Empire Strikes First (Epitaph, 2004)

Bad Religion is one of my favorite ever bands of all time. This is my favorite Bad Religion album of all time. This album has one of the greatest album openers of all time. The first side of this album is a powerhouse. This album contains my favorite Bad Religion song of all time.

End of story.

9. Steel Pulse- African Holocaust (Real Authentic Sound/Sanctuary, 2004)

The band which brought inspiration for a(nother) certain hardcore band (Earth Crisis), African Holocaust is actually my favorite Steel Pulse album. This album is always going to be on time, whatever desert island we go to.

10. Metallica- St. Anger (Elektra, 2004)

i don’t even think i need to explain this one.

11. Billy Ocean- Nights (Feel Like Getting Down) (GTO/Epic. 1981)

Billy Ocean’s third, this is one of those albums that, to me, are adjacent to both Earth, Wind & Fire, and the 70s/early 80s era of Quincy Jones productions. He also was kind of a bridge between the era of UK-based funk and R&B bands like the Olympic Runners and Light Of The World, and groups/artists such as Musical Youth, Skipworth & Turner, 52nd Street, Loose Ends, Mel & Kim, and Princess.

Before the ubiquitous success of albums such as Suddenly and Love Zone… There was Nights. While it was released at what was essentially the tail-end of the ‘Disco era’; you cannot deny that these are roller skating jams.

12. Tracy Chapman- Tracy Chapman (Elektra, 1988)

i don’t care what anyone says; this is objectively, one of the greatest set of songs to ever be recorded on the face of this earth. Stylistically in the tradition of Joan Armatrading and/or Joni Mitchell before her, Chapman’s narratives are without affectation, and not a lot of metaphor. This album addresses sociopolitical injustice, the masses’ reaction to said injustice, mass consumerism/over-consumption, gender-based violence (and police neglect), class inequities, and the various shades of relationships.

13. The Jesus Lizard- Liar (Touch & Go, 1992)

The Jesus Lizard are one of my favorite bands of all time. This album has one of the greatest openers of all time. This album has my favorite Jesus Lizard song on it. There’s also cats on the cover.

That is all.

14. Wire- Pink Flag (Harvest, 1977)

i for the life of me will never understand why people consider punk bands to ‘sell out’ when they get signed by major labels. Not only did you have ‘proto-punk’ bands such as Talking Heads, Blondie, the New York Dolls and Television signed to Sire, Chrysalis, Mercury and Elektra (the same label as the MC5 and the Stooges); two bands who were considered among the most influential- the Sex Pistols (originally signed to EMI if i’m not mistaken, then got signed to Virgin/Warner Brothers (and Phonogram in Europe, and Columbia in Japan)), and Ramones (Sire, distributed by Warner Brothers).

And you had one of the greatest punk albums of all time- Pink Flag by Wire- on Harvest, the same label as Pink Floyd.

A good album is a good album, regardless of label.

15. Traffic- John Barleycorn Must Die (United Artists/Island, 1970)

An album where i always listen to side B as side A; this is the best Traffic album. Don’t sleep.

16. Crosby, Stills, Nash & Young (Dallas Taylor & Greg Reeves)- Déjà Vu (Atlantic, 1970)

Those harmonies… Those harmonies. There were also some pretty dope chord changes on this album.

i also love that bassist Greg Reeves is connected, not only as a Motown session player, but as a friend of Rick James, who played in the Mynah Birds with Neil Young. the world is not as big as we think.

17. Shonen Knife- Shonen Knife (Gasatanka/Giant, 1990)

A compilation of their earlier records (Burning Farm (1983) and 山のアッちゃん。(Yama No Attchan) (1984)), this is an example of punk’s global impact.

It’s also important to note that Shonen Knife has also consistently been a fan of cats over the years.

18. NoMeansNo- The Worldhood Of The World (As Such) (Alternative Tentacles, 1995)

Another one of my all-time favorite bands in the whole world. This album also has one of the greatest one-two punches, with ‘Joy’ and ‘Humans’. i mean, the whole album is brilliant. All of their albums are. But i had to pick one for this list!!!

19. Brian Wilson- At My Piano (Decca, 2021)

There are times where i go on Brian Wilson rabbit holes- the man is incredibly fascinating to me. There are also a few songs of his, that incredibly resonate with me.

This album (which actually includes those songs) is incredibly peaceful; and in some ways, (seemingly) despite its simplicity, adds a layer of texture, vulnerability and beauty to already well-known songs.

