Through the interviews, ideas and projects featured here we: Connect women artists across the African Diaspora with creative minds around the world + Create exciting arts events and media + Liberate imaginations and nourish free spirits
I now have two new favorite stories about Whitney Houston. My roommate’s friend, a professional dancer, was at an event with Whitney when she said (in sultry Whitney tone I imagine): “Baby, go get me a ginger ale.” He said: “You want Seagram’s or Shweppe’s?” She said: “Surprise me sugar.” Recently, Steve Harvey shard that a few years ago, Whitney had someone bring him to her dressing room to personally thank him for not joking about her when it was funny to talk about her addictions.
I’m tired of hearing folks in the media discuss Whitney’s issues in a pitying tone, acting as if they find the righteousness in themselves to discuss her death in, at least, a gentle manner. Just to name a few of her successes, Whitney has sold multiple diamond albums, her rendition of “The Star Spangled Banner” is the only to have gone platinum and the “World Music Awards” recognized her as one of the “Best-selling Female Artists of the Era”. So, I am not fooled by media features that minimize Whitney’s global success and reach to make it seem as if her death is the “teachable moment.”
My good friend Abadeu says first impressions are never as important as lasting impressions. Regardless of whatever new findings come out and everything we already know about her life, in her passing, we can at least recognize that her struggles did not define her. Talking up her issues and not the fullness of her life says more about us as a culture than Whitney.
This is not one of her more popular songs, but it’s meant a lot to me. I’m happy she’s left us with so much to choose from.
You can bet there will always be a million pigeonholes people can’t wait to stuff you inside. As a black woman in the punk music scene, Noah Sow of Noiseaux, flips the bird to each and every one. When asked how it feels to be black, German and doing punk music, Noah replied: “I’m educated enough to know that “Black music” is [many things]…you bet whenever I open my mouth to sing, what comes out is Black music by definition.” Noiseaux has even created their own music genre, Afropunk Chanson, which they’ll have people headbanging to on their upcoming tour with 24-7 Spyz, one of the most influential black bands in the punk scene.
A mutli-talented artist and activist, Noah’s humor and wit also comes across in her book, Germany, Black and White. Take, for example, her “List of Stupid Phrases” said to Black Germans and practical responses. She suggests when someone asks: “Do you feel more African or German?” one can respond: “Do you feel more ‘ass’ or ‘dumb-ass’?”
For Noah, race is not just some categorization she wishes would disappear so we could all live in peace. Blackness represents the heritage she, and many Black Germans don’t want to continue to see attacked or minimized. Noah sings with passion and intensity on all her songs, and this especially comes across in songs like, “Be Calm,” which criticizes European beauty standards and black stereotypes blacks in popular media. She co-founded New York’s, Anarchists of Color with the motto, “Disgrace Your Stereotype.”
Here Noah talks about punk as a musical genre and lifestyle, being a black woman on the scene and Noiseaux’s latest album Out Now!.
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When did you first fall in love with punk rock?
My key punk rock experience was as a teenager when the Black female fronted German punk band “Jingo de Lunch” came to my school to play a show. The headmaster had no idea what he had let through the nod. Punk audiences came from near and far and destroyed the whole sports ground by by moshing. It was the most wonderful day of my life (until then…more have followed since ).
I was already a punk kid then, with green hair and all, but had not known the band before, although they were quite influential. Jingo De Lunch were and still are the only influential Black female fronted punk rock band out of Germany.
I was one of three Black kids in the whole town. The town was racist as f*@k. Jingo de Lunch’s singer, Yvonne, was my first female role model. So powerful. I was in awe. Almost made me cry. I’ll never forget that day.
Is punk a way of life?
Punk has different aspects. One is a musical genre. The second and more important one for me is that it is an attitude. I’d call it being deviant, living on one’s own account. Not accepting society’s stereotypes and pigeonholes–that can definitely result in a way of life. When the two are combined, like in new Black Rock movements to reclaim the terms “punk” and “rock”, there’s no more “punk police” going: “Hey, the Sex Pistols are Punk but not Grace Jones or Little Richard,” but a more unifying and causal definition of “punk.”