20. Greg Graffin- American Lesion (Atlantic, 1997)

As a fanboi of both Bad Religion and Graffin’s solo works, this one was incredibly difficult. i chose American Lesion, not only because it is one of my top 10 favorite albums of all time; but (a. it has traces of what was to come on future albums (the great Cold As The Clay and Millport, respectively), (b. it has the Bad Religion connection (with a rendition of ‘Cease’, and (c. it’s one of Graffin’s most vulnerable, personal albums, with songs i can greatly connect and identify with. For sure, it is an album i’ve cried to.

21. Goblin- Profondo Rosso (Colonna Sonora Originale Del Film) (Cinevox Record, 1975)

One of the greatest, if not the greatest, soundtracks to ever exist on the earth.

22. Teena Marie- It Must be Magic (Gordy, 1981)

One of my favorite ever artists of all time (that’s not a band); she was relegated to the R&B genre by the industry, despite her diverse influences. With that, she was always humble/grateful, and she gave as much love, respect and appreciation to the African communities who provided her just as much, as they took her in and ‘invited her to the cookout.’

She was also seen by many as ‘just a singer’, when this woman was a multi-instrumentalist, arranger, producer, and writer.

23. Buzzcocks- Singles Going Steady (I.R.S., 1979)

Perhaps the greatest name to grace a compilation, Singles Going Steady, while later being issued internationally, supposedly was originally accepted by the band to only be released in the U.S.

The band which birthed what inspired the ‘D-beat’- as the D-beat normally uses a ride cymbal, the beat which inspired it originally used a hi-hat- could also be seen as progenitors of later incarnations of emo (despite them sounding nothing alike), with its lovelorn lyrics, as well as pop punk and queercore.

i have certainly resonated with a Buzzcocks song or two (or three) at points in my life.

24. D’Angelo- Voodoo (Virgin/EMI/Cheeba Sound, 2000)

Black Messiah was among my favorite albums of 2014, but in terms of this ‘desert island discs’ list… The whole album is the epitome of dopeness, but thing that puts Voodoo on the list is its closer, ‘Africa.’

And ‘Devil’s Pie.’ And ‘Chicken Grease,’ which is the jam, even though i’m a vegan.

Let’s keep it real. Just this whole album.

25. A compilation of songs from all the System Of A Down albums (American Recordings/Columbia, 1998-2005)

i love this band, and i couldn’t choose an album. So i would make a compilation. What can i say?

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My 100 Favorite Albums And EPs (Right Now)… Plus Five

Photo: Creative Commons

The ‘favorite albums’ list… This is a list i’ve wanted to put together for several years now, but have never gotten around to it. There is so much music in the world- much of it that i’ve never heard. With that, how does one determine what a ‘favorite’ or ‘best of’ list should entail?

The one thing we DO know is that personal ‘best of’ lists are never static, as tastes change, and there’s exposure to even more music. As you read this list, know that it is not all-inclusive, as i am missing MANY records here that have gone on other ‘favorites’ lists; some of the music listed here is not necessarily an top 3, if i was to do a list for the individual artists- however, they are records i’m absolutely connecting with right now.

The first 20 albums are the ones that are in order currently- the first two have not moved in years, so i do not suspect they will move ever… or at least for a long time. Any records after number 20 are not in any particular order. If you are reading this and asking yourself, ‘Why is number 64 not higher?’; i would not worry too much about it.

i tend to purchase music i actually enjoy listening to, but alas, i cannot compile thousands of records on a list like this. So you only get 100 (for now)… plus five. There’s a variety of music, from jazz to punk to hip hop to ‘avant garde/noise’ to prog to folk, and more. There’s so much music in the world, it would be a shame to confine one’s listening to one genre.

Are there any records here that you’d put on a ‘favorites’ list?