I could always relate to some of the punk rock elements: openly expressed emotion, explicit resistance against societal norms, I experienced this as very freeing. Some other elements of “punk rock” I never quite understood…like, how did they manage to turn it into this 90% white scene? Like Tamar Kali said, punks wear mohawks and ear tunnels. It’s never been a white thing. I’m not even starting about the musical influences.
What do you think is the biggest misunderstanding of punk rock?
That the first thing that pops up in one’s mind when hearing the word is a white male.
You’ve gotten a lot of great feedback on your new album, Out Now! What was your vision for this album?
My vision was to combine the attitude I had at that time with melodic songs. I have a soft spot for beautiful melodies and like to incorporate them into a louder and heavier sound. I wrote my book on everyday racism at the same time when we recorded the album, so I could have a positive outlet for all the sad and heavy stuff that was in my head. In many ways it was an emancipation record for me.
I’ve always wanted to see what it would feel like to record all the songs both in English and German, how they would change, how their feel would change. And I really wanted to reach out to my Black rock music loving folks in my own country as well as anywhere else, so a 2-language-album made sense.
I also managed to become autonomous after long and unlovely experiences with the German record industry’s stereotyping issues. Being able to release the album on my own label “Jeanne Dark Records” felt especially awesome.
Do you think you’ve been able to connect with artists and fans abroad because the stereotypes and issues you communicate through your music are so similar around the world?
I absolutely feel this is a universal Black rock woman experience. For me it’s great to make international connections because wherever we are we are such a minority that we simply don’t find many people to connect with if we don’t reach out pretty far.
I’ve met women in every part of the world with similar experiences: not “fitting in” (or not wanting to fit in), not being content with serving submissive “non-threatening”, exaggeratedly feminine images, every one of them having to fight against so much bulls*@t and adversity only to be able to show her art. Of course, this results in powerful connections. I’m happy and honored that I can call Maya from Mother Goddess and Honeychild Coleman my dear friends, among others.
It seems like there aren’t too many female led punk-rock bands like yours (or are they just less recognized?).
Hmmm, I don’t consider NOISEAUX a “punk-rock band”. There might be some correlations in my or our music and biography, but “punk rock” for me is not a synonym for “part of the Afropunk culture”. I guess I know what you mean though–how is this still such a male dominated genre? It’s because when women are loud, in charge, in control, self-confident, we are frequently reprimanded, ignored or attacked. We’re a threat to male privilege and probably also the whole identity construction of some guys. And women of color are not exactly being encouraged to start a rock band hahaha.
I have the impression that this is slowly changing–I hope I’m right. Media images are definitely pushing in the wrong way regarding young women’s self images.
Would you say your femininity influences your music?
I don’t have any clue what “femininity” is supposed to be, other than a collective experience from a certain socialization. I can only say that yes, of course, my music is influenced by how I grew up, what my role models were supposed to be, how my daily life is shaped by the challenges and benefits of being a woman of color. It’s in my lyrics.
Most musicians I know have very eclectic music tastes. What musicians of genres other than punk or rock have influenced you?
Bunches. I don’t care so much for genres, it’s more the songwriting and vocalists’ expressions that I connect to. I have the most random genre mix in my “all-time-favorites” folder: 24-7 Spyz, Suicidal Tendencies, Jessye Norman, Bloc Party, Kele Okereke’s solo record, Grace Jones, Miles Davis, The Spin Doctors, Roxy Music, The Police, Brandi, Whitney Houston, Boyz II Men, and I didn’t even get to the guilty pleasures!
Congratulations on your upcoming tour with 24-7 Spyz! One of the best parts of a concert to me is the song or collaboration I don’t anticipate. Can you give Live Unchained a little taste of anything you have in store for the audience that they may not expect?
Thank you!
This tour means a lot to me, I still have a hard time grasping the fact that we’re actually touring together! We’ll be presenting our new style and genre “Afropunk Chanson” on this exciting occasion, I think nobody’s going to expect this from us hahaha. We’ll play songs from the album Out Now! but, a little differently… and mostly new tunes. If we have the time, we’ll upload something shortly before the tour so folks can catch a glimpse .
Finally, what does living unchained mean to you?