  1. Marvin Gaye- What’s Going On (Tamla, 1971)
  2. John Coltrane- A Love Supreme (Impulse!, 1965)
  3. Herbie Hancock- Maiden Voyage (Blue Note, 1965)
  4. Earth Wind & Fire- Spirit (Columbia, 1976)
  5. Metallica- St. Anger (Elektra/Vertigo/Blackened, 2003)
  6. American Lesion (Greg Graffin)- American Lesion (Atlantic/Epitaph, 1997)
  7. Propagandhi- Victory Lap (Epitaph, 2017)
  8. Astrud Gilberto- The Astrud Gilberto Album (Verve, 1965)
  9. Minutemen- Double Nickels On The Dime (SST, 1984)
  10. NoMeansNo- 0+2=1 (Alternative Tentacles, 1991)
  11. Fugazi- Steady Diet Of Nothing (Dischord, 1991)
  12. The Jesus Lizard- Goat (Touch & Go, 1991)
  13. Captain Beefheart & His Magic Band- Trout Mask Replica (Straight/Reprise, 1969)
  14. Yona-Kit- Yona-Kit LP (Skin Graft/Nux Organization, 1995)
  15. Soul Glo- Untitled LP (SRA, 2016)/Diaspora Problems (Epitaph, 2022)
  16. The Messthetics And James Brandon Lewis- The Messthetics And James Brandon Lewis (Impulse!, 2024)
  17. Cardiacs- Songs For Ships And Irons (The Alphabet Business Concern, 1991)
  18. Andy Bey- Experience And Judgement (Atlantic, 1974)
  19. Angela Bofill- Angel Of The Night (GRP, 1979)
  20. Suzanne Vega- Days Of Open Hand (A&M, 1990)
  21. Meshell Ndegeocello- The Spirit Music Jamia: Dance of the Infadel (Shanachie, 2005)
  22. Mahmoud Ahmed With The Ibex Band – Erè Mèla Mèla (Kaifa Records/Crammed Disc, 1975)
  23. Gang Of Four- Entertainment (EMI, 1979)
  24. Otoboke Beaver- Super Champon (Damnably, 2022)
  25. Funkadelic- Uncle Jam Wants You (Warner Brothers, 1979)
  26. Nat Adderley- Sayin’ Somethin'(Atlantic, 1966)
  27. Dicks- Kill From The Heart (SST/Alternative Tentacles, 1983)
  28. Ministry- A Mind Is A Terrible Thing To Taste (Sire, 1989)
  29. Mudhoney- My Brother The Cow (Reprise, 1994)
  30. Helmet- Meantime (Interscope/Amphetamine Reptile, 1992)
  31. Operation Ivy- Operation Ivy (Lookout!, 1991)
  32. Bad Religion- Into The Unknown (Epitaph, 1983)/The New America (Atlantic, 2000)
  33. Zulu- My People… Hold On / Our Day Will Come (Flatspot, 2021)/A New Tomorrow (Flatspot, 2023)
  34. Sade- Love Deluxe (Epic, 1992)
  35. Prince- N.E.W.S. (NPG Records, 2003)
  36. Melvins- Stoner Witch (Atlantic, 1994)/Bullhead (Boner, 1991)
  37. Shellac- To All Trains (Touch & Go, 2024)
  38. Kashif- Kashif (Arista, 1983)
  39. Elliot Smith- Either/Or (Kill Rock Stars, 1997)
  40. Peter Tosh- Equal Rights (Columbia, 1977)
  41. Dianne Reeves- The Best Of Dianne Reeves (Blue Note, 2002)
  42. DAM- Ben Haana Wa Maana (Cooking Vinyl, 2019)
  43. Pulp- Different Class (Island, 1995)
  44. Public Enemy- Fear Of A Black Planet (Def Jam Recordings, 1990)
  45. Kirk Hammett- Portals (Blackened, 2022)
  46. Scud Mountain Boys- Pine Box (Chunk, 1995)
  47. Agnostic Front- United Blood (Self Released/Last Warning, 1983)
  48. Billy Bragg- Must I Paint You A Picture?: The Essential Billy Bragg (Cooking Vinyl, 2003)
  49. J Dilla- Donuts (Stones Throw, 2006)
  50. Devo- Duty Now For The Future (Warner Brothers, 1979)
  51. Sebadoh- Bakesale (Sub Pop, 1994)
  52. Lee Morgan- Delightfulee (Blue Note, 1967)
  53. D.R.I.- Dirty Rotten EP (Dirty Rotten Records/Beer City Records, 1983)
  54. Slant 6- Soda Pop * Rip Off (Dischord, 1994)
  55. Circle Jerks- Group Sex (Frontier, 1980)
  56. Meat Puppets- Up On The Sun (SST, 1985)
  57. Kamasi Washington- The Epic (Brainfeeder, 2015)
  58. Genesis- Selling England By The Pound (Charisma, 1973)
  59. Metallica- Beyond Magnetic (Warner Brothers/Vertigo/Blackened, 2012)
  60. Lou Reed & Metallica- Lulu (Warner Brothers/Vertigo, 2011)
  61. Meat Beat Manifesto- 99% (Mute, 1990)
  62. Sinéad O’Connor– I Do Not Want What I Haven’t Got (Ensign/Chrysalis, 1989)
  63. Rachelle Ferrell- Individuality (Can I Be Me?) (Capitol, 2000)
  64. Chris Connelly- Phenobarb Bambalam (Wax Trax!, 1992)
  65. George Duke- Faces In Reflection (MPS, 1974)/I Love The Blues, She Heard My Cry (MPS/BASF, 1975)
  66. Chat Pile- God’s Country (The Flenser, 2022)
  67. Naked City- BlackBox (Torture Garden / Leng Tch’e) (Tzadik, 1997)
  68. Bjork- Salmasongs (Elektra, 2000)
  69. Dead Kennedys- In God We Trust, Inc. (Alternative Tentacles, 1981)/Frankenchrist (Alternative tentacles, 1985)
  70. Donny Hathaway- Live (ATCO, 1972)
  71. Jazz Crusaders- The Young Rabbits (Blue Note, 1975)
  72. Ruins- Tzomborgha (Ipecac, 2002)
  73. Yasiin Bey (aka Mos Def)- Black On Both Sides (Rawkus, 1999)
  74. Raul Midon- State Of Mind (EMI/Manhattan, 2005)
  75. Black Sabbath- Black Sabbath (Vertigo/Warner Brothers, 1970)
  76. The Kinks- Something Else By The Kinks (Pye/Reprise, 1967)
  77. Yoko Ono- Approximately Infinite Universe (Apple, 1973)
  78. MDC- Millions Of Dead Cops (R Radical/Alternative Tentacles/Beer City, 1982)
  79. Boscoe- Boscoe (Kingdom Of Chad Records, 1973)
  80. 千と千尋の神隠し サウンドトラック(Spirited Away Soundtrack) (Studio Ghibli Records, 2001)
  81. Stevie Wonder- Stevie Wonder’s Journey Through The Secret Life Of Plants (Tamla, 1979)
  82. Mary J. Blige- Mary (MCA, 1999)
  83. Gilberto Gil- Expresso 2222 (Philips, 1972)
  84. Flipper- Gone Fishin’ (Subterranean, 1984)
  85. Dreamgirls (Original Broadway Cast Album) (Geffen, 1982)
  86. The Fugs- Virgin Fugs (ESP-Disk’, 1967)
  87. Kenny Loggins- Celebrate Me Home (Columbia, 1977)
  88. Jarvis Cocker- Further Complications (Rough Trade, 2009)
  89. INXS- Underneath The Colours (Deluxe/ATCO, 1981)
  90. Elvis Costello- Armed Forces (Columbia, 1979)
  91. Bad Brains- Bad Brains (ROIR, 1982)
  92. Follow That Bird (The Original Motion Picture Soundtrack) (RCA, 1985)
  93. Negative Approach- Negative Approach (Touch & Go, 1982)
  94. Seal- 6: Commitment (Reprise, 2010)
  95. Billy Joel- 52nd Street (Columbia, 1978)
  96. Killing Joke- What’s This For…! (Malicious Damage, Editions EG, 1981)
  97. Kate Bush- Lionheart (EMI, 1978)/Hounds Of love (EMI, 1985)
  98. Duke Ellington & John Coltrane- Duke Ellington & John Coltrane (Impulse!, 1963)
  99. Frank Zappa- Chunga’s Revenge (Bizarre/Reprise, 1970)
  100. Throbbing Gristle- 20 Jazz Funk Greats (Industrial Records/Mute, 1979)