Creating and talking about my art without being reduced to some fantasy image of what a Black Woman’s art is supposed to be. Being without having to explain. Being seen as a person.
Being able to make a living from my own ideas and being independent in my choice of projects and work: the books I write, the music I play, the theatre shows I produce…I love the fact that they are uncompromisingly what I want to show, sometimes radical.
I’m very thankful for all these chances. Don’t get me wrong, it’s been quite a struggle to get there. I don’t take anything for granted.
If you fight it, it will outlast you. If you chase it, it will outrun you. If you try to control it, it will outsmart you. Love wins–naturally. Like many life lessons, these are often things we learn the hard way. Fortunately, there are artists like Martyna Baker, right there with us, knowing how to put everything we feel into the right words and melody. Singing from her own experiences of being taken for granted and confused, Martyna creates the music that makes you feel validated and understood when your relationship unfolds in a way that you didn’t expect, agree with or deserve.
Although many of her lyrics deal with pain, Martyna’s personality is quite carefree and fun; she had me laughing throughout this interview! While performing and living in the United Kingdom, her music is reaching people across the world. Martyna’s a great artist because she’s a great person—self-aware, thoughtful and making music purely for the love of it (and also because it’s healing to diss someone in a tune sometimes). Here, she shares the story behind one of her most popular songs, “Love Fast,” the emotion in her music and a fantasy encounter .
You said you propped up the courage to start singing at 21. So, what was the push?
I always loved music, I was an only child until I was 10, and me and my mum lived with my uncle who had a massive CD collection so I’d sit listening to Whitney Houston and Dolly Parton for hours! I didn’t have much self-esteem when I was younger, which held me back–and sometimes still can–but I started doing music about four years ago because my ex-boyfriend pissed me off. He said he knew I had wasted money buying a guitar since I didn’t touch it for the first 5 months, so I was like: “I’ll show you jerk!”
I’ve really enjoyed the EP after first falling in love with “Love Fast.” What inspired you to write “Love Fast”? Are you still love fasting?
I’m glad you like “Love Fast,” it seems to be most people’s favorite! I wrote “Love Fast” just after speaking to a boy I really liked at the time who just kept “blowing hot and cold” so to speak. I was trying my hardest to change and make myself fit him, but I just didn’t, so I gave up and wrote “Love Fast.” Thankfully though, I am no longer love fasting!
Your music clearly comes from the heart and you’ve shared a lot of your personal experiences. What’s one of, if not the most, revealing songs you’ve written? Do you ever feel nervous about being so open?
I think “Love Fast” and “Don’t Take My Eyes” are my most honest songs, but I try to be frank in all of my songs. I don’t feel nervous about being honest in my music because all I have is my story, my truth, so if I don’t share that then what am I sharing?
Where do you want your music career to take you?
Wherever my fans are! I hope that means I get to travel the world. I don’t have any big goals other than to sing for the rest of my life and never stop writing.
If you could have one special night with any musician, who would it be?
A wise woman knows not to reveal too much, she is comfortable in her mystery. Bergitta Victor has a joyful youthful spirit and presence, but don’t let that fool you, there is definitely more than meets the eye. When I first heard Singer Bergitta Victor’s debut single, “Say Love,” from her latest album, So Happy, I thought I had her music figured out—bohemian folk with an inspiring message. I was too presumptuous; the more I listened, the more layers I saw. I expected the song “So Happy” to be about taking joy in life’s little blessings, but it actually feels like a sultry “thank you” to her lover. Having seen her performance of “Trouble” with Nneka, I can see why she describes her live shows as an “emotional striptease”—in the video (which is embedded in this post), you can feel how connected they are to the song’s message, jumping on stage and singing with a different intensity than the album version.
Here Bergitta reveals a little more (but not too much) sharing her pride in writing and producing her latest album, how she came to love performance and how her homeland, the Seychelles, inspires her.
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I like the nice mix of rhythms throughout your album. I hear a lot of different sounds from reggae to tango. How would you describe your music style?
Acoustic soul with an African touch and a hidden devotion to jazz. I grew up listening to music from Africa, Europe and the States. So, I never really did put my music in any genre. I like being versatile.
What did you want to express about yourself with this album? What does So Happy say about you as an artist?