    Five Extra (Because i always have to):
  101. The Cure- Head On The Door (Fiction/Elektra, 1985)/Standing On The Beach/Staring At The Sea: The Singles (Fiction/Elektra, 1986)
  102. Bob Dylan- Blood On The Tracks (Columbia, 1975)
  103. Herbie Hancock- Future 2 Future (Transparent Music, 2001)
  104. The Brand New Heavies- The Brand New Heavies (Acid Jazz, 1990/Delicious Vinyl, 1991)
  105. Pixies- Surfer Rosa (4AD, 1988)

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My Favorite Records/Records i Really Liked In 2024

Photo: Creative Commons

While it is officially winter; the year is not officially over and yet here i am, adding to the 100,000th ‘best of’ list… Obviously this list is not comprehensive, as i haven’t heard the hundreds of records that were released this year. There were also albums i could have listed, but while i enjoyed the songs i heard have not heard the whole album. Either that, or i haven’t heard any songs at all, or had no idea an album was released this year. Some examples would be:

-Milton Nascemiento &Esparanza Spaulding
-LL Cool J
-Folk Implosion
-Dale Crover
-Fever 333
-Kim Deal
-Samara Joy
-Godspeed You! Black Emporer
-Amyl & The Sniffers
-Hiatus Koiyote
-J. Robbins

And more…

With that, here is a list of some albums i really enjoyed this year. They are not in any particular order. i am sure there are a few i have heard and enjoyed, and missed on this list.