It definitely says that I am a person who is trying to think positive…today, tomorrow and always.
Making this album made me realize how much I enjoy singing, writing songs, producing and all that. I chose the title not only because of the song “So Happy,” but because I was happy and proud with the result of my album that I wrote all by myself. I also produced it with David Stauffacher, a fantastic Percussionist from Zurich. It was a big step for me.
I’ve learned one thing in the past 15 years, if you want to achieve something, you gotta work hard for it. Nobody is going to do it for you.
And, may I share my favorite quote with you by Mahatma Gandhi: “You must be the change you wish to see in the world.”
I really liked your performance with Nneka. It was nice to hear her say how much your music meant to her. How did that collaboration come about? Why do you think you vibe so well creatively?
Well, I met Nneka in April 2006 and we had kept in touch. So, I asked her earlier this year if I could be her opening act, since I am still struggling. And that’s how it all started. I performed on her European tour in Bern, Basel, Zurich and Duesseldorf.
She told me that she liked my song “Trouble” because she related to it, and insisted on a collaboration. Really, it was a spontaneous thing. And, hey, we are talking about one of the most talented artist of our generation – I’d be stupid to say no! Hahaha.
Maybe we vibe well because we are similar in many ways. You know, when it comes to our musical backgrounds and that we are both fighters and believe in the good.
Bergitta Victor and Nneka live in Dusseldorf, Germany — They KILLED IT!
In your live performances with Nneka and with your band, I notice how free you look on stage. Were you always that comfortable?
I enjoy being on stage. It wasn’t always like that though. I had to learn that being on stage also means being at home. So, my stage is my home, where I feel good and make others feel welcomed – just like a host should, I guess.
I’m not much of a talkative person. So I “talk” through my music. Sometimes I am overwhelmed by certain things on stage and accidentally reveal more about myself than I actually planed to. But, you best get to know me by listening to my music. Not everything I write is personal – but a lot is.
You are from the beautiful Seychelles. How does your country and Africa inspire you?
I love the Seychelles.
I must admit, I have always been an admirer of Africa. Not only because I am an African myself. It’s because of the people of Africa! Africans are very proud, with very strong personalities and we believe that there will be a better tomorrow. And, we definitely never forget where we came from.
What’s one thing every artist should forget?
Hmmm… That making music is not about fame, money and bling bling. It’s about sharing and giving joy, hope, confidence, life and love. It’s about bringing positivity!
Finally, what does living unchained mean to you?
It means freedom to me. I am blessed and thankful for really getting to be free.
But, I am hoping that we all can be free one day, no matter where we’re from.
Rooted in African rhythms, layered with soul vocals and the high energy of UK urban music, Juliyaa effortlessly combines different genres in to a sound she calls ‘Rhythmic Soul’. She was raised listening to her mother’s traditional Ghanaian gospel and hi life, and her father’s classic vinyl collection of soul and reggae artists like Bob Marley, Al Green and The Maytals. With her sultry soul voice, and trademark retro style, Juliyaa is renowned for delivering uptempo and fun-filled live performances. In the run up to her single release, Juliyaa has been performing with her band at some of London’s hottest venues including The Roundhouse, Regal Rooms, Camden Proud and The Troubadour. Here Juliyaa discusses her musical journey, femininity and take on what it means to live unchained.
Can you tell us about yourself?
Well, I grew up in North London to a Welsh father and a Ghanaian mother. My name is a combination of my European name ‘Julia’ and Ghanaian name ‘Yaa’ meaning ‘Thursday Born’. I started singing at a young age in my mother’s church, and wrote my first song at the age of seven. Music was a part of my life growing up and there were a lot of eclectic influences that have influenced my musical style. Mum was in to Ghanaian gospel and hi-life which meant that every Sunday morning I was awoken to the sound of her cassette player blasting out songs – they were good times. Growing up music was about family, and about culture and it has always signified something about who I am and what my parents have passed on to me.
Is there an overall message to your music? What do you want your fans to take away?