-The Messthetics and James Brandon Lewis- The Messthetics and James Brandon Lewis (Impulse!)

-Shellac – To All Trains (Touch And Go)

-The Jesus Lizard- Rack (Ipecac)

-Shabaka- Perceive Its Beauty, Acknowledge Its Grace (Impulse!)

-Hurray for the Riff Raff- The Past Is Still Alive (Nonesuch)

-Melvins- Tarantula Heart (Ipecac)

-Melt Banana- 3+5 (A-Zap)

-The Cure- Songs Of A Lost World (Fiction/Polydor)

-Chat Pile- Cool World (The Flenser)

-Ministry- Hopiumforthemasses (Nuclear Blast)

-Kamasi Washington- Fearless Movement (Young)

-The Warning- Keep Me Fed (Lava/Republic)

-Morgan Wade- Obsessed (Ladylike/Sony)

-X- Smoke & Fiction (Fat Possum)


i made a record this year as well; however, that is up to you to decide whether or not you like it. If you’d like to listen to it, it is here.

i hope the music you’ve listened to this year, where it’s your favorite bands or a new discovery, has been comforting and inspiring during these trying times.


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Artists Against Apartheid: A Conversation With Savannah Imani Wade

https://www.podbean.com/media/share/pb-fynhh-1778bbc

(RECORDED ON NOVEMBER 21, 2024)  As long as injustice exists, there is always a need for artists to respond.  On this episode we speak with Savannah Imani Wade, a member of the Baltimore chapter of Artists Against Apartheid, a collective who’s objective is to “commit to using our platforms to challenge at every turn the massive misinformation campaigns waged by those who have a vested interest in the destruction of the Palestinian land and people without fear of repercussions. We dedicate ourselves to standing in solidarity with the Palestinian people and to use our artistic and cultural practices as tools of liberation in the struggle for sovereignty, dignity, and self-determination.”

Savannah and jamilah talk about the importance of art collectives in telling the stories of globally oppressed peoples, the importance of not parting with family members due to ideological or political differences, the healing power of music,  the gift of sharing grief, and more! 

Thank you for listening!

For more information, go to https://againstapartheid.art/

For questions, comments, etc.  you can reach us here: musicandwejj@gmail.com

 

 

 

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‘Soundtrack Of A Revolution’: A Conversation With The Internationale (Delila Paz and Edgey Pires)

https://www.podbean.com/media/share/pb-k3squ-173a0e8

(RECORDED ON OCTOBER 17, 2024) In the 11 years of doing radio (and now podcasting), jamilah has been experiencing a process of time where increasingly, you have to have some level of notoriety or fame for someone to take the time out to be on an episode of your podcast- or, you have to go through scores of agents and handlers (and sometimes, you don’t get a response at all).  We understand that there’s an overwhelming amount of media out there currently, and people must be selective.  It’s an incredibly humbling experience to be able to converse with someone who is sharing their limited time with us.

The Internationale are no exception.

Quintessentially NYC, Delila Paz and Edgey Pires create music that, from its inception has been decisively anti-racist, antifascist, anti-imperialist and anti-capitalist; they utilize their craft to counter the intersections of classism, racism and misogyny.  Their inspirations range far and wide, from Woodie Guthrie and Buffy Sainte-Marie, to Nina Simone and John Coltrane.  So of course…  we had to talk to them.

And we are certainly glad we did.

Similar to our last episode, this conversation occurred prior to the announcement of Trump’s second term presidency, but so much still applies.  Edgey, Delila (both who are incredibly funny) and jamilah discuss everything from moments of fearlessness, the political self-censoring of artists, vanguard/small cadre vs. mass organizing, the limitations of rock lyricism, the moments that inspired a questioning of the system, the misinterpretation of ‘revolution’,  the experience of being on a major label in transition, appreciation vs. appropriation, where ‘protest music’ goes wrong under capitalism, (older) rock musicians and fans hoarding the culture for themselves, and most importantly, finding humanity amidst the struggle.

Songs featured on this episode:

-5th World (Soul On Fire, 2019)
-1984 (Running For A Dream, 2023)
-Freak Revolution (Soul On Fire, 2019)
-Bourgeois Blues (New York I Do Mind Dying, 2013)
-Life, Liberty, And The Pursuit Of Indian Blood (We Will Reign, 2014)
-Try Me (Soul On Fire, 2019)
-Workers Of The World- Unite! (Live) (This Bootleg Kills…  Vol 1, 2016)

Thank you for listening! 

For more information on The last Internationale, go to: https://www.tlinyc.com/

Also, For questions, comments, etc.  you can reach us here: musicandwejj@gmail.com

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