I write songs about the different things that I experience in life. I sing about love, the London underground, Ghana, dreams, my faith – anything and everything. I would say that I would like to bring positivity and light through my music, and help people to enjoy the beauty and the fun in life. I want to bring a smile to the faces of the people who listen to my music. I want to inspire hope if they are in a dark or difficult situation. I want people to listen to my music and understand the emotions that I am expressing, and for the words to resonate with them.
What do you love most about being a woman?
I love having the privilege to express my femininity to the world, and to have the opportunity to have a family one day. I am proud to call myself an African woman and love to identify myself with the strength, dignity, and gentleness that my mother modeled to me.
Finally, what does living unchained mean to you?
Living unchained for me means enjoying a free, passionate relationship with God. It means being free to love others, free to forgive others who have wronged me, and free not to care what others think of me. It means being free to be myself and who I was created to be.
Alissa Paris Gilbert is one of a kind – that’s for sure. I remember the first time I saw her. I was taking a summer yoga class with a friend when I saw this tiny thing bounce into the room. Her flat top and neon spandex caught my eye, but after dropping the class after day one, (due to the lack of a challenge – thank you very much!) I forgot about the smiley young woman I had been intrigued by in the large mirrored room. It wasn’t until several months later when I stopped by my boyfriend’s college apartment/beat laboratory that I saw Alissa again and realized that her funk was much more than skin deep. She was coming in to do some recording on a track that my boyfriend had made for her. Her voice was sultry and soothing, her conversation was even better. We fed off of each other’s creativity, and over time, our friendship continued to develop. I wanted to take the opportunity of my first post with Live Unchained to introduce her to all of you.
NVT Photography, MUA Nancy Van Thorre
Dancer, singer, songwriter, and intellectual: Alissa Paris wears many hats. I asked her when she first started dancing. She reminisced on a family reunion from her father’s side from when she was just a little girl. She remembers being on the dance floor with family members around her, cheering her on as she did the running man. “That’s the first memory I have of the bug setting in for performing. I’m sure I was exposed to things earlier,” she continues, telling me about how her mom had been a dancer and a performer in musical theater and how her dad had been a b-boy.
Her own eclectic dance style inherited from her parents, her teachers at North High School, New Jack Swing, Janet Jackson, and House Party, mirror her musical style as well. The songstress’ influences include legends like The Supremes, Billie Holiday, and Sade, but also alternative and pop greats such as The Cranberries, Fiona Apple, and No Doubt, admitting that their groundbreaking fashion sense, approach to the world, and free spirit personas played as much of a role in her life as their rhythms.
Photography by Lynda Jayne Iglesia, MUA Yvette Iris
“My mom always said I was born in the wrong time, that I was meant to come of age in the 80s.” And I will tell you firsthand, she can’t let it go! It truly is a way of life for her. Having just graduated from the College of Continuing Education at the University of Minnesota with a B.A. in Dance, Theater, and Social Justice, this free spirit is leaving me (tear) to go on to pursue adventure. Well, at least partially. She is leaving at the end of August and taking a year to travel the country in search of a graduate program on mixed race and multicultural identity, or at least for an institution that will let her create her own program as she did with her undergraduate degree. First stop? California. She will be checking out a few schools, catching up with family and friends, and also attempting to find the Puerto Rican grandfather that she never knew – which – in my opinion – is a separate adventure in itself!
After graduate school, she wants to continue her research on identity theory pertaining to race and culture, while simultaneously working on and sometimes working in combination with her own performance art. She is most interested in continuing her own performance programs in the community, working with all age groups from children (I recently was able to view a home video of the children’s dance class she teaches and it was seriously the cutest thing I have ever seen) to college students, helping them utilize their passion to influence their own communities.
Although she has a soft spot for Broadway, she knows that there is much more to dance, theater, and song than what is seen on television. “Minneapolis taught me that it takes a village to raise a child. I always had a home base with my mom, but Minneapolis taught me about all the different languages, cultures, religions, art forms, spaces, and languages.” Some of her favorite Minneapolis spots to perform are the Triple Rock Social Club which happens to be across the street from her childhood home, as well as The Dinkytowner (R.I.P.) or just outside for block parties or any other outdoor events.
What’s my favorite place to watch Alissa? Oh – Patrick’s Cabaret of course. You will be missed – and I am sure that I speak with the rest of Minneapolis when I say we will be eagerly awaiting your return.
You can check out Lipset and Logan “Lokes” Uu’s The Level Heads Projecton Facebook for free downloads of music featuring Alissa Paris. And, be on the lookout for Alissa’s upcoming solo album with producer Logan “Lokes” Uu – title and release date TBD – but you know I will keep you posted!
Ms. Paris by Daisy Giles
Keep living unchained!
Alissa Paris modeling for I.B.E. (Intelligent Black Enterprise), of “Usual Suspects”.
“The entertainment business is filled with snakes. They will try to make you everything you are not if you don’t know who you are.” This is London Bridgez’s advice to emerging artists and I’m sure many can relate. As women of color continue to be mis-constructed, misunderstood and unheard, London is at work as both an artist and activist. Her social justice performance credits include The Bayard Rustin Community Breakfast sponsored by the Aids Action Committee, Queer Women of Color Week- OUTSPOKEN, Provincetown Women of Color Weekend, Provincetown Women of Color Weekend and the Aids Walk Boston Opening Ceremonies.
Here London discusses the purpose behind her forthcoming anthology, Going Public, on black women’s relationships and experiences with love, her commitments as an activist and explains the importance of integrity and planning for artists.
Can you tell us what your name, London Bridgez, represents and whyyou chose it?
London is my name. I added on “Bridgez” because it summed up my creative process of transforming poetry to be listened to by audiences. In my art I attempt to bridge music and poetry. I believe that if you look at music within a historic context you will find examples of poetry and music being commonly fused in the creation of opera, yone poems, choral works as well as in funk, jazz and early hip hop. It is only recently that the division has been created.
At the root of music you will find poetry and vice versa because tone,
rhythm, cadence, and lyricism, are the properties of both poetry and
music. In my personal life I find great satisfaction in bringing
people together and bridging the gaps of isolation that often separate
people.
You are an artist and an activist. What social issues are you active in addressing?
I am an openly identified gay woman of color. I support many
organizations that are tearing down strongholds for LGBTQ equality
such as Queer Women of Color, Aids Action Committee of Boston, NYC
Heritage committee, Riverside Church NYC and a long list of others.
In terms of my personal engagement, my wife and I am currently
co-editing anthology of writing called Going Public: Black Women reflect on love, relationships and coupling. In preparation for our
wedding, we began an ongoing discussion about not knowing many Black
lesbian couples, particularly married ones. Our conversation evolved
into a deeper discussion of how marriage and indeed “coupling” is far
too uncommon within the Black community.
We thought it would be insightful to hear the stories of other Black
women who have chosen to marry whether to another Black woman or a woman of another racial/ethnic background. As legal residents of Massachusetts, we recognized how fortunate we were to even have this discussion, as most gay and lesbian people do not have the opportunity to legally marry their partners in their own states.
We went on to think about coupling in general and began doing research on this issue. Via our research we found that Black women in the U.S. are the least likely to marry or to couple regardless of sexual orientation. Whether straight or gay, black women are less likely than any other racial/ethnic group to be married or living with a partner as a couple. This anthology will not only give historical presence to the voices of black women but also reflect on the social implications that stem from these statistics of black women and marriage. It is important for the voices of black women to be heard by larger society. We are not invisible. Our stories matter. Telling the stories of black women is vital to the black community and society at large.
I mentioned how much I like your piece, SHE. How did SHE come about?
She is an interesting piece for me. I, oftentimes, secretly write
about myself in my work. SHE was the first piece that I publicly wrote
about myself. The sole message in SHE is that women do not fit nicely
into categorical boxes. It is about the intersections of diversity
that we all live at the crux of. One of my favorite lines is “She is your big sister
almighty/DJ spinning all night/The slam poet word line fighting/Mother earth rain thunder lightening POW.”
Each of us as people and more specifically as women carry with us a unique combination of likes, dislikes, interests and passions. At the end of the poem I say: “This is for the girls labeled trouble for being themselves who refuse to sit on shelves and wait for the world to give them permission to come out and play/This is for me/This is for you/Our Fuerza/Our strength/Our truth.” I believe we as women are most strong when we give ourselves permission to be all of who we are.
